Circassian Circle/Sicilian Circle
Background Sources
The origins of the Circassian Circle lie buried in a book called The Handbook of Modern Dancing by G.M.S Chivers, London, 1822. As yet I have been unable to track this book down. Chivers was a prolific inventor (and re-inventor) of dance styles, and he may have invented the circle form, or he may have imported it from outside the UK. As far as I know he was the first in the English speaking world to describe the idea of a duple minor dance done in a circle.
In Lowes' Ball-Conductor and Assembly Guide (Edinbourgh, ~1831) they write:
The Circassian Circle
Is a circular Country Dance, for which the party is arranged, as for Quadrilles, across the room; the four at the top commence first, and change sides at the end of the firgures, they continue to repeat them with all the couples down the opposite sides of the room, crossing over at the bottom, and continuing till they arrive at their original places; all the other couples must also continue, after they commence, till they make the circuit of the room; and when all have regained their places, the dance is finished
First Circassian Circle
Ladies chain, set and turn partners, right and left, hands four half round, and turn partners, changing places.
I'm not sure I understand the Lowe's set-up description, but I think they are describing a hall full of two couple quadrille sets (that is improper duple minor lines), lined up along each side wall of a building. In keeping with the staggered start in use for country dances at the time, only one set start dancing, as they move down the first line the dancers behind them will also start, then when they reach the bottom instead of becoming 2s and working their way up, the cross over to the other line, and work their way up. When they reach the top of the other line they stop and wait until everyone else has reached their original position but in the other line.
Note that this version is slightly different than the first figure of the quadrille, it mixes up the rights and lefts and the ladies chain.
The Lowes sometimes quoted Chivers word for word, so it is possible this is Chivers' version too.
The next earliest description I have found of the Circassian Circle is in Wilson's The Art of Dancing, London, 1852, where he says:
Couples vis-a-vis; form a circle round the room; figure, right and left or hands across; set and turn partners; ladies chain; waltz pass on to next couple; repeat.
In Ball-Room Guide, a Manual of Dancing (Glasgow, ~1868), Wilcock writes:
This dance is but of modern introduction, and has the advantage of being joined in by all the company present. The couples are arranged in a circle round the room, every two couples facing each other; the ladies being placed on the right hand of the gentlemen.
The figures are various, but that which is generally danced is as follows —
Right and left 8 Set and turn partners 8 Ladies chain 8 Pousette and pass to next couple 8
In The Pocket Dance Book (Leeds, ~1900) Arthur Morris writes:
Arranged in couples all round the room.
Bow to partners, then to the lady facing you (8 bars)
1. Right hand across, back with the left.
2. Set and turn partners.
3. Ladies chain.
4. Promenade once round, and then to the next couple.
Across the Atlantic, Hillgrove's The Scholar's Companion and Ball-Room Vade Mecum, New York, 1857 contains:
Sicilian Circle
This dance is formed precisely the same as the Spanish Dance, and the figures are dance the same as the first number of a Quadrille, as follows:
- Right and Left (8 bars)
- Balance to Partners and turn (8 bars)
- Ladies chain (8 bars)
- All Promenade — Passing once and a half round and finish facing the next couple with whom the figure is again repeated (8 bars)
Hillgrove also publishes a dance he calls Circassian Circle which consists of 10 different parts, each a full 32 bar dance with progression. The first of these is roughly the same as the standard version of the dance.
Hillgrove's description of the first figure of the Plain Quadrille is:
- Right and Left — The first and second couple forward and pass to opposite places, each lady passing between the opposite couple; the gentlemen then present their left hand to the left hand of their partners, and turn them half round, and then turn themselves, so that each couple may face the opposite couple, having only excahnged places (Music — four bars). This is repeated, both couple returning to their own places in the same manner. (four bars).
- Balance — The first and second couple face their partners, joining hands with the right hand uppermost, and chassez across the sett — passing to the right of the opposite couple, and returning in the same manner, and turn their partners to place (eight bars).
- Ladies chain — The first and second lady cross to opposite places, giving the right hand as they pass each other, and the left hand to the opposite gentleman; both gentlemen turn the ladies round with the left hand, and then turn themselves (four bars), after which the ladies return to their own places, taking the opposite lady by the right hand, as they pass each other, and give their left hand to the left hand of their partner, and turn to place (Four bars)
- Balance — The same as before. (eight bars)
In Howe's The Complete Ball-Room Hand Book, Boston, 1852 he describes the Circassian Circle as:
All balance, swing four hands — ladies chain — balance and turn partners — right and left — all forward and back, forward again and pass to the next couple (as in Haymakders)
Howe's version takes 40 bars, while the others have all been 32 bar dances.
Squire's (Cininnati, 1887)'s verion is the same as Howe's.
While Schell (Boston, 1890)'s says:
The Sicilian Circle is formed in couples facing in a circle round the hall the first call is given before the music.
Four hands round (4); turn partners (4); right and left (8); ladies chain (8); all forward (4); pass by (4).
Repeat these calls ten or twelve more times according to the number of the party, then call :—
All balance partners (4); turn partners (4); promenade round the hall (8).
This is again a 32 bar figure.
American Country Dances Bruchenal (New York/Boston, 1918) writes:
(1-4) Four Hands Round
(5-8) Swing Partner
(9-16) Right and Left
(1-8) Ladies' Chain
(9-12) Forward and Back
(13-16) Forward and Pass On
Note that a partner swing has joined the mix of figures.
The RSCDS version also claims to be the same as the first figure of the plain quadrille. The plain quadrille does not progress, of course, but everything asside from that progression seems the same. The RSCDS throws in a poussette for the progression which seems different from everyone except Wilcock.
Some dance examples
The Lowes ~1831 version
Wilson's 1852 version
Burchenal's 1918 version
The RSCDS's 1924 version
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My work is licensed under a Creative Commons Attribution 4.0 International License. Most of the dances have more restrictive licensing, see my notes on copyright, the individual dance pages should mention when some rights are waived.