LA TEMPETE
1872 Ballroom Guide

Four face Four (not a sicilian as described, but would work)
32-bar single jigs

A1: Lines forward and back twice (using the quadrille step).
A2: Drawers: 1s/tops split opposites
    Drawers: And return to place, 1s on the outside, opposites split them.

B1: Middle four right-hand-star, left hands back WHILE
    ends two-hand turn with opposite (or balance and swing); swing the 
    other way.

B2: Forward and back and pass through to next line of four.

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This may be described as the novelty and rage of a past season. Imported from
Paris, it took the town for awhile, and having a good deal of life and dash
about it, the figure survives as a pleasing novelty in country houses, and
similar retreats where people indulge in dancing for its own sake. La Tempête
is amusing and very lively, but requires to be well done to produce a pleasing
effect.

When this is to be danced, four gentleman select partners, as for a set of
quadrilles. A second, third, and fourth party of eight may also be made up; the
only limit being the size, and particularly the length, of the room.

Take places as for a set of quadrilles, without sides--that is to say, the two
couples stand side by side, and face the two opposite couples. Close to the set
thus ranged at the top of the room, comes the second set, then the third, and
so on, in lines, so that though the dance extend down the entire room, it is
only two couples in breadth, and the dancers in each set have their backs to
those dancing in that next it.

The dance is in two parts.

*	1. The couples join hands, and advance and retire twice, using the
quadrille step. Top couples (in each set) cross, still with joined hands,
taking the places of bottom couples, who cross at the same time, but,
separating, pass outside the others to the top, when they join hands, return to
their own places, and back again; while the top couples, having separated,
cross outside the second couples, then join hands again, and all return to
places. Next lady and gentleman in middle of each line give hands to their
vis-à-vis, and these four do half-round to left, ditto right to places; at the
same time, the outside lady and gentleman in each line gives hand to the lady
or gentleman opposite, and then half-left, and back to places, forming two
small circles, one on either side the central circle of four. Next, all three
circles hands across and round, change hands, round again, and back to places.

*	2. Lines advance, retreat, and again advance. Top couples pass through
the line formed by their vis-à-vis, the bottom couple, and so get into the next
line, when they repeat the movements of the first part with fresh vis-à-vis,
their former ones having meanwhile taken their places and turned round, waiting
till they are faced, and can repeat the figure also.

This will occur at the second movement, for which those at both ends of the
figure have to wait. This goes on until all the top couples have passed to the
bottom of the figure, while, of course, those originally at that end have
reached the top. The process is then reversed; all turn and go through the
movements till all are ³home² again, in their original positions.

There are variations of this dance, but they are complicated, and seldom
attempted out of a dancing academy; indeed, the dance itself is chiefly
confined to establishments of that class. Music quick, in two-four time, steps
as in quadrilles.

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