Rensselaer Republican, Volume 14, Number 51, Rensselaer, Jasper County, 7 September 1882 — DANCING IN MEXICO. [ARTICLE]

DANCING IN MEXICO.

Mkiag AUMwir** I**' 1 **' It must be eoafaaaed, writes a correspondent ol the NemJEork Times, the# a rural “dance ” In New Mexico is a meet dismal affair, bat that the active participants in such entertainments derive some sort of enjoyment therefrom is proved by the frequency with which baile* are arranged. There is not much preliminary formality about these rural gatherings. Whoever feels the spirit of dancing strong within him engages the services of the village musicians and sends forth word to the neighborhood at large that on a stated night there will be a baile at a given house. Everybody is free to come without farther ceremony. There are no restriction* of fashion as to costume. The sheep herder in his patched overalls and cowhide moccasins will be as welcome os the don in his best attire. Nevertheless, most of the people who attend the baile have done something for the betterment of thair customary appearance. The women are dressed m the same style of magnifloenoe which gv-e have seen at the horse raoe, and to their white shirts the men have added paper collars and bright-colored neckties, the knots of which persist in winking around under the wearers’ ears.

Mexican etiquette is not strict in demanding washed faces and hands under any circumstances, but there are at least some among the company who have gone through the motions of ablution, and whose complexions are consequently a shade lighter than usual The ball-room is not imposing either by its size or decorations. Each townlet has some one room which, by reason of its broad floor and superior dunenmons, is recognized as the regular place for social festivities. Benches and a few chairs are ranged round the sides, half a dozen candles stuck into bottles and other candelabra improvised for the occasion are fastened to the walls, and then everything is in readiness for the ball to go on. Tha music is that of a fiddle and an accordion, sometimes of both, when the village rejoices in the mnsioos. Although the Mexican musician k self taught, he is often able to prodfloe quite tolerable sounds from his instrument, some allowance being made for the cheap quality of the latter. At all events he plays well enough to content his audienee. Except when actually dancing the men and women do not mingle. The women seat themselves at one end of the room, and the men cluster at the other end.

Nor is aonverantion between partners in a donee permissible. A Mexican who should see his wife or daughter talking with her' partner while dancing would at once suspect that some intrigue was hatching between the pair under cover of the noise of the music and dancers’ feet. Americans who are not familiar with ways of Mexicans, and those who are aware of the interdiction against conversation bnt who choose to trespass against the rules are likely to meet with a blunt admonition to the effect that dancing and not talking should be the present business in hand. And tiie Mexicans themselves dance as if in faot they ware engaged in some very grave and rather doleful ceremony. At a note giveq as a signal by the musician, such men as propose engaging in the quadrille, or whatever may be the dance announced, walk solemnly across the room and hold out each a hand to his chosen partner. Then, in all silenoe, they take their places on the floor, and the musio begins. There is no “calling off” of figures as is the custom among ruatio Americans. All the dancers know what to do, and they do it with serious deliberation. Neither dawdling indifference nor frolicsome capering is a habit of Mexican dancing. Bober ponderosity, reminding one of the terpeicherean performances of the trained elephant in a circus, is the prevailing characteristic of the movements of the women as well as the men. The dancers are oppressively observant of time and the proper step, and all move together with the precision of machinery. When the music ceases the lads hand the lasses to their seats with an air as if they were confiding dear friends to the grave, and then return to the men’s part of the room.