We use the quadrille dance figures/movements, to demonstrate knowledge and understanding of our African ancestors’ lived experiences of slavery and beyond?
We start with what our ancestors saw and mastered, i.e. Ballroom dance, followed by the creative transformation of the Ballroom dance to the Camp Style dance.
To show continuity of tradition, we adopt the Square, Linear and Circular dance formations, a ceremonious posture for the Ballroom dance, and a more relaxed posture for the Camp Style dance.
Camp style dancing by our African ancestors to the rhythm and beat of the music comes naturally, and is characteristics of our African roots and culture.
“Mento music”, developed by our ancestors, provides the main musical accompaniment to our dance, although other musical genres with the appropriate rhythm and beat are used for enjoyment and inclusiveness.
We “dress up” to look and feel good about ourselves just as our ancestors did on Sundays, on special occasions and on public holidays.
We try to communicate the power and control they had over their lives, and hope that through our quadrille dancing the invisible becomes visible.
Reflective in our dance are elements of our ancestors’ praiseworthy attributes. For example, their free spiritedness, inner strength, defiance, resilience, wisdom, courage, versatility, camaraderie, teamwork, discipline, dignity, compassion, tolerance, respect, peace, love and hope.
We exercise flexibility in the names we give to the Figures /Set pieces as our ancestors did. The names given are not necessarily the original names of the European dance or those used by our African ancestors.
The names we give our dances reflect the continued transformation and evolution of Camp Style quadrille, and specifically relate to easily remembered concepts that we wish to communicate.
Our quadrille dances vary in complexity and length and could include up to 8 short Figures/ Set pieces with specific names. We use creative licence to tell an incredible story, by symbolically linking each dance figure/set piece to specific events in the lives of our ancestors.
Historic and Symbolic interpretation of our dances
The core repetitive steps associated with each figure have significant meaning to us, for example: Advance and Retreat mean moving forward in life but not forgetting your past. It is important to know where you are coming from to plan your current and future life.
Balances mean time to pause and acknowledge the importance of Balance in all we do, and give due respect for balance in the Universe/Nature. Extremes in our activities and in the elements of nature (wind/air, water, heat/fire, light and dark, space) can be catastrophic
Bow and Curtsey mean to be polite and respectful to each other. A non-verbal communication gesture used to greet, ask permission and to say thank you when appropriate.
Greetings with open arms mean showing pleasure during an encounter.
Drumming Music: Our dancing usually begins with African drumming music.
The talking drums, for example “The Abeng” were our ancestors’ initial means of communication. They took this practice from Africa to Jamaica/Caribbean. The Maroons predominantly used drumming to communicate. The beating of the drum would signify the time, meeting place and activity. The colonialists were uncomfortable with the noise and beat of drums. They did not fully understand its significance, and so feared the enslaved were using it as a medium to plot their revolt and so banned its use.
In our story the drumming music is calling us to “Come and Dance in after work” In response to the drums we become energised, anticipatory and ready for action. We demonstrate our ancestors’ unashamed bravery, versatility and common sense.
Figure 1: The Entrance March or Entrance Wheel
Entrance March: Couples in unison perform a sequence of in and out steps, in military procession, as they make a triumphant entrance and take up their positions on the dance floor. The enslaved were forbidden to do their own African dances, and found copying and mimicking their master’s dance movements empowering
In this dance we demonstrate the colonialists ceremonious, constrained, stoic, expressionless, and disciplined dance.
We also demonstrate their defiance and derision.
Entrance Wheel: Couples perform a series of synchronised steps and wheels as they circle the dance floor.
Wheeling is standard practice in many African ritualistic dances. It is a liberating attempt to free the mind, body and soul, and to communicate with the Universe.
We demonstrate our ancestors’ use of “Wheeling” to revive their culture, to free their minds, and to help them temporarily escape the inhumane treatment and imposed subordinate status they experienced daily. We also demonstrate their free spiritedness, self -worth, resilience and strength
Figure 2: The Pass Through/ Pass Through with Confusion/ Stroll Through
Pass Through – Couples move quickly, in a linear fashion, across the dance floor, separating their hold at centre stage to avoid collusion. They appear overhasty, stiff, expressionless, hierarchical and disciplined.
Historic and symbolic interpretation of the Pass Through
The Pass Through represents journey of the approximately 2. 4 million Africans were bought cheaply, chained, packed like sardines in slave ships, and transported as cargo to the Americas to be sold into a life of toil on plantations in America and the Caribbean.
The Middle Passage was a long and tedious journey. The unscrupulous slave traders were domineering, dogmatic, strategic and emotionless in their attitudes towards the Africans.
Those who survived the humiliation and inhumane treatment on board ships were distressed, frustrated, fearful, angry, confused and mal-nourished when they arrived at their destinations.
They were scrutinised, fattened up to appear fit and healthy, smeared with oil and re-sold at Slave Auctions in the Americas.
They were moved from place to place, did not know where they were, what to expect, what was expected, or whom to trust.
We demonstrate how our African ancestors were frightened, stressed and confused about their location and fate. They had no choice but to be gallant, submissive and disciplined.
Stroll Through: Couples holding hands in a promenade hold, dance slowly in criss-cross diamond shape patterns across the dance floor, pausing periodically to contemplate before returning to their base positions
Historic and symbolic interpretation of the Stroll Through
The criss-cross patterns and retracing steps are symbolic of the long winding paths our ancestors’ travelled. The contemplative pauses represent uncertainty of destination thus the need to negotiate their way carefully. Stopping in one place could be temporary or permanent, therefore the need to leave clues along the way to later guide them on their return journey when attempting to escape Although most had no choice but to conform to a life of enslavement, some escaped into the mountains to hide and execute rebellious acts in their struggle to gain freedom from slavery. We demonstrate our ancestors’ endurance, patience and self-control.
Figure 3: Figure of 8 with Diamond effect / Figure of 8 / Figure of 8 with Clover effect
Figure of 8 with Diamond effect – Men send the women off from the fields with load of produce on their heads (to deposit at the produce holding base).
Women move their bodies and feet to create a numerical ‘8’ patterns with a diamond at the centre. They pass each other courteously but do not stop to talk or socialize. Simultaneously, men create circular patterns around their bases, as if keeping watch and anxiously awaiting their women return to load them up and send then off again.
Historic and symbolic interpretation
Slave women were expected to work equally hard on sugar plantations in sweltering conditions, inappropriately dressed, as their men folks. The constant supervision and fear of harsh punishment ensured they did not waste time socialising during the long working hours. Some were severely punished and could disappear forever.
We demonstrate slave women’s journey to the market place/mills. Their raised hands appear to be balancing produce on their heads. Although not stopping to socialise, their laboured bodily movements and eye contacts are sending coded messages of abhorrence of hard plantation life. The diamond shape made by their feet in the centre of the eight and the way they move their bodies to balance the load on their heads is symbolic of cultural richness, hidden creative and nurturing talents that are yet to be discovered.
We demonstrate our female ancestors’ unity, physical strength, sexuality, silence and endurance.
Figure of 8 / Figure of 8 with Clover effect – Women dance in the Figure of 8 whilst holding out their skirt. They pass back to back at centre stage to the opposite base and back to back to their own base. They dance round and round in circles, likened to being on a treadmill, looking for the exit.
Simultaneously, men create circular patterns around their bases, but keep a watchful eye and moving out of the path of the women as they dance behind them
Historic and symbolic interpretation
Our African ancestors sold into slavery were taken on a never ending journey filled with danger and uncertainty.
The eight is unchanging. It has a limitless boundary and is filled with uncertainty. It symbolises a long winding journey of unexplored opportunities. It could be a sign of abundance and prosperity, more grounded and connected to the earth/nature or could be linked to misery and gloominess.
We demonstrate our female ancestors’ physical strength, silence and endurance.
Figure 4: Men visiting and socialising
Men leave their female partners at their base and wander off to meet and greet other women along the way. They express enjoyment and polite behaviour as they greet, flirt and reel other women. Whilst a man is out and about visiting another woman, another man is also visiting his woman at their respective base.
Historic and symbolic interpretation
Social encounters when permitted, normally on Sundays, allowed enslaved African men to fraternise with women they meet. Some plantations had designated communal places where social encounters were allowed on public holidays.
The enslaved made most of these opportunities and in their dress-up clothes would sometimes travel long distances to fraternise, celebrate and enjoy themselves as well as to communicate their plans and dreams.
They were not allowed to develop stable family units as a normal way of life, even if they had children. Their children would be taken away suddenly from the mothers and sold into slavery.
We demonstrate our male ancestor’s covert sexual behaviour, their brave and adventurous courtship spirit as they search for female partners, to satisfy a basic human need for companionship. The women enjoy the attention and respond gleefully. The community spirit and determination to enjoy life despite the hardships they were experiencing is evident.
Figure 5: Men Exchange Partners at centre stage / Exchange Partners at Base
Men hand over their female partners to other men. The man without a woman views, with jealousy and suspicion, the interactions between the men with 2 women and between the 2 women by his side. He then tries to attract the attention of the women but eventually take his own partner back to their Base.
Historic and symbolic interpretation
During enslavement women were vulnerable commodities to be exploited by male overseers. Men and women faced courtship dilemma because they were not allowed to have stable sexual partners or stable family relationships. Some would be secretly promiscuous.
Polygamy was also normal in some African cultures, hence possessing 2 or more women would be considered socially acceptable and empowering.
The handing over of women is symbolic of the colonialists, who watched and selected enslaved men and women for their own sexual gratification; pairing them for reproductive activity to replenish their slave stock; or for sale at auction to other plantation owners on and off the island, never to be seen again. The distance to travel to hand over or exchange of partners could be long or short.
Some enslaved women eventually welcomed the sexual attention of their slave masters, for survival. It also provided the opportunity for their advancement in social status and to receive favourable treatment.
We demonstrate our male ancestors’ enchantment, pride mentality, brave and adventurous courtship spirit, as they fleetingly contemplate which woman to choose, as is customary, or even hoping to have both!. We also demonstrate our female ancestors’ modest yet flirtatious behaviour, desire for attention and male companionship, their boldness and their covert submissive behaviour to authority.
Figure 6: Vertical Maypole / Circular Maypole / Grand Chain and Extended Greetings
Vertical Maypole: Odd Couples advance and link raised arm and hand to form the shaft of the Maypole at centre stage. They dance around each other in close proximity in ‘turnstile’ movements, maintaining eye and body contact throughout before returning to their base holding the hands of their partners.
Historic and symbolic interpretation
The Maypole dance began in ancient Babylon during sex worship and fertility rites.
In England the Druids danced around the pole, a pagan phallic symbol, at the beginning of summer, (May Day) to celebrate life, fertility and ability to reproduce.
Some enslaved Africans (male and female) were specifically selected for their reproductive prowess to increase plantation stock or for sale at auctions.
We demonstrate our ancestors’ strong sense of purpose that includes their fitness, fertility rites, value of human life and strong determination to survive as an ethnic/racial group, through the continuation of their bloodline.
Circular Maypole: Couples dance in a circle with men’s right or left hand raised above their heads to form the pole. Women rest their right or left hand on men’s shoulders as they dance anti-clockwise and clockwise. Couples swing their legs in and out in rhythmic unison.
Historic and symbolic interpretation
Enslaved Africans from different parts of Africa and tribal groupings had to work together, support each other, and build their homes and plantation communities.
Many enslaved Africans subversively used the circular dance and its musical accompaniment to revert to their ritualistic African cultural norms of communication, and indulgence in their spiritual and religious practices that were banned.
We demonstrate our ancestor’s unity, interdependence, discipline and strength in establishing solid foundations for their homes and communities. The men’s hands join to form the backbone of the community and reproductive strength. The women’s hands resting on the man’s shoulder is symbolic of the need for supportive relationships, the re-creation of family units, or even a shoulder to lean on when times are hard.
Grand Chain and Extended Greetings
Dancers appear jubilant and celebratory as they dance around in a circle stepping forward and backwards and looping arms at the elbow with each person they meet before returning to their partners with joyful extended greetings – holding hands and swinging In and Out
Historic and symbolic interpretation
The Slavery Abolition Act of 1833 became law in Jamaica in 1834, but it did not give total freedom to the Africans. They were expected to continue working for their enslavers as apprentices without pay for a period of 4 – 6 years, in exchange for some food, poor housing, discarded clothing, limited medical attention and a plot of land to cultivate their own ground provisions. Full emancipation from slavery was achieved in 1st August 1838, but with no financial compensation to rebuild their lives.
Despite this unfair treatment they were overjoyed and congregated in villages, towns and churches to celebrate the end of enslavement.
Jubilation is symbolic of spiritual enlightenment and happiness.
We demonstrate our ancestors’ solidarity, unity, strength, patience (backward and forward movements) and faith in their belief that justice would prevail and their right to self -determination restored. Freedom was more important to them than money!
Figure 7: The Schottische /Tap Tap Waltz
Couples facing each other in a waltz hold, waltz in stately unison across the dance floor. They end with positioning themselves to take a bow before exiting the stage.
Historic and symbolic interpretation
In Post emancipated Jamaica a process of socio-cultural transformation was observed. After centuries of British indoctrination the British way of life was perceived as better, superior and more culturally advanced, and was adopted by successive generations of aspiring African- Jamaicans.
The Africans “subordinate status” in plantation society would have been the motivating factor to abandon their own African cultural norms and aspire to achieve European standards of etiquette, dance and upward social mobility.
The Africans copied the European Ballroom waltz described as graceful, elegant, dignified, civilised, decent and refined. The opposite was said of the African dances described by the colonialists as uncivilised and abhorrent.
They secretly indulged in this slow dance with decorum, reinforced energy and panache. They were showing off their superior or comparable dancing skills to reinforce their equal human status.
We demonstrate our ancestors’ denouncement of the ideology that their enslavers’ had superior status. We acknowledge our ancestors coded messages about assimilation. They had spent centuries sharing geographical and cultural space with the Europeans where inter-communication and selective shared learning would have been inevitable.
This waltz is also symbolic of our African ancestors’ established and esteemed ethical principles of life applicable to the entire human race. We tap them out with our feet as follows; Balance – Caring- Compassion – Dignity – Equality – Faith – Forgiveness – Graciousness – Honesty – Harmony –Hope – Justice – Kindness – Love – Order – Peace – Patience – Respect – Reciprocity – Self-control – Self- awareness – Trust – Truth – Tolerance and Justice,
Figure 8: Free Spirited Camp Style and Contra Style Dances
Free spirited dances are symbolic of our ancestors’ free spiritedness, love of music and dance, creativity and freedom of bodily expression. They are sometimes referred to as “extra figures”.
Dancing is choreographed to a combination of different quadrille dance moves and patterns including – Advance – Retreat- Balances – Shimmy – Wrap over – Star formation – Pyramid – Promenades – Pirouettes – Allemande – Kaleidoscope – Odd Couples dance – Progressive Greet and Twirl – Twist and Twirl- Together we build – Praise dance and Chaining
Mento music is the normal musical accompaniment, but other musical genres including popular contemporary and gospel music with the appropriate rhythm and beat are sometimes selected. The aim is to capture the imagination of observers.
Historic relevance and symbolic interpretation
Our ancestors were clever and creative. They transformed the European ballroom quadrille into a new dance form called Camp Style and created their own musical accompaniment.
The free spirited dances aim to increase awareness of the evolution of the quadrille dance; its continual transformation and that it can be performed to many types of musical genre.
We demonstrate our inherited creativity, our love of music and dance, a relaxed attitude,
individuality, flamboyancy and style, and our ability to confuse, mesmerise, and do our own thing, as our ancestors did, whilst still maintaining the discipline and principles of quadrille dancing.
Example of a Free Spirited dance is – The Chains that bind us together
Couples greet and reel each other as they frivolously dance around in circles doing closed chains, square chains, rectangular chains or cross over chains.
Historic and symbolic interpretation
Our African ancestors were shackled to restrict their movements on slave ships and plantations, thus preventing them from escaping servitude or as a form of punishment. Chains are symbolic of the horrendous physical and mental abuse our ancestors endured. Chaining was able to control their physical self, but not their minds and spirit.
After approximately 3 centuries of British power and control, the chains of slavery were broken when in 1807 The Abolition of the Slave Trade Act made it illegal for Africans to be sold into slavery.
In this dance the chains of servitude are broken. Severing the chains of our past can restore options for our future. Chaining is symbolic of binding us together as one, in peace, love and harmony. We reflect our ancestors’ endurance, solidarity, strength and unity.
(Updated 2025)