What is Quadrille
The term “Quad” in Spanish means four, and “Drill” means repetitive synchronised movements of people, in a formation, to the rhythm and beat of the music.
The term quadrille came into use in the 1600’s when military formations and manoeuvres were performed by four horsemen and horses in Russia, France, Spanish riding school in Vienna, and Royal Mounted Police Force in Canada, now referred to as dressage. These military formations and manoeuvres became very popular and people started performing them without the horses.
Quadrille dance started as an English Country Square dance. It evolved from simple to complex dance patterns by French dance masters who formalised it into a Ballroom square dance. They taught it in finishing schools for the Upper classes. It became popular in Europe during the 18th and 19th centuries and was danced on special occasions within high society, including the royal courts, to specific orchestral music as part of the pomp and pageantry of the time.
Ballroom Style Quadrille
The Ballroom dance is a formal, classical, regimented style of dancing with definite patterns and strict hierarchical rules. It is normally performed by 4 couple in a square formation
In the 1740s the French dance masters called it “de Contre danse Francaise” meaning “dances of opposition, because when the 4 couples are dancing, one couple becomes the head couple, the other standing directly opposite becomes the foot couple and the other 2 couples form the right and left side couples.
The head and foot couples begin to dance a set/figure, moving in unison, doing the same steps on the same beat of the music. Once completed, the side couples dance as a repetitive set.
Together they create simple to complex geometrical patterns, as they dance i.e. diamonds, squares, circles, rectangles, and triangles, vertical and horizontal lines.
Couples would adopt a military-like erect body posture and austere facial expression, described as elegant and graceful.
In 1917, Cecil J Sharp, the great English folklorist wrote, “The body should be held erect, motionless, with every limb loose and relaxed, and inclined in the direction of the motion as in skating”.
An individual couple has no freedom of movements, only of styling. The emphasis of this dance is on preciseness, visual effectiveness and social acceptance.
The Ballroom dance normally commences with a Grand Entrance, followed by a number of Sets/ Figures and end with a grand finale. Each Set /Figure is accompanied by its specific recognisable live orchestral music.
Camp Style & Contra Style Quadrille
This is an artful transformation of the Ballroom quadrille dance, by enslaved Africans in Jamaica.
It was an easy transformation because of their instinctive and highly developed knowledge of musical rhythms and dance movements.
They quickly identified that some formations and movements in the quadrille were similar to that seen in African dancing.
They wanted a less formal, more socially relaxed, interactive, jovial and enjoyable form of entertainment.
Camp style quadrille has a linear formation with 2 or more couples standing in 2 straight horizontal lines, facing each other. It is also danced in a circular formation called contra-dance.
Couples dance simultaneously; move in unison in the same or opposite direction, doing the same steps on the same beat of the music. Discipline, synchronisation and coordination are maintained throughout.
A non-hierarchical and relaxed approach is adopted. There is added African flamboyancy, rhythm, individuality in body movements and expressions and a lot of friendly boastful interactions between individuals, with similar grace and elegance.
Similar to the Ballroom dance, couples create geometrical patterns on the dance floor, i.e. diamonds, squares, circles, rectangles, and triangles, vertical and horizontal lines; but also use their arms and upper body to accentuate floor patterns. These attributes give the Camp style dance a distinct flavour.
Although European elements in the names of some steps and expressions are retained, their quadrille dancing hardly resembled the European Ballroom dance with its strict hierarchical and sequential practice, and with specific musical accompaniment for each Figure/ Set piece.
The 4 Sets/ Figures, as performed sequentially in the Ballroom dance, are deliberately transformed. “Mixed up or overlapped”
In the Camp-style dance, the number of figures, order/sequence, combination, length, and complexity could vary. Also, the name given to a figure, often to reflect a specific movement within that figure in order to aid memory.
The dance commences with a grand entrance followed by several Figures and end with a grand finale, usually a Waltz.
Camp style dance is flexible, aesthetic, and is constantly evolving. The emphasis is on stylistic interpretation, camaraderie and enjoyment.
Quadrille Dancing in the Caribbean
The Ballroom quadrille was taken to the Caribbean in the 18th and 19th centuries during the Trans-Atlantic Slave Trade. In Caribbean islands originally colonised by the French, it is danced French Style, whilst in others colonised by the British, including Jamaica, it is danced English style.
In Jamaica, the more privileged “House slaves” observed the colonialists and their friends dancing the Ballroom quadrille at their celebrations in “Great Houses”.
The orchestral musical accompaniment provided by European musicians, was transported to the island for such occasions.
The house slaves observed and demonstrated the quadrille dance to the “Field slaves” who were deprived of their normal cultural activities.
They began to mimic and ridicule their enslavers and guests dancing quadrille, believing that this regimented style of dancing, described and demonstrated to them by the house slaves, could not be called “real dancing”. They instinctively knew that when it came to rhythm and dance, embedded in their African cultures, they had the upper hand.
The slave masters, perturbed by their presumptuous behaviour, threatened them with punishment if they were seen dancing. Despite being forbidden, they continued dancing defiantly in their compounds at night, focusing on mastering the Ballroom Quadrille and then transforming it to a less regimented style of dancing called Camp Style.
They danced quadrille in their Camps defiantly, to enjoy the camaraderie; to support each other in their common struggle for human dignity; to build their plantation communities; to subversively practice their socio-cultural and spiritual values and beliefs; and to send coded messages to each other about their plans for emancipation.