WELCOME TO An Entertainment Site for Scottish Country Dancers - Enjoy the curated selection of theme-related dances for celebrations and holidays, or find a dance associated with a special calendar day, or EVEN your own birthday!
A jazz band at the tea dance in Hotel Esplanade Berlin, 1926
Afternoon Tea Week
Aug 18
Other Scottish Country Dances for this Day
Today's Musings, History & Folklore
"Oh, the factories may be roaring
With a boom-a-lacka, zoom-a-lacka, wee
But there isn't any roar when the clock strikes four
Everything stops for tea..."
~ Everything Stops for Tea, Maurice Sigler/Al Goodheart/Al Hoffman, 1935
This dance was devised for the Erlanger SCD group by Alice Silverberg and Karl Rubin in August of 1994. They had been working here for a term as mathematicians at the university. Over 350 years ago, Pierre de Fermat (1601–1665) stated a mathematics conjecture, which became known as Fermat’s Last Theorem. Andrew Wiles (whose first PhD student was Karl) announced a proof of the conjecture in June of 1993. The dance was written in honor of Wiles’ announcement of a proof of Fermat’s Last Theorem. The bicycle motif that occurs in the dance (note the wheels and spokes) commemorates the fact that Erlangen is a very bicycle-friendly town!
Everything Stops for Tea
The story of how Miss Jean Milligan, a co-founder of the Royal Scottish Country Dance Society (RSCDS), helped revive Scottish country dancing in the early 20th century is a fascinating one rooted in cultural preservation.
In the early 1900s, traditional Scottish dances were rapidly fading from social gatherings. The popularity of tea dances and the Charleston, both influenced by trends like jazz and foxtrot, were taking over the dance floors, especially in urban areas. These modern dances were exciting and fashionable, drawing people away from the slower, more formal reels, strathspeys, and jigs that had once been staples of Scottish society.
Miss Milligan, along with Dr. Ysobel Stewart, recognized that this decline in traditional Scottish dancing was eroding a significant part of Scotland’s cultural heritage. They were both deeply passionate about preserving this aspect of Scottish identity. In 1923, they co-founded the Scottish Country Dance Society (later given the “Royal” title by King George VI in 1951).
Milligan’s mission was not just to document and preserve the old dances, but also to breathe new life into them so they would appeal to modern dancers. She set out to gather, catalog, and standardize the steps of traditional Scottish country dances. But she didn’t stop there. Recognizing the need for appeal, Milligan adapted these dances, introducing formations and techniques that balanced tradition with more contemporary tastes. Her teaching was charismatic and infused with energy, helping these dances regain their popularity.
Tea dances, with their emphasis on social mingling, played a role in creating opportunities for reviving these traditional dances. By incorporating Scottish dances into these events, Milligan and her collaborators reintroduced them in a social setting where they could blend with more modern styles. As the RSCDS grew, it offered structured classes and public demonstrations, creating a resurgence in interest that crossed generational lines.
For a humorous look at some of the shocking new dances of the 20's and 30's, click the vintage illustration of tea dance in St. Louis, Missouri, as drawn by artist-reporter Marguerite Martyn in 1920!
Click the dance cribs or description below to link to a printable version of the dance!
