The SEQUENCE dance Faculty
Established in 1904 the Imperial Society of Teachers
of Dancing (ISTD) is one of the world’s oldest and
most influential dance examination boards. Ever since
its inception the ISTD has developed new styles and
dance genres, and today with 12 faculties, no other
dance examination board has the breadth of genres
that the ISTD offers.
A
Our mission is to educate the public in the art of
dancing in all its forms, to promote the knowledge
of dance, to provide up-to-date techniques, and to
maintain and improve teaching standards across the
globe. The ISTD is always moving with the times to
keep pace with the latest developments in dance.
We regularly update our syllabi and introduce new
faculties to respond to changes in the world of dance.
lthough the Sequence Faculty, as
it is now known, was not formed
until 1947, sequence dancing can
be traced back much further as these were
the social dances being enjoyed around the
time when the ISTD was formed in 1904.
Within the first year of its formation, the ISTD
Council met at Cheltenham and arranged
a standardised form of Lancers, Quadrilles
and Valse Cotillon. Members assembled at a
Congress, were instructed in these dances, and
thus constituted ‘the first Technical School of
Dancing in England’.1
Up to the end of the First World War the
ballroom dances were based on the basic
ballet positions of the feet and arms. Social
dances at the time included the waltz and
polka, and some sequence dances. These
were arranged dances performed in a set
sequence now known as classical sequence
and previously as old time sequence.2 By 1920,
Above: Photograph from an old ISTD
however, participation in this form of dancing
leaflet about the Sequence Faculty
had started to wane. Young people were
increasingly interested in the newly imported
Left: Cecil Ruault
dances such as the tango and foxtrot. As social
dancing generally continued to develop the
ISTD took the decision in 1924 to divide into
two groups, the Operatic and General. New
branches were formed and Ballroom became
the strongest branch.3 However, during the
Second World War, there was a return to group
dance formations, which might have reflected
the need for moral support during the War
years.4
In 1947 the President of the ISTD, Major
Cecil Taylor, and the Council invited Miss
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Andrew Lang
Above: Young dancers at the ISTD
Cecil Ruault to become Chairman of the newly
examinations could now be taken at Associate,
Sequence Medallist Competition in
formed Victorian and Sequence Branch, a
Membership and Fellowship levels. Grades
June 2014
position she held from its inauguration up to
for children were introduced in 1951, which
1980. Netta Brooke and Margaret Cadman were
included clapping to music and dancing three
the other fellows of the ISTD who joined her.
dances. In 1954 these examinations were
broadened to include exercises arranged by
The syllabus
The Committee produced its first syllabus
members of the Committee.
In 1952 amateur tests were separated into
the following year. The professional teaching
two groups: sequence dances for a couple and
diploma consisted of the Victorian dances the
another group called the Victorian Square
waltz, polka, Varsouviana, Polka Mazurka and
Dance tests. This test stipulated that in the
all the sequence dances of the Official Board of
set of four couples no gentleman should be
the British Dance Council, as it is now known.
allowed to dance as a lady and vice versa.
As well as dancing the above, candidates had
to describe the Waltz Cotillon, Quadrille and
Chairmen, the Committee, Congress and
Lancers. The examination fee was one guinea.
competitions
The amateur syllabi of Bronze, Silver and Gold
As previously mentioned, the first Chairman of
consisted of dancing the Valse, Boston Two-
the Sequence Faculty was Cecil Ruault (serving
step, Barn dance for Bronze; the Valse, Veleta,
from 1947–1980), followed by Maurice Fletcher
Military Two-step, Varsouviana for Silver, and
(1980–1993), Martin Simmonds (1993–2002),
the Valse, Veleta, Polka Mazurka, Royal Empress
Joan Field (2002–2005) and Jill Bush (since
Tango and a choice of La Rinka, Washington
2005). Many others have sat on the Faculty
Post or Pride of Erin for Gold.
Committee, and made a great contribution
By 1949 the Gold Star test was added to
to its development. Part of the work of the
the syllabus with dances such as Lola Tango
Committee consisted of organising lectures at
and Latchford Schottische. A separate test
Congress. Detailed notes were provided on the
for the Over-50s was introduced at Gold level
different dances and the in-depth technical
called the ‘Veterans Gold test’. The professional
lectures. In accordance with the aims of the
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Left: Dancers at the ISTD
Sequence Medallist Competition in
Andrew Lang
June 2014
Society at its inception, congresses are an important part of
An attractive characteristic of the classical style is the use of
the membership and vital to communicating and sharing
the lady’s full circular skirt and the man placing his hand on his
knowledge and expertise.5
hip when dancing in open position during the dance and for
Another important aspect of the work of the Committee is
the acknowledgement (curtsey and bow) at the beginning and
to organise competitions and dances. For example, in 1948 an
end of all classical dances. This is an enduring legacy from the
Old Time Dance was held at London’s Porchester Hall, Bayswater,
elegant manners of previous centuries.
which included an Open Amateur Competition for the Imperial
The Faculty Chair continues to guide the Committee in
Society Trophy. The present day Inventive Competition began
promoting sequence dancing to the membership, maintaining
in 1949 as an Annual Dance Competition to arrange a new
its high standards and acting as advocate for this most elegant
sequence dance based on the technique in the syllabus.
and versatile style of dancing to as large an audience as possible
In 1951 the regular Tea Dance held at the Park Lane Hotel
was open to medallists and included an Open All Ladies Veleta
both in the UK and internationally.
Diana Wykes
Competition for the first time. There was increasing interest
in sequence dancing from the dancing public, inspired by the
Society’s Old Time Trophy and the holiday company Butlin’s
REFERENCES
Finals for which the Sequence Branch helped to organise an area
1
competition.
Society of Dance Teachers, Its History,
4
Objects and Its Future’, Dancing
Origins of the ISTD: Part 3’. Dance
Times, May, p245
Now, Vol. 1, No 3, Autumn, p75
One of the most successful developments introduced by the
Committee in recent years was the three-dance competition.
2
d’Albert, C. 1918, ‘The Imperial
Dickie, S. 1992, ‘The Origins of the
Dancing Times Supplement, May
1960, p3
5
Dickie, S. & Sayers, L-A., 1992, ‘The
d’Albert, C. 1918, ‘The Imperial
The three styles of sequence (classical, modern ballroom and
ISTD: Part 2’. Dance Now, Vol 1, No 2,
Society of Dance Teachers, Its History,
Latin) are amalgamated into one competitive event. In 2003 it
Summer, p73
Objects and Its Future’, Dancing
became part of the ballroom and Latin medallist competitions
3
run throughout the country, culminating in the Grand Finals
Society “The Imperial Society”’,
anon, ‘Background to a Great
Times, May, p247
held at Blackpool. This brought sequence dancing to the
attention of more dancers and helped to increase popularity
and examinations amongst the ISTD schools.
A DVD entitled A Companion to Classical Sequence was
produced in 2010 that showed the correct technique and dances
of the Associate figures as well as acting as a useful visual aid
for teachers and students. The Committee also produces, three
times a year, a lively and informative newsletter for teachers.
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