say, all these
examples – including the most egregious ones – are based on actual
choose the best answer(s). Caveat: Some questions may have more than
1. You collide violently with another couple. The collision was not your fault. You respond,
b. “Please do watch where you’re going. This is a crowded dance floor.”
c. “I beg your pardon, sir and madam. It was my fault entirely.”
d. “It’s OK. Really. No problem.”
e. “This is a party, not a dance competition.”
2. You are introduced to a lady customer at Fezziwigs’. You bow and respond,
a. “How do you do?”
b. “How do you do? May I have the honour of the next dance?”
c. “How do you do? Are you enjoying the Fair?”
d. “How do you do?” before walking off with another partner.
e. “How do you do? I’m sorry but I don’t have a single dance free in this set.”
3. A customer has asked you to dance. You already have a partner for this dance. You reply,
a. “I already have a partner for this dance.”
b. “No thank you.”
c. “Unfortunately, my dance card is filled for the rest of the set.”
d. “”Alas, I am engaged for this dance but would you honour me with the next dance?”
e. “Sorry, but I was looking for someone else.”
4. You’ve just been asked to dance “The Congress of Vienna Waltz.” You really hate this dance, which you’ve been dancing for over 20 years now. You respond,
a. “No thank you. I’m sitting this one out.”
b. “You’ll have to excuse me but I would rather be chained in the desert and attacked by a posse of fire ants than dance this dance again.”
c. “Did you know this dance isn’t even period? It was choreographed in the 1970’s.”
d. “Would you save me the next waltz instead.”
e. “I would be honoured to dance “The Congress” with you.”
5. You have made a very unfortunate attempt at a dip at the end of the last waltz and your partner is now flat on her back on the floor, gazing up at you. She has assured both you and our experienced stage manager that she is uninjured. As the two of you assist her to rise, you say,
a. "Next time we do a dip, be sure to take your full weight on your back leg."
b. "I beg your pardon, Miss Smith, for being a complete idiot. Can you ever forgive me?
c. "It certainly wasn't your fault that we were side-swiped just as we started the dip."
d. "Would you like to try that again?"
e. "I'm sorry. My timing was off."
6. Your partner had a terrible time with the last country dance. You remark,
a. "Don't feel bad about it. It's a pretty confusing dance."
b. "When I was a beginner, I had trouble with that dance, too."
c. "You did fine. It was the caller's fault."
d. "I love that dance. I was so glad I was able to dance it with you."
e. "Would you do me the honour of dancing the next dance with me?"
7. The couple in front of you apparently believes they're on "Dancing with the Stars. They have managed to stop traffic at least five times in the course of the dance with their showy variations and don't even seem to notice the collisions they've caused. What do you say or do?
a. Carefully guard your partner and keep her as far away from them as possible.
b. Inform the shift lead or stage manager at the end of the dance that the couple is a possible danger on the dance floor.
c. "You are wonderful dancers but you need to rein it in when you're dancing in a crowd like this."
d. "Will you please watch where you're going? This isn't 'Dancing with the Stars.' You could hurt someone."
8. Someone asks you to dance the polka. You're recovering from a twisted ankle and aren't dancing polkas this weekend. What do you say?
a. "No thank you."
b. "I'm sorry but I'm not dancing polkas this weekend."
c. "Sorry but I hate polkas with a passion."
d. "I can maybe do a slow waltz, but no polkas this weekend for me."
e. "I beg your pardon, miss, but I've twisted my ankle and cannot polka this weekend. Would you save the next waltz for me?"
f. "Thank you for asking me but I have an injury and am avoiding the fast dances today. But may I ask my cousin Miss Fezziwig for permission to introduce you? She adores polkas and would love to dance with you."
9. One couple in "Sir Roger de Coverley" set you're in is having a terrible time with the figures. He at least understands the pattern of the dance but she is not getting it at all. What do you do?
a. Do your best to telegraph the dance figures to the couple and keep smiling as if nothing were wrong.
b. Make a special point of complimenting the man and telling him how beautifully he's moving.
c. Push and pull the couple so that they end up in the right places.
d. Laugh. It will help diffuse the awkwardness of the situation.
e. After the dance, suggest that they avoid country dances in the future and stick to couple dances.
10. You have inadvertently led two ladies to believe you have asked them to dance. What do you say or do?
a. Look back over your shoulder and say, "Sorry" while escorting the lady you really wanted to dance with on to the dance floor.
b. "I apologize for not being clear but I was actually asking Miss Smith to dance and you happened to be in the way."
c. "I beg your pardon for being unclear. I didn't mean to ask both of you to dance."
d. "I am engaged to Miss Smith for this dance but would you save me the next dance, Madam? I should be delighted to dance with you."
e. "Would you both like to dance with me. I know a waltz variation for three."
11. You really don't want to dance with the customer who is coming toward you. You
a. refuse to make eye contact.
b. turn and walk off the dance floor.
c. smile, bow or curtsy, and say, "Perhaps later."
d. bow and ask for the honour of this dance.
e. reply, "Sorry but I was just about to ask someone else."
f. shrug and reply, "Oh, all right." That should discourage him/her from ever approaching you again.
12. The lady you have just danced with has been a dead-weight during the entire seven minutes of the Blue Danube Waltz. The dance ends. You bow, applaud the band, escort her back to her chair, bow and say,
a. "Thank you for dancing with me. The Blue Danube is one of my favorite waltzes and I'm so happy I had the honour of dancing it with you."
b. "Thank you for the dance. You'll find it's much easier to dance the waltz if you just lean back into my right arm and follow my lead instead of clinging to my left arm."
c. "Thank you for the waltz. Now I need to rest a bit. At our age I'm sure you understand why it's so important to sit out some dances!"
d. "Thank God it's over. They played the entire seven minutes of the music!"
13. You have just asked a gentleman to dance. He not only turns you down flat but informs you that he's a Gold Level competition ballroom dancer and makes it a rule not to dance with anyone below that level. What do you do?
a. You curtsy, beg his pardon for importuning him, and wish him a lovely time at Mr. Fezziwig's dance party.
b. You curtsy and tell him in the sweetest possible way where he can shove his Gold Level.
c. You simply curtsy and smile and tell him that he won't find any judges at Fezziwig's.
d. You wish him "the best of luck in your competitions."
14. Your partner is using a grip that is actually hurting you (e.g., she's using the Vulcan nerve pinch that some tango dancers use on your upper arm or on the back of your neck.). What do you do?
a. Smile, grit your teeth, and think of England.
b. Tell her the grip she's using is hurting you and ask her to put her left hand on your shoulder instead.
c. Ask her if you may try a different ballroom position, then gently guide her hand to your shoulder. Suggest that this will make the rotations of the dance even more fun.
d Tell her that the handhold she's using is only appropriate for tango.
e. Politely tell her that you are feeling a bit dizzy and must sit out the rest of the dance. Then escort her back to her chair.
15. You are really dying to ask a certain gentleman to dance because he's a really wonderful dance partner but you notice that today he's with a lady. She smiles and says it's just fine with her if you dance with her partner. What do you do?
a. Go straight to the gentleman and ask him to dance. After all, she said it was OK.
b. Thank her graciously, then ask the gentleman to dance.
c. Catch the eye of one of your gentleman friends at Fezziwig's and introduce him to the lady before asking her partner to dance.
d. Even before approaching the couple, get together with one of your male friends at Fezziwig's, approach the lady and gentleman together, introduce each other, and ask if they might like to change partners for a dance.
16. You have just turned down one partner on the ground that you must sit out the polkas and galops because you have an injury. Then the partner of your dreams comes into Fezziwig's and asks you to dance. What do you do?
a. Accept his invitation at once. All's fair in love and war!
b. Sit out part of the dance with your dream partner, then plunge in and finish the polka.
c. Thank your dream partner for the honour, explain that you are sitting out the polkas because of a recent injury, but ask him if he would like to dance the next waltz with you.
d. Courteously decline your dream partner's invitation to dance on the ground that you have already turned down another offer for the same dance, but promise him the next polka.
e. After explaining your situation to your Dream Partner (and sitting out the polkas), make a special effort to dance one waltz with Dream Partner and another with the gentleman whose invitation you were forced to turn down in the first place.