A beautifully preserved dance card from Millikin University’s 1927 Senior Ball, showcasing the elegance and social customs of early 20th-century college dances.
Long before smartphones and social media dictated our schedules, the ‘Dance Card’ reigned supreme in the ballrooms of universities and social gatherings. For students at Millikin University in the early 20th century, “getting carded” at a dance meant something far more refined than it does today. The dance card, a decorative and functional booklet, was an essential accessory for women attending formal dances. It served as both a planner for the evening’s dances and a cherished memento of a special night. This article explores the fascinating history of the dance card, drawing from the rich collection at Millikin University to reveal a bygone era of social grace and rhythmic tradition.
What Exactly is a Dance Card?
An exquisite example of a vintage dance card, complete with an attached pencil for scheduling dance partners.
The dance card, also known by its German name ‘Ballspende’, was essentially a program for formal dances. These cards, often adorned with intricate designs and delicate materials, were given to women attending balls and dances. Originating in the 18th century, dance cards truly blossomed in popularity during the 19th century, particularly in European ballrooms and subsequently in the United States. By the early 20th century, they became a staple of college dances across America, including those at Millikin University, and remained in use in some circles even into the 1930s.
The interior of a dance card, revealing numbered slots for dances and spaces for ladies to “pencil in” their dance partners for each set.
These cards were designed for practical elegance. Often featuring a delicate string or ribbon, they could be gracefully attached to a lady’s wrist or gown, ensuring they were always at hand. Each card contained a list of numbered dances, corresponding to the evening’s program. The purpose? To allow a woman to meticulously “pencil in” the names of gentlemen who had requested the honor of a dance. This system ensured no lady was overwhelmed or left without partners, and gentlemen could secure dances in advance, showcasing the etiquette and structured social interactions of the time.
More Than Just a Dance Schedule: Decoding the Dance Card
While seemingly simple scheduling tools, dance cards offer a rich tapestry of historical insights. Far exceeding the predictive nature of tarot cards, these small artifacts are potent primary sources, revealing details about past societies and cultures. A dance card is not just a list of dances; it’s a portal into a specific moment in time.
The cover of a 1926 Delta Sigma Phi dance card, indicating the fraternity, date, and formality of the event.
Examining a dance card can unveil a wealth of information. They provide glimpses into the social customs and norms of the era, specific dates, locations, and the attendees of an event. Dance cards can also illuminate traditions, such as recurring songs for specific dances at fraternity events, offering a unique perspective on organizational culture and consistency over time. Even the menus sometimes included within these cards reveal popular dining choices and culinary trends of the past.
The title page of the Delta Sigma Phi dance card, clearly stating the date, location, and fraternity hosting the event, essential details for historical context.
Consider the Delta Sigma Phi dance card from March 1926. The title page immediately establishes the date, time, and location of the dance, identifying it as an event hosted by the Alpha Lambda chapter of Delta Sigma Phi fraternity at Millikin University. Established on campus in 1920, this chapter’s continued presence underscores the enduring legacy of Greek life in universities.
A page within the dance card dedicated to the menu, offering a taste of the formal dining experiences common at dances in the 1920s.
Flipping through the pages, the menu section offers a snapshot of formal dining in the 1920s, highlighting the culinary preferences of the time.
Pages showcasing the dance program, listing numbered dances and occasionally pre-printed song titles, like “Dear Old Girl of Delta Sigma Phi” and “Carnival Dance.”
The subsequent pages list the dances numerically. Intriguingly, some songs are pre-printed, such as “Dear Old Girl of Delta Sigma Phi” and “Carnival Dance,” scheduled as the 6th and 7th dances of the evening. Cross-referencing other Delta Sigma Phi dance cards reveals this song pairing was a recurring tradition throughout the 1920s, demonstrating the fraternity’s established customs. Interestingly, some dance cards listed fraternity members’ names instead of songs, requiring women to pencil in the song title alongside their chosen partner.
The final page of the dance card, listing chaperones, the band, and the dance committee members, highlighting the community involvement and oversight at these events.
The final page often listed chaperones – in this case, even the University President Mark Penney and his wife – along with the band providing the music and the members of the dance committee, further illustrating the structured and community-involved nature of these social events.
Millikin’s Oldest Dance Card and the I.T.G.O.S.T. Mystery
A Tau Kappa Epsilon dance card from 1932, demonstrating an alternative format where fraternity member names were listed instead of song titles.
Millikin University Archives boasts a diverse collection of dance cards, with the oldest dating back to May 1907. This card belonged to the men’s social fraternity I.T.G.O.S.T. – Millikin’s very first, and now least known, fraternity.
The cover of the 1907 I.T.G.O.S.T. dance card featuring an intricate symbol incorporating the fraternity’s initials, alongside a detailed close-up of the symbol itself.
The fraternity’s intriguing name, I.T.G.O.S.T., remains an enigma. While its symbol, prominently displayed on the card’s cover, cleverly incorporates all the letters, the meaning behind them is lost to time. One charming theory suggests it stood for “In The Good Old Summer Time,” possibly referencing a popular song from 1903, the year of the fraternity’s founding.
The front cover of the I.T.G.O.S.T. dance card, addressed to “Babe,” offering a personal touch and a hint of the card’s recipient.
The 1907 card is addressed to a “Babe,” adding a personal touch to this historical artifact, though her full name remains unknown.
The dance program within the I.T.G.O.S.T. dance card, showing both dance titles and the handwritten names of fraternity members who signed up for dances with “Babe.”
Inside, the dances and songs are listed, and importantly, the names of I.T.G.O.S.T. members who danced with “Babe” are penciled in, providing a tangible record of social interactions from over a century ago.
The membership roster of the I.T.G.O.S.T. fraternity, including their patron, Prof. William Clarence Stevenson, listed within the dance card.
The final page lists the members of I.T.G.O.S.T. and their patron, Prof. William Clarence Stevenson, offering a complete picture of this early Millikin fraternity.
A Wider Glance at Millikin’s Dance Card Collection
A curated selection of dance cards from Millikin University’s collection, representing various fraternities and sororities across the 1920s and 1930s, including Delta Sigma Phi and Tau Kappa Epsilon.
Millikin’s archive showcases a diverse array of dance cards, representing various fraternities, sororities, and university events across the 1920s and beyond. From Delta Sigma Phi and Tau Kappa Epsilon to Sigma Alpha Iota and Theta Gamma, these cards collectively paint a vibrant picture of student social life during a transformative era.
Further examples from the collection, including dance cards from Tau Kappa Epsilon, Delta Delta Delta, and unknown dances, illustrating the variety in design and event types.
The collection includes cards from unknown dances and dates, alongside specific events like Junior Proms and Senior Balls, demonstrating the breadth of social occasions where dance cards were utilized.
A visual display of dance cards from Sigma Alpha Iota, Theta Gamma, Sigma Alpha Epsilon, and the Senior Ball, highlighting the diverse organizations and events documented in the archive.
Notably, some Sigma Alpha Iota dance cards are housed in unique leather pouches with removable cards, showcasing variations in style and presentation.
Additional dance cards from Junior Prom, Sigma Alpha Epsilon, and Sigma Alpha Iota, emphasizing the recurring presence of these organizations in Millikin’s social scene.
Each card, whether elaborately decorated or simply functional, provides a tangible link to the past, preserving the memories and social rhythms of Millikin University students from a century ago.
A final selection of dance cards, including Aston Hall Prom and Pi Mu Theta, showcasing the wide range of events and organizations that utilized these social tools.
Concluding images of dance cards from unknown dances, reminding us of the many untold stories and social events captured within these historical artifacts.
Though dance cards themselves are no longer a fixture at college dances, their legacy persists. The term ‘dance card’ lives on metaphorically, used in expressions like “is their room on your dance card?” or in sports to describe a team’s upcoming schedule. Even the phrase “pencil me in” echoes the practical act of scheduling dances on these vintage cards. Millikin University’s dance card collection serves as a fascinating reminder of a more structured and elegant era of social dance, offering valuable insights into the history of college life and social customs.
