Smithwick, Noah; The Evolution of a State; Gammel Book Company, Austin, Texas, 1900; pp. 38-41
The first and most important number on the program being duly carried out, the next thing in order was the wedding supper, which was the best the market afforded. That being disposed of, the floor was cleared for dancing. It mattered not that the floor was made of puncheons. When young folks danced those days, they danced ; they didn’t glide around ; they “shuffled” and “double shuffled,” “wired” and “cut the pigeon’s wing,” making the splinters fly. There were some of the boys, however, who were not provided with shoes, and moccasins were not adapted to that kind of dancing floor, and moreover they couldn’t make noise enough, but their more fortunate brethren were not at all selfish or disposed to put on airs, so, when they had danced a turn, they generously exchanged foot-gear with the moccasined contingent and gave them the ring, and we just literally kicked every splinter off that floor before morning. The fiddle, manipulated by Jesse Thompson’s man Mose, being rather too weak to make itself heard above the din of clattering feet, we had in another fellow with a clevis and pin to strengthen the orchestra, and we had a most enjoyable time.
Another dancing party in which I participated was at Martin Varner’s, near Columbia. When we were all assembled and ready to begin business it was found that Mose, the only fiddler around, had failed to come to time, so we called in an old darky belonging to Colonel Zeno Philips, who performed on a clevis as an accompaniment to his singing, while another negro scraped on a cotton hoe with a case knife. The favorite chorus was : “O git up gals in de mawnin’, O git up gals in de mawnin’, O git up gals in de mawnin’, Jes at de break ob day,” at the conclusion of which the performer gave an extra blow to the clevis while the dancers responded with a series of dexterous rat-tat-tats with heel and toe.