Though it is found in the oral narratives in many geographical locations across the United States, the story of dancing with the devil is often considered Southwestern American in its origins. The folktale called “Dancing with the Devil” goes by many names: “The Devil at the Dance,” “The Disobedient Daughter,” “The Devil at the Dance Hall,” and “The Dancing Devil.” However, the basic premise and purpose of these stories remains the same, and differences between them are superficial. Folklorist W. K. McNeil clearly outlined the major structure of the plot: “the devil is at the dance, his presence is detected, he departs, and serious consequences result” (McNeil 1985, 161). The story is a simple one, but it stands the test of time; it is still retold in modern oral folklore, and allusions to the story abound in both musical lyrics and printed literature.
Stories about dancing with the devil usually begin with the introduction of a celebratory occasion that includes a dance, often a town hall festivity, prom, or even a disco in later years. Typically in these stories, a young woman is warned by her parents not to attend due to the dangers of dancing, strangers, or other negative influences. However, she inevitably ignores their advice, and she chooses to give in to her desires.
An attractive, unknown man appears at the event. Folklorist Rafaela Castro notes that this character is often “elegantly dressed, usually in a suit; he is strikingly handsome, muy suave (smooth and poised), tall, and refined. Consequently, he stands out from among the rest of the men” (Castro 2001, 15). The man’s initial appearance is intriguing and exciting to the main female character, as well as the other participants at the dance.
The eye-catching couple dance the night away, much like an occasion in any folk or fairy tale. It is only when someone begins to notice a distinctive, demonic trait that the situation begins to go awry. In some versions, his partner notices something amiss. In other versions, bystanders make the observations. The unusual trait also varies. Sometimes the man has chicken feet and sometimes goat hooves. In others, he has a tail or horns. No matter the deformity, once identified, the devil disappears.
The departure of the devil often comes with a puff of smoke, leaving a sulfuric scent, or a whirlwind of dust. In certain versions, the devil takes the girl away with him to hell. Sometimes, she is left to suffer myriad torments as a consequence of the event. These effects can come in the form of being burned, scratched, scarred, driven insane, or killed. Yet in other versions of the story, the young woman returns home safely with newfound wisdom. The many “Dancing with the Devil” story variations all reinforce the same message. It is told “to instill fear in young women so that they will not disregard parental authority” (Castro 2001, 15).
Josianne Leah Campbell
See also Death Waltz; La Mala Hora; Pata de Gallo; Scary Stories
Further Reading
Castro, Rafaela. 2001. Chicano Folklore: A Guide to the Folktales, Traditions, Rituals and Religious Practices of Mexican Americans. Oxford: Oxford University Press.
Garcia, Nasario. 1999. Brujas, Bultos, y Brasas: Tales of Witchcraft and the Supernatural in the Pecos Valley. Santa Fe, NM: Western Edge Press.
Herrera-Sobek, Maria. 2006. Chicano Folklore: A Handbook. Westport, CT: Greenwood.
Madrid, E. Michael. 2009. “Dancing with the Devil and Other Stories My Mother Told Me.” Association of Mexican American Educators Journal 3 (1): 15–20.
McNeil, W. K. 1985. Ghost Stories from the American South. Little Rock, AR: August House.