Dancing through the Ages 1825-1850
Dancing through the Ages (October, 2020) is a 10,800 page work offering background on, reconstruction of, and chorded music for nearly 1,000 dances from between from 1400 to 1900, as well as extensive notes analysing links between these dances, the evolution of dance forms, movement ideas and notation systems through this 500 period, and the changing nature of ball culture and dance sources in countries across the old and new word. The whole is supported by thousands of quotations, diagrams and illustrations from original sources.
The work is broken into 31 books, each of between 300 and 460 (average 350) double-sided A4 pages. After the 'Orientation and Overview' book 1, the work is organised into ten 'Volumes', each of 3 books.
Each 3-book Volume is devoted to a particular period and consists of 1,000 plus pages of research, discussion, analysis, illustrations, musical scores, dance reconstructions, source extracts, transcriptions and translations. The first book (Part 1a-d) looks at dancing in general (the social, political and geographic contexts in which dance and the institution of the ball was evolving; the nature and evolution of the period’s main forms of dance; dance elements such as style, etiquette, honours, holds, formations, figures and steps; developments in dance teaching, notation and publication, and period-relevant primary sources (including little known ones). The second and third books (Part 2a and Part 2b respectively) offer sources and music for, and reconstructions and analysis of dozens of dances from the relevant period, presented in alphabetic order.
To order any or all of the books in this 31-book series go to LULU. The books are AUS$36 each (approximately US$27), plus postage which will diminish with the more books in your order. As your books will be sent from the nearest Lulu printer on your continent, you will not be paying for overseas shipping and will not be waiting long for the books to arrive. Orders are normally filled at local postage rates within a week.
N.B. I recommend that in addition to ordering the books pertaining to the period you first think of, you also order books from the adjacent period collections plus the invaluable Book 1: 'Orientation and Overview'. Indeed, because of the interconnectivity of dance over the 500 years covered by this series (and the cross-referencing between books in the series), I highly recommend the full set!
When on the LULU Spotlight page, in order to view the books in the order in which they appear in the series select 'Sort by Publication Date Ascending'.
Below are the front covers and contents of the three books that constitute Volume VIII in the series.
Part 1: Dance in general ( Book 23)
PART 1a: DANCE CONTEXT ~ 7
The relationship between the new ballet stars and social dance ~ 8
England ~ 10
Assembly dances ~ 10
Assembly room rules ~ 16
State balls ~ 18
Grand fancy-dress balls ~ 22
The Waverley ball ~ 24
The private ball ~ 28
Outdoor dancing and pleasure gardens ~ 35
Dancing booths and dancing rooms ~ 36
The charity ball ~ 38
The ‘Hops’ of the poor and the black ~ 38
Ireland ~ 43
Germany and Austria ~ 44
University dance culture ~ 44
The couples dance revolution ~ 45
The set dances ~ 50
The mixed programs ~ 51
France ~ 53
The outdoor public dance hall ~ 53
The outdoor public dance hall—Mabille ~ 56
The indoor public dance hall ~ 59
The public dancehall can-can ~ 60
The view from England ~ 62
Cellarius’ work and the shaping of modern dance ~ 69
America ~ 73
Its conservatism ~ 73
Innovations ~ 73
Growing regional variation ~ 75
Black dance ~ 75
Australia ~ 78
Dance among the convicts and ‘lower orders’ of society ~ 78
The balls ~ 80
Balls on boats ~ 83
Keeping abreast with fashion ~ 85
The new couple’s dances ~ 86
The informal dance party according to Annabella Boswell ~ 88
Poland and Russia ~ 90
Poland ~ 90
Russia ~ 91
PART 1b: DANCE FORMS ~ 93
The Cotillion dance-game ~ 95
The mid-1820 and Petrovski ~ 95
Late 1820s, St. Petersburg collection and Helmke ~ 96
The 1830s, Hentschke and Maksin ~ 98
The early 1840s and Roller ~ 101
The late 1840s and Cellarius ~ 101
The Country Dance ~ 109
Its survival in England ~ 109
Its survival in Germany ~ 110
Changing fashion ~ 110
The Finishing dances ~ 113
The Galop ~ 114
The emergence of a ‘group/figured couples’ dance 1829-1839 ~ 114
The development of a dedicated couples form ~ 116
As an end-of-quadrille or end-of-evening dance ~ 118
The development of a quadrille form ~ 119
The Hybrid Dances ~ 120
The Mazurka ~ 123
In Poland ~ 123
In Russia ~ 125
To Germany ~ 128
Late 1820s descriptions of Tschüter and Wiener ~ 129
Early 1830s descriptions of Förster, Helmke and Nadler ~ 131
Late 1830s descriptions of Häcker, Hentschke and Bartholomay ~ 132
1840s ~ 135
To Austria and Italy ~ 135
Hłasko ~ 136
In Paris~ 137
The dance according to Coralli ~ 138
The dance according to Laborde ~ 143
The dance according to Cellarius ~ 147
Polka and mazurka confusion in illustrations ~ 152
To England ~ 153
To Scotland ~ 159
To America ~ 159
The Minuet ~ 163
Declining popularity of the ball dance ~ 163
The longways minuet ~ 165
The nostalgic display ~ 165
Different minuets ~ 166
The minuet quadrille and minuet waltz hybrid ~ 172
The Polka ~ 174
Its origins ~ 174
France ~ 175
The Paris polka craze ~ 178
Paris polka rivalries ~ 182
The Paris polka satires ~ 187
The Polka’s style ~ 191
In England ~ 192
In Germany ~ 214
In Australia ~ 218
In America ~ 220
In Mexico ~ 224
The Polonaise ~ 227
In Poland ~ 227
In Russia ~ 229
To the West ~ 232
The Quadrille~ 235
The late 1820s ~ 235
The early 1830s ~ 236
The late 1830s early 1840s ~ 239
The late 1840s ~ 240
The Waltz ~ 244
1820s variants ~ 248
The Vals à deux temps ~ 249
PART 1c: DANCE ELEMENTS ~ 253
Style ~ 254
A new naturalism ~ 254
Shunning exhibitionism ~ 255
Arms ~ 256
Grace ~ 258
Etiquette ~ 261
Honours ~ 264
The man’s bow ~ 264
The woman’s courtesy ~ 264
Holds and positions ~ 266
Five positions ~ 266
Quadrille holds ~ 268
Couple’s holds ~ 268
Formations, figures and steps in set dances ~ 275
Figures for the mazurka ~ 278
Figures for the polka ~ 280
Allemande passes (including the ‘lassoo’ and ‘twirl’) ~ 280
Backing partner ~ 280
The Bohemian / Bremen step / Heel & toe 281
The Coquette ~ 281
Changing lady from side to side ~ 282
Chase / Pursuit / Love chase ~ 282
En carré ~ 282
Galops sequence ~ 282
Go in opposite directions ~ 283
Moulinet / Right and left hand ~ 283
Promenade ~ 283
The retreat / ‘window-washing’ ~ 284
Waltz / Vals ~ 284
Tabulation of figures for polkas ~ 285
Steps for the mazurka ~ 286
The Running Step ~ 289
Pas de basque (Polonois) ~ 291
Pas glissé (1) – hop first ~ 296
Pas glissé (2) – glide first ~ 298
‘The Soccer kick’ ~ 299
Coup de talon (1) / Pas Polonais / Hobble (1) ~ 300
Coup de talon (2) / Heel-clicks in a row ~ 303
Pas boiteux / Hobble (2) ~ 304
Pas coupé poussé ~ 307
Holubiec / Tour sur place ~ 308
Pas Assemblé / Pas Frappé ~ 317
Steps for the polka ~ 319
The basic step (1) ~ 319
Heel and Toe ~ 325
Other steps ~ 327
PART 1d: DANCE TEACHING ~ 329
The Profession ~ 330
Convict dancing masters ~ 330
The rural dancing master in Cumbria and Ireland ~ 331
The teacher’s responsibilities ~ 336
Dance schools ~ 337
Dancing master’s changing dance repertoire ~ 341
Dance school staff ~ 343
Dance school extras ~ 344
Dance school parties and balls ~ 345
Calling and notation ~ 349
Calling ~ 349
Notation systems ~ 349
Anonymous and collected works ~ 352
Anonymous manuscripts ~ 352
Anonymous books ~ 353
Folio features ~ 356
Authors and their works ~ 357
Barnett ~ 357
Baron ~ 357
Bartholomay ~ 357
Blasis ~ 358
Boulogne ~ 359
Brunet ~ 360
Burgmuller ~ 360
Casorti~ 360
Cellarius~ 361
Coulon ~ 362
Day ~ 362
D’Orsay ~ 363
Durang ~ 363
Förster ~ 364
Franken ~ 364
Frankenstein ~ 365
Glover ~ 365
Häcker ~ 365
Helmke ~ 365
Hentschke ~ 366
Hłasko ~ 366
Knox ~ 367
Laborde ~ 367
Lopez ~ 367
Lowe ~ 368
Lund ~ 369
Mason ~ 369
Nadel ~ 370
Narrey ~ 370
Petrovski ~ 370
Perrot ~ 371
Pollock ~ 371
Powell ~ 372
Prince ~ 372
Roller ~ 372
Saunders ~ 373
Stanhope ~ 373
Staczynskich ~ 374
T.B. ~ 374
Théleur ~ 374
Vitu ~ 374
Wiener ~ 375
Whale ~ 375
Part 2a: Dances in detail A-M (Book 24)
Blasis’ new set of Quadrilles ~ 6
The Cinderella Cotillion ~ 20
Circassian Circle (2)—Pollock’s ~ 32
Cotillon 1829 (Helmke) ~ 36
Cotillon 1836 (Hentschke) ~ 57
Cotillon 1839 (Maksin) ~ 62
Cotillon 1843 (Roller) ~ 66
Cotillon 1847 (Cellarius)—for any number ~ 72
Cotillon 1847 (Cellarius)—for 3 couples ~ 78
Cotillon 1847 (Cellarius)—for more W ~ 85
Cotillon 1847 (Cellarius)—for 4 couples ~ 89
Cotillon 1847 (Cellarius)—with cushion / Cushion dance (4) ~ 95
Les Cuirassiers ~ 97
Ecossaise Waltzer (1) & (2) ~ 100
Fancy Quadrille Figures ~ 107
The Five Step Waltz (1) ~ 132
Galop (1) / Galopade (2) ~ 139
Galopade (3)—Pollock’s Original ~ 156
Galopade Quadrille / Quadrille Galope ~ 162
Galopade Country dance (1&2) ~ 171
Highland Reel (1) ~ 173
Hull’s Victory ~ 177
La Jalouse ~ 180
Lowe’s Gallopade finale ~ 184
Mazurka Quadrille (2) ~ 189
Mazurka Quadrille (3) ~ 267
Mazurka Quadrille (4) ~ 292
Mazurka Waltz (1) / La Cellarius ~ 319
Minuet (3) ~ 339
Part 2b: Dances in detail N-Z (Book 25)
The Pickwick Quadrilles ~ 6
Polka (1) ~ 25
Polka (2) ~ 52
Polka (3) / Grand Polkas ~ 71
Polka Quadrille / London Polka Quadrille ~ 85
Polonaise (4) ~ 114
Portland Fancy ~ 122
Quadrille Français (2c) / Mundy’s First Set / L’Albert Quadrille ~ 127
The Redowa (1) ~ 158
The Royal Gallopade ~ 177
The Serious Family Polka ~ 180
Sir Roger de Coverley (4a) / Virginia Reel (1) ~ 187
Sixdrilles / Quadrille Français (1b) ~ 194
Soldier’s Joy (3) ~ 205
Spanish Dance (2) / Spanish Waltz (1) ~ 209
Spanish Waltz (2) ~ 219
Styrienne ~ 231
Swedish Dance (1), (2) and (3) ~ 236
Les Sylphides ~ 237
La Tempête (2) ~ 248
The Triumph (3) ~ 250
The Triumph (4) / Lady’s Triumph ~ 254
Triolet (2) ~ 257
Triolet Waltzer ~ 261
Waltz (3) / Valse à deux Temps ~ 268
Waltz (4) / Valse à trois temps ~ 302
Waltz Cotillion ~ 322
Waverley Quadrilles / Quadrille Français (2b) ~ 332
Wiener Waltz ~ 341