American Ballroom Companion presents a collection of over
two hundred historical social dance manuals. The list begins
with a rare late fifteenth-century source, Les basses danses
de Marguerite d'Autriche (c.1490) and ends with Ella Gardner's
1929 Public dance halls, their regulation and place in the
recreation of adolescents. Along with dance instruction manuals,
this online presentation also includes a significant number
of antidance manuals, histories, treatises on etiquette, and
items from other conceptual categories. Many of the manuals
also provide historical information on theatrical dance. All
illuminate the manner in which people have joyfully expressed
themselves as they dance for and with one another.
you will find a detailed description of each of the manuals
included on this CD.
|Ball-room dancing without a master, and complete guide
to the etiquette, toilet, dress and management of the
ball-room; with all the principal dances in popular use.
CREATED/PUBLISHED [New York, Hurst & co., c1872]
SUMMARY This manual suggests that anyone can learn
to dance without the aid of a teacher and, after providing
a short discussion on organizing balls, appropriate
dress, and etiquette, the book focuses on the popular
ballroom dances of the era--quadrilles, polka, schottisch,
polka mazurka, and varsoviana. This "do it yourself
mentality was common during the late nineteenth century
and this particular dance manual was reissued in 1876
under the title Offenbach's dancing without a master.
|The ball-room guide. With coloured plates.
CREATED/PUBLISHED London, F. Warne and co., 1866.
SUMMARY Like many other nineteenth-century dance manuals,
much of the material in The ball-room guide is not original
but borrowed from other sources. The manual opens with
discussion on the arrangements for balls, appropriate
dress for ladies and gentlemen, and thirteen pages of
etiquette. Various dances are described including quadrilles,
the waltz, varsoviana, polka and three group dances,
"The Spanish Dance," "Tempête," and "Sir Roger de Coverly."
The manual concludes with a glossary of terminology
used in ballroom dance.
|The Ball-room instructer [!]; containing a complete
description of cotillons and other popular dances ...
CREATED/PUBLISHED New York, Huestis & Craft, 1841.
SUMMARY This manual, small enough to fit into a pocket,
declares it contains "all the information which is interesting
to the world of dancing" [p. 5]. In fact, like many
nineteenth-century dance manuals, the text is heavily
borrowed from numerous sources and compiled by a publisher.
Its format is common for this type of manual and it
begins with a discussion on etiquette followed by description
of quadrilles--popular group dances performed by four
couples facing in a square. Although, the waltz was
a staple of the mid-nineteenth-century ballroom, it
is not discussed in this manual.
|The ball-room manual of contra dances and social cotillons,
with remarks on quadrilles and Spanish dance.
CREATED/PUBLISHED Belfast, Me., H. G. O. Washburn;
Boston, G. W. Cottrell, 1863.
SUMMARY The publisher of this tiny manual (called a
"vest pocket edition") notes that of the many books
available to the dancing public, few contain "the good
old contra dances of our ancestors." To remedy the situation,
the manual gives figures for fifty-six English country
dances, group dances consisting of figures performed
by a column of men facing a column of women.
|Les basses danses de Marguerite d'Autriche = Das Tanzbüchlein
der Margarete von Österreich : vollständige Faksimile-Ausgabe
im Originalformat der Handschrift MS 9085 aus dem Besitz
der Bibliothèque royale Albert Ier, Bruxelles. Kommentarband
/ mit Beiträgen von Claudine Lemaire, Claude Thiry, Victor
Gavenda. Lemaire, Claudine.
CREATED/PUBLISHED Graz, Austria : Akademische Druck-
u. Verlagsanstalt, 1988.
SUMMARY This is a facsimile reproduction with additional
commentary of a rare fifteenth-century source for the
bassedanse, a Burgundian court dance. Known as Brussels
manuscript 9085, it consists of twenty-five parchment
leaves on black paper with gold rules and calligraphic
initials in silver. Seventeen folios contain specific
music and choreographies in the earliest known dance
| Beadle's dime ball-room companion and guide to dancing.
Comprising rules of etiquette, hints on private parties,
toilettes for the ball-room, etc. Also, a synopsis of
round and square dances, dictionary of French terms, etc.
CREATED/PUBLISHED New York, Beadle and company [c1868]
SUMMARY This manual is typical of books that were assembled
by publishers to be dissminated to a broad mass market.
It is a compilation of many treatises covering etiquette,
dress and demeanor, and describes the popular ballroom
dances of the era--quadrille, waltz, schottisch, and
|Constitution of the Va. Polytechnic Institute German
Club. Virginia Polytechnic Institute. German Club.
OTHER TITLES Constitution of the Virginia Polytechnic
Institute German Club
CREATED/PUBLISHED [Blacksburg], The Institute, 
SUMMARY This revised constitution lists the objectives
of a club organized to hold dances that consisted solely
of the German, a popular parlor game wherein the participants
performed a series of party games to music. The constitution
lists the duties of the officers and standing committees,
which included committees for refreshments, invitations,
reception, and music. Part of the constitution noted
that "no member of the Club shall drink any intoxicating
liquor within twenty-four hours immediately preceding
|[Contredanses; description des figures, plan des figures]
OTHER TITLES Plaisirs de l'Arquebuse Recueil de danses
CREATED/PUBLISHED Paris, [17--]
SUMMARY This is a bound collection of over eighty-five
late eighteenth-century contredanses and contredanse
variants such as contredanse francaise; contredanse
allemande; and contredanse anglaise, each choreographed
by well-known dancing masters and dancers including
Philip Desnoyers, Marie Allard, Landrin, and Denis.
Each contredanse consists of a title page, a page for
description of the figures, another for the floor plan,
and a fourth page for the music. Although most contredanses
were designed for four couples facing in a square, this
collection contains dances for up to twelve performers.
|The dance, ancient and modern / translated from the
French by Arabella E. Moore.
CREATED/PUBLISHED Philadelphia, Pa. : A. Moore, 1900.
SUMMARY Translated from French by Arabella E. Moore,
this is an example of the growing body of historiographical
texts that began to appear in the late 1890s into the
turn of the twentieth century. The work borrows heavily
from previously published materials for sections on
primitive and ancient dances. As with other authors
of this era, "modern dances" are considered to be pavane,
gavot, rigodon, and minuet. In keeping with a renewed
interest in the reconstruction of Renaissance and Baroque
dances, the manual includes a chapter, "Revival of Popular
Old Dances." A chapter on "contemporary dances" includes
polka quadrilles, Boston, mazurka, and cotillon (also
known as the German).
|The dancer's guide and ball-room companion.
CREATED/PUBLISHED New York, F. M. Reed [c1874]
SUMMARY This manual is a compilation of previously
published materials. The guide begins with a brief description
of the necessary arrangements for a ball, appropriate
dress for men and women, and ballroom etiquette. The
work continues with dances such as the quadrille, waltz,
varsoviana, polka, schottisch, "Cellarius Waltz," and
dances for larger groups of dancers--"Spanish Dance,"
"La Tempete," and "Sir Roger de Coverley."
|The dancing master; or, Directions for dancing country
dances, with the tunes to each dance, for the treble-violin.
The 10th ed. corrected; with addition of several new dances
and tunes never before printed.
CREATED/PUBLISHED [London] Printed by J. Heptinstall,
for H. Playford, 1698.
SUMMARY Originally published in 1650 under the title
of The English dancing master, this work went through
numerous editions from 1652 to 1728. Compiled by John
Playford (1623-1687), a publisher of music books, the
treatise is considered an important work on English
country dances, a form of dance where couples perform
a series of set patterns. In this tenth edition, Henry
Playford notes that he has made corrections and added
several new dances and tunes. The work utilizes a rudimentary
dance notation and page one of the treatise is devoted
to an explanation of the symbols. Part one contains
215 dances; part two has 46 dances and additional music
for "A new spanish entry and saraband," as danced by
Monsieur L'Abbe. Appropriate music, in the form of a
treble line, is provided for each dance. Most of the
dances are designated for longways sets of three couples,
four couples, or "as many as will."
|The dancing-master; or, Directions for dancing countrydances,
with the tunes to each dance, for the treble-violin. Vol.
the 2d. The 4th ed., containing 360 of the choicest old
and new tunes now used at court, and other publick places.
The whole work rev. and done on the new-ty'd-note, and
much more correct than any former editions. Playford,
John, 1623-1686? pub.
CREATED/PUBLISHED London, Printed by W. Pearson and
sold by J. Young, 1728.
SUMMARY Originally published in 1651 under the title
of The English dancing master, the work went through
numerous editions from 1652 to 1728. Compiled by John
Playford (1623-1687), a publisher of music books, the
treatise is consider an important work on English country
dances, a form of dance where couples perform a series
of set patterns. The work utilizes a rudimentary dance
notation and page one of the treatise is devoted to
an explanation of the symbols. Each of the 360 dances
contained in this last edition is given appropriate
music, in the form of a treble line. Most of the dances
are designated for longways sets of three couples, four
couples, or as many as will.
|Dancing and prompting, etiquette and deportment of society
and ball room. [By] Professor Bonstein [pseud.] Bonstein,
CREATED/PUBLISHED Boston, Chicago [etc.] White, Smith
& co. [c1884]
SUMMARY Assembled by Professor Bonstein (pseudonym
for Charles A. White) from the writings of others, this
manual begins with advice to parents regarding children.
"Send them to dancing school and save many a doctor's
bill." The etiquette section in this manual is reduced
to a section simply called "hints." The author provides
advice to prompters and rules for calling quadrilles.
Of the many popular ballroom dances performed in the
ballroom, only the quadrille, German (also known as
the cotillon), and contra dances are discussed.
|Dick's quadrille call-book, and ball-room prompter ...
To which is added a sensible guide to etiquette and proper
deportment in the ball and assembly room, besides seventy
pages of dance music for the piano.
CREATED/PUBLISHED New York, Dick & Fitzgerald [c1878]
SUMMARY This is a compilation by Dick and Fitzgerald
of previously published sources on ballroom dance. Although
advertised as a ballroom prompter, only one page is
devoted to calling figures in a quadrille. The book
contains rudimentary etiquette advice and dance instructions
for numerous dances including the grand march, quadrilles,
contradances such as "Virginia Reel," "Pop Goes the
Weasel," "Spanish Dance," and "Sicilian Circle." Also
described are various round dances such as the polka,
polka redowa, modern plain waltz, Boston Dip, varsovienne,
and galop. The manual concludes with 104 figures for
the popular parlor game, the German (also known as the
|The gentleman & lady's companion; containing, the newest
cotillions and country dances; to which is added, instances
of ill manners, to be carefully avoided by youth of both
CREATED/PUBLISHED Norwich, Printed by J. Trumbull,
SUMMARY The etiquette section of this manual anticipates
many nineteenth-century concerns regarding decorum and
bodily control and some of the ill manners described
include "swinging the arms, and all other awkward gestures"
and "leaning on the shoulder, or chair of another person."
The manual provides nine figures for the cotillon, a
precursor to the quadrille consisting of a series of
figures known as changes that were performed alternately
with the cotillon figure. The manual also gives the
figures for seventy-nine English country dances, a popular
group dance performed by a column of men facing a column
|The german. How to give it. How to lead it. How to dance
it. By two amateur leaders.
CREATED/PUBLISHED Chicago, Jansen, McClurg and company,
SUMMARY This manual, which is devoted entirely to performance
of the popular parlor game, describes the duties of
the hostess ("remove all unnecessary furniture"), appropriate
music, refreshments, and choosing a leader. Also included
is a section on etiquette for guests participating in
the German (also known as the cotillon). More than forty
figures are described.
|How to dance. A complete ball-room and party guide.
Containing all the latest figures, together with old-fashioned
and contra dances now in general use. Also, a guide to
ballroom etiquette, toilets, and general useful information
CREATED/PUBLISHED New York, Tousey & Small, 1878.
SUMMARY Designed for people, who never learned to dance
either because of bashfulness or lack of time or money,
this manual covers the bare necessities of dress, introductions,
and general etiquette. Descriptions are also provided
for quadrilles, schottisch, polka, redowa, waltz, several
country dances. The manual concludes with rules for
the supper room and advice to waltzers.
|Immorality of modern dances, ed. by Beryl and associates
CREATED/PUBLISHED New York, Everitt and Francis co.
SUMMARY This antidance work is typical of the genre
of dance writing that has its roots in published works
reaching far back into the Renaissance. Three arguments
are raised: (1) although dance is acknowledged to have
been practiced during biblical times, it was always
performed by and for women solely; (2) dancing is considered
bad for the health and, (3) dance is a waste of time.
The editors of this manual single out round dances,
specifically waltzes, as immoral. To fortify the argument,
the book contains testimonials from Catholic and Protestant
|Jig, clog, and breakdown dancing made easy, with sketches
of noted jig dancers.
CREATED/PUBLISHED New York, E. James, c1873.
SUMMARY This book begins with a brief history of jig
dancing and provides a chronology of jig and clog dancers
from famed African-American dance Master Juba to Johnny
Diamond and Dick Pelham. The manual also describes twenty
steps including "heel and toe step," "shuffle,""clog
break," and "plantation breakdown."
|The laws of etiquette; or, Short rules and reflections
for conduct in society. By a gentleman
CREATED/PUBLISHED Philadelphia, Carey, Lea, and Blanchard,
SUMMARY In a rapidly growing consumer market for etiquette
manuals during the nineteenth century, this is an example
of a manual that attempts to reinforce the authority
of its contents by suggesting legal foundations in its
title as well as the qualifications of its author, in
this case "A Gentleman." The straightforward chapters
include "Good Breeding," "Dress," "Balls," and "Funerals."
Reissued throughout the 1840s, much of the manual is
a paraphrasing to earlier texts.
|Leaflets of the ball room. Being a sketch of the polka
quadrilles, the Baden, mazurka figures &c. &c. to which
is appended the music of the celebrated redowa waltz,
now first published in the United States.
OTHER TITLES Leaflets of the ballroom
CREATED/PUBLISHED Philadelphia, New York, Turner &
SUMMARY Compiled by a publisher and small enough to
fit into a pocket, this manual gives directions for
polka quadrilles, mazurka quadrilles, and "The New Redowa,"
all "as taught by Mr. Durang and daughter." Other dances
include a waltz cotillion, gallopade quadrille, and
|Manuel du cotillon.
OTHER TITLES Cotillon, manuel de la danse
CREATED/PUBLISHED Paris, Ouachée [between 1890 and
SUMMARY This late nineteenth-century manual is devoted
to description of the popular parlor game, the German
(also known as the cotillon). Every page of the manual
has an advertisement for Au Paradis des Enfants in Paris,
a shop that sold party accessories for the cotillon,
including tambourines for the leader, ball cards, hair
ornaments, decorations, roulette wheels, and paper lanterns.
|Observations sur les danses.
CREATED/PUBLISHED Lausanne, Société pour la distribution
de livres religieux dans le canton de Vaud, 1830.
SUMMARY An antidance treatise, the argument presented
by the anonymous author is based on the idea that dancing
is inconsistent with teachings in the Scripture, specifically
the Ten Commandments. For example, just as the golden
calf represented idolatry, the author argues that pleasure
derived from dance is also idolatry, thus breaking the
First Commandment. Similar arguments are made for all
but the Second Commandment.
|Rinnce na h-Éireann : a simplified work on the performance
of the dances of Ireland.
OTHER TITLES Rinnce na hÉireann Rinnce na Éireann
CREATED/PUBLISHED New York : Gaelic League of the State
of New York, c1907.
SUMMARY First published in 1902, the work was suggested
by a member of the New York Philo-Celtic Society. The
discusion includes music, steps, and instructions for
reels, "High Caul Cap, four-hand jig, and Rinnce Fada.
|A Solemn warning to dancers.
CREATED/PUBLISHED New York : N. Bangs and J. Emory
for the Tract Society of the Methodist Episcopal Church,
[between 1824 and 1832]
|The way to dance. A book which teaches the art of dancing
without a master.
CREATED/PUBLISHED New York, Street & Smith, 1890.
SUMMARY This manual sought to teach the art of dance
to those who could not "avail himself or herself of
a professional teacher." In its description of general
conduct, the author notes that etiquette is nothing
more than self-denial. As the work is aimed at the untutored,
ten pages are devoted to the primary positions of the
feet. The manual describes the grand march, quadrilles,
and round dances.
|The social dance, by Dr. R. A. Adams. Adams, R. A. b.
1869. (Revels Alcorn),
CREATED/PUBLISHED Kansas City, Kan., The author, c1921.
SUMMARY This antidance treatise is divided into four
parts. The first part discusses the physical effects
of the dance and the author concludes that habitual
dancers are sick more often and women are more prone
to "female weaknesses." The second section focuses on
the dangers of dance on the mind and concludes that
many girls fail in school because they dance too much.
In the Third section, the author argues that dance is
immoral and "fires the passions of young women." The
concluding section is devoted to detailing passages
in the Scriptures that the author interprets as supporting
|De la danse, considérée sous le rapport de l'éducation
physique, par P.-E. Alerme. Alerme, P.-E.
CREATED/PUBLISHED Paris, Les Marchands de nouveautés,
SUMMARY An important early nineteenth-century physiology
of dance, the author provides extensive discussion on
the importance of dance. Numerous extractions from Alerme's
text can be found throughout later nineteenth-century
|Orchesographie. Et traicte en forme de dialogue, par
lequel tovtes personnes peuvent facilement apprendre &
practiquer l'honneste exercice des dances. Par Thoinot
Arbeau demeurant à Lengres. Arbeau, Thoinot, 1519-1595.
CREATED/PUBLISHED Lengres, Imprimé par Iehan des Preyz,
SUMMARY Written by a French cleric, Jehan Tabourot,
in the form of a dialogue between a dancing master and
his student and originally published in 1588, this manual
is an important tool in the understanding of late sixteenth-century
French social dance. The manual provides critical information
on social ballroom behavior and on the interaction of
musicians and dancers. The book's usefulness is also
enhanced by a notation system that correlates the music
to the dance steps. Orchesographie discusses a full
spectrum of late Renaissance dance including the galliard,
pavane, branle, volta, morisque, gavotte, allemande,
|Méthode pour exercer l'oreille a la mesure, dans l'art
de la danse. Par M. Bacquoy-Guédon ... Bacquoy-Guédon,
CREATED/PUBLISHED Amsterdam, Et se trouve à Paris,
chez Valade [1785?]
SUMMARY In part one of this treatise, Bacquoy-Guédon
(fl. 1780) presents, a short history of dance as well
as arguments in favor of dancing. The focus of this
section is devoted to performance of contredanses and
minuets. Part two contains eight-bar triple-meter airs
for minuets and eight-bar duple-meter airs for contredanses,
all composed for a single treble instrument. Additional
music is included for a variant of the contredanse called
the contredanse allemande (in triple-meter); a marche,
and two rigaudons. The treatise concludes with a diagram
of figures and music for the minuet.
|Lettres à Sophie sur la danse, suivies d'entretiens
sur les danses ancienne, moderne, religieuse, civile et
théâtrale; par A. Baron. Baron, A. 1794-1862. (Auguste),
CREATED/PUBLISHED Paris, Dondey-Dupré père et fils,
SUMMARY Essentially a history of Greek, Roman, and
early religious dance, and French court dance, the text
is drawn from numerous writers, including Mme. Elise
Voiart, Joseph Juste Scaliger, Claude François Ménestrier,
Louis de Cahusac, Diderot, and Jean-Georges Noverre.
The first part of this book comprises seven letters
written by Baron during 1821 and 1822. The second part
takes the form of conversations with Sophie and, occasionally,
two more participants named Heraclite and Démocrite.
|Nouveau manuel complet de la danse; ou, Traité théorique
et pratique de cet art depuis les temps les plus reculés
jusqu'à nos jours, par Blasis ... Blasis, Carlo, 1803-1878.
CREATED/PUBLISHED Paris, Roret, 1866.
SUMMARY Although attributed to Italian dancer, choreographer,
and writer Carlo Blasis, this manual contains an abridgement
of Blasis's writing on the subject of social dance as
published in The Code of Terpsichore (1830). The manual's
discussion of specific dances is augmented by M. Lemaitre
and includes quadrilles, the waltz, polka, schottisch,
polka-mazurka, redowa and cotillon.
|[The code of Terpsichore. The art of dancing, comprising
its theory and practice, and a history of its rise and
progress, from the earliest times ... by C. Blasis ...
Translated under the author's immediate inspection by
R. Barton] Blasis, Carlo, 1803-1878.
CREATED/PUBLISHED [London, E. Bull, 1830]
SUMMARY This is one of several books written by Italian
dancer, choreographer, and writer Blasis (1795-1878).
It covers the history and theory of dance, pantomime,
the composition of ballets, and contains a section devoted
to social dances entitled "private dancing." Although
much of the discussion on technique is identical to
Blasis'S earlier treatise, Traité élémentaire théorique
et pratique de l'art de la danse (1820), the manual
is a comprehensive survey of ballet during the early
|Schriftsmässige beantwortung der frage: Was von dem
weltüblichen tanzen und spielen zu halten sey und ob es
nicht mit zur christlichen freyheit gehöre? als ein anhang
zu den betrachtungen von der freyheit der gläubigen vom
gesetz auf verlangen entworfen und in druck gegeben von
Carl Heinrich von Bogatzky. Bogatzky, Carl Heinrich von,
CREATED/PUBLISHED Halle, In verlag des Wäysenhauses,
SUMMARY This manual is an early German example of the
literature against the practice of dancing. In this
case, Bogatzky (1690-1774) compares gambling with dancing,
and asks the reader to consider these practices in the
context of Scripture, especially the Ten Commandments.
|Traitté contre les danses. Par Jean Boiseul. Boiseul,
CREATED/PUBLISHED La Rochelle, Les heritiers de Hierosme
SUMMARY An early example of an antidance treatise,
this manual provides a foundation for arguments that
continued to the end of the nineteenth century--that
dancing is a sin against God. Much of Boiseul's argument
is based on biblical examples (chapters and verses are
noted in the margins of each page). While acknowledging
that dance is mentioned in the Bible, the author is
quick to point out that the dances were "joyous and
spontaneous" and very different from the seventeenth-century
social dances of his day. The courante, branle, and
galliard come under specific attack. Additionally, Boiseul
makes particularly strong arguments against the dances
of non-Christian "savages."
|Tratado dos principaes fundamentos da dança, obra muito
util, naõ sómente para esta mocidade, que quer aprender
a dançar bem, mais ainda para as pessoas honestas, e polidas,
as quaes ensina as regras para bem andar, saudar, e fazer
todas as cortezias, que convem em as assembleas adonde
o uzo do mundo a todos chama ... Por Natal Jacome Bonem
... Bonem, Natal Jacome.
CREATED/PUBLISHED Coimbra, Na Officina dos irmaõs Ginhoens,
SUMMARY Portuguese dancing master Bonem's manual borrows
from the work of contemporary French sources, including
dancing masters Guillaume-Louis Pecour and Pierre Rameau.
The manual's fourteen chapters focus on dance in the
court of Louis XIV and include discussion on feet positions,
bows appropriate for various occasions, and the steps
and arm positions for the minuet.
|Leitfaden für den tanz- & körperbildungs-unterricht
mit anleitungen über den gesellschaftlichen verkehr. 14
tafeln mit 118 figürlichen und choregraphischen darstellungen.
Bearbeitet von J. R. Bosshardt-Strübi ... Bosshardt-Strübi,
CREATED/PUBLISHED Zürich, Juchli & Beck, 1897.
SUMMARY This manual opens with a brief history of dance
and continues with descriptions of feet positions, and
figures for quadrilles and "La Polonaise" (also known
as the grand march). Round dances such as schottisch,
waltz, and polka are also included. The manual is enhanced
by fourteen full-page illustrations.
|Guide du bon danseur, par le professeur B.-G. Bottallo
... Bottallo, Barthélemy G.
CREATED/PUBLISHED Paris [Imp. Jouve & cie] 1912. NOTES
This manual contains directions for a dances that were
popular during at the end of the nineteenth century
including the Berline, Badoise polka, and les patineurs.
Botallo also includes directions for several specialty
dances such as "La Marocaine," and "Danse des Tambourins."
The author includes many quadrille and cotillon figures,
although neither dance was often performed in the ballroom
by 1912. Acknowledging that other dances were more popular,
the author includes three figures for a Tango-Argentine.
|Traité pratique et théorique de la danse, par Edmond
Bourgeois. Bourgeois, Edmond.
CREATED/PUBLISHED Paris, Garnier frères [1909?]
SUMMARY As was common practice during the nineteenth
and early twentieth centuries, much of this text was
borrowed from other writers. The author begins with
a general history of dance and proceeds with an explanation
of terms found in dance such as les grands battements
and ronds de jambes. The manual contains directions
for many Renaissance and Baroque dances including La
Pavane, and, although the author quotes from Thoinot
Arbeau's Orchesographie of 1588, the directions for
performance are strictly a nineteenth-century interpretation.
Bourgeois's manual also covers nineteenth-century social
dances and he provides the history and directions for
dances such as the waltz, polka, mazurka, and quadrille.
|The public dance halls of Chicago. Bowen, Louise W.
OTHER TITLES Dance halls of Chicago
CREATED/PUBLISHED [Chicago] The Juvenile Protective
Association of Chicago, 1917.
SUMMARY This is a revised edition of a work based on
an investigation done in 1910 regarding the conditions
of public dance halls in Chicago. Bowen's complaints
included the late hours, too much liquor, and the general
behavior of men noting, "... men wear their hats; they
all smoke and expectorate freely." She also suggests
the waiters and other employees provide information
on the location of "disreputable lodging houses," and
delivers condemnation against masquerade and fancy dress
balls because many women were found "attending in male
|Quelques mots sur les danses modernes, par le vte de
B. Saint-Laurent ... Brieux Saint-Laurent, vicomte de.
CREATED/PUBLISHED Paris, C. Douniol, 1863.
SUMMARY This is a fourth edition of a book that acknowledges
other antidance tracts including Boullay's Réforme de
las danse des salons; Gustave Louis's Physiologie de
l'opinion, and La Chrétienne de nos jours by l'Abbé
Bautain. The author notes, with some disdain, that the
waltz was introduced into France "par les impures du
Directoire" (p. 8). The polka also receives criticism.
|May Christians dance? By Jas. H. Brookes. Brookes, James
H. 1830-1897. (James Hall),
CREATED/PUBLISHED St. Louis, J. W. McIntyre, 1869.
SUMMARY This is a typical example of the antidance
literature that was published during the nineteenth
century. Although Brookes provides a weak defense of
dancing, his final conclusion is that the large assemblies,
indelicate dressing, "unwarrantable freedom of intercourse
between the sexes," as well as uncontrolled excitement,
leads to a thorough worldliness and, ultimately, to
the forgetfulness of God. The manual was reissued in
the 1890s under the title The modern dance.
|Brookes on modern dancing, containing a full description
of all dances, as practised in the ball room and at private
parties, together with an essay on etiquette. By L. De
G. Brookes. Brookes, L. De G. (Laurence De Garmo)
CREATED/PUBLISHED New York [The author] 1867.
SUMMARY The format for this manual is typical of nineteenth-century
dance treatises. It begins with a short discussion on
the utility of dancing followed by a section devoted
to etiquette of the ballroom and how to give balls.
Descriptions of dances in this manual include quadrilles,
waltz, polka, polka redowa, schottisch, polka mazurka,
varsovienne, and the waltz in 5/4. The book concludes
with eighty-seven cotillon figures and eight pages of
ballroom dance music.
|The ball-room monitor; or, Guide to the learner; containing
the most complete sets of quadrilles ever published. Brooks,
CREATED/PUBLISHED Philadelphia, J. H. Johnson [c1866]
SUMMARY Like many other nineteenth-century dance manuals,
much of the material in The Ball-room monitor is not
original but is borrowed from previously published sources.
The manual, which would fit into a pocket, contains
information on quadrilles (called cotillions by Brooks),
waltz, polka, redowa, and schottisch. Additionally,
the manual contains numerous variety quadrilles--polka
quadrilles, schottisch quadrilles, Polaca quadrilles,
Varsoviana quadrilles, and a mazurka quadrille.
|A treatise on the elements of dancing. By T. Erp. Sichore
[pseud.] [Brown, R. E.], of Takoma, Wash.
CREATED/PUBLISHED San Francisco, The Bancroft company,
SUMMARY Many manuals compiled from previously published
sources under a variety of author names were aimed at
an ever-expanding group of people who could not avail
themselves of a dance master. This work strives to instruct
in a plain and explicit manner, making no attempts to
discuss dance "technically and methodically." The manual
is structured as a series of lessons. For example, lesson
one of eleven on the waltz requires the reader to begin
by being "seated upright in a chair." The manual also
covers the polka, glide polka, heel and toe polka, schottisch,
quadrilles and the German (also known as the cotillon).
|Dance halls. Ordinances governing the conduct of public
dances and dance halls, city of Buffalo. Issued by the
Common Council. Daniel J. Sweeney, city clerk ... Buffalo
OTHER TITLES Title on p. 1: Dance ordinances of the
city of Buffalo
CREATED/PUBLISHED [Buffalo, 1914]
SUMMARY Issued from the Buffalo, New York, City Clerk's
office on 14 December 1914, the ordinance defines requirements
for a public dance hall, including license fees, security,
alcohol prohibitions, and hours of operation.
|Prima, e seconda memoria per servire alla istoria del
ballo degli antichi, del signor Burette. n0. II. Burette,
M. 1665-1747. (Pierre Jean),
CREATED/PUBLISHED Venezia, 1746.
SUMMARY In this history of dance, Burette (1665-1747)
presents an extensive discussion on Greek and Roman
dance, basing his information on literary references
such as the Iliad and authors such as Lucian. Included
in the discussion are tragic and serious ballet, satire,
and pantomime. While this text illuminates the importance
of Greek and Roman influence on the arts of the mid-eighteenth
century, modern dance scholars will find many interpretive
and factual errors.
|Masquerades, tableaux and drills ... Butterick Publishing
CREATED/PUBLISHED New York [etc.] The Butterick publishing
company, limited, c1906.
SUMMARY This manual provides step-by-step instructions,
augmented by numerous illustrations, for giving masquerades,
conducting tableaux, and creating "fancy drills." Costumes,
hair styles, and accessories are included for Calico
and Martha Washington balls, Joan of Arc, a football
player, Beau Brummel, and a shepherdess. Additionally,
the manual provides suggestions for tableaux scenes
and living pictures ("pose plastique").
|La danse ancienne et moderne, ou Traité historique de
la danse. Par m. de Cahusac ... Cahusac, Louis de, 1706-1759.
CREATED/PUBLISHED A La Haye [i.e. Paris] chez J. Neaulme,
SUMMARY This three-volume work on dance history describes
dance from its origins through the court fêtes of Louis
XIV. Volume one stresses the importance of studying
the theories of all the arts and covers the dance history
of numerous ancient civilizations including Greek, Roman,
Turkish, and Egyptian. Volume two describes the renaissance
of the arts and the origins of ballet to 1610. Volume
three focuses on dance in the court of Henri IV and
the establishment of French opera. Cahusac borrows heavily
from other writers, especially Philippe Quinault. Although
by twentieth-century scholastic standards, Cahusac's
interpretations may be problematic, the work formed
the foundation for much of the writing on dance history
until the twentieth century.
|Nobiltà di dame del sr. Fabritio Caroso da Sermoneta,
libro, altra volta, chiamato Il ballarino. Nuouamente
dal proprio auttore corretto, ampliato di nuoui balli,
di belle regole, & alla perfetta theorica ridotto: con
le creanze necessarie à caualieri, e dame. Aggiontoui
il basso, & il soprano della musica: & con l'intauolatura
del liuto à ciascun ballo. Ornato di vaghe & bellissime
figure in rame ... Caroso, Fabritio.
OTHER TITLES Ballarino
CREATED/PUBLISHED In Venetia, Presso il Muschio, 1600.
Ad instantia dell'auttore.
SUMMARY In this significant manual detailing late-Renaissance
Italian court dance, dancing master Caroso redefines
and, in some cases, corrects information found in his
first treatise, Il ballarino (1581). The manual gives
rules for sixty-eight steps and contains specific choreographies
for forty-nine dances. Many dances are preceded by full-page
illustrations and each dance is provided with appropriate
music written in Italian lute tablature and/or mensural
notation. This manual was reissued in 1630 under the
title, Raccolata di variji balli.
is a must have collection for any serious study of the history
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