Just a short post for today... My feet are in need of some TLC.
Today we finished learning the 3rd part of the Twelve Quadrille! The final figure features the 12 dancers joining hands in a single line and dancing forwards together with an echappe to 2nd, jete extending the left leg in front, then 2 more jetes. This is repeated 2 more times, extending the right leg, then the left. It's really beautiful! Tomorrow we will work on polishing our quadrilles to present them at the gala in the evening.
Tomorrow is the final day and I shall be so sad to say goodbye to the amazing people I met here and the incredible instructors. I have learned so much and it has been a fantastic experience. I seem to have been reliving two historical experiences: that of the country dancing master going to London to learn the latest and most fashionable steps to teach in his own town, and that of the pupil at a dancing master's school or finishing school. I have followed in similar footsteps 200 years later, and that's really nice. I will never forget this!
A Parisian Quadrille
Thursday, 30 July 2015
DHDS Day 6 - the day of the ball!
Today was another day of learning quadrille footwork. We worked on our ballotes and pas de zephyr.
I'll post pictures and a video when I get home.
The Ballote
Hop and sink on your right foot, extending your left leg behind you, hop again (this time on your left leg) and extend your right leg in front of you. You can do the same with the other leg.
The Pas de Zephyr
Hop and sink on your right leg and extend your left leg behind. Hop again on your RIGHT leg (you don't alternate like the ballote) and extend your left leg out front.
So, we worked those 2 steps into the 2nd solo for the men (sinking on the left foot) and women (sinking on the right foot) in the 1826 Gavottini Quadrille.
In the afternoon we worked on the Twelve Quadrille again. The second figure of the quadrille was lovely and we got to use some steps from the William Tell ballet!
After class, one of the other ladies offered to so my hair and she did such a beautiful job creating and arranging multiple plaits. It was so lovely and intricate.
Then we went to the ball at the Chichester assembly rooms (c. 1782). That evening we danced a cotillion, Paine's 1st set of quadrilles, a reel for 4, several country dances and La Boulanger. It was a lovely evening.
I'll post pictures and a video when I get home.
The Ballote
Hop and sink on your right foot, extending your left leg behind you, hop again (this time on your left leg) and extend your right leg in front of you. You can do the same with the other leg.
The Pas de Zephyr
Hop and sink on your right leg and extend your left leg behind. Hop again on your RIGHT leg (you don't alternate like the ballote) and extend your left leg out front.
So, we worked those 2 steps into the 2nd solo for the men (sinking on the left foot) and women (sinking on the right foot) in the 1826 Gavottini Quadrille.
In the afternoon we worked on the Twelve Quadrille again. The second figure of the quadrille was lovely and we got to use some steps from the William Tell ballet!
After class, one of the other ladies offered to so my hair and she did such a beautiful job creating and arranging multiple plaits. It was so lovely and intricate.
Then we went to the ball at the Chichester assembly rooms (c. 1782). That evening we danced a cotillion, Paine's 1st set of quadrilles, a reel for 4, several country dances and La Boulanger. It was a lovely evening.
Tuesday, 28 July 2015
DHDS Day 5 - Triolet
Today we worked on quadrilles! There was the Gavottini Quadrille, after Auguste Vestris' famous Gavotte. This dance dates from T. B.'s 1826 dance book. Both the men and women do a solo comprised of the following steps:
2 pas de basques
2 pas de bourees
2 pas de basque brises
2 pas de basque pirouettes
We also worked on the first 2 parts of Barclay Dun's Third Quadrille from 1818, La Floride and La Valse Cotillion. La Floride, like the Gavottini Quadrille, also features solos for the men and women (so I need to work out what steps I want to do). A tip on composing solos (from Stuart) is to work with the rule of three. So, you choose to do 3 of one step, and 1 of another (ie. 3 pas de chat + 1 changement, and repeat).
La Valse Cotillion, according to Ellis Rogers, may be the earliest waltz quadrille. So, the waltz steps we've worked on for the past 2 days have been really helpful.
I did a lot of dancing in the afternoon as well (what a surprise), but everything I am learning is incredible! What an amazing opportunity. In the main afternoon course, we started work on the Twelve Quadrille from 1826, which is performed in triolet (3 on each side - 1 man between 2 ladies). The footwork that we are using in this dance is so invigorating. There is a sequence when each set of 3 is on the opposite side of the square, and to get back, the heads and sides do this sequence moving towards and past each other:
Skip change + assemble (turning clockwise) + jete (continue turning to face the opposite line) + balance forward and back to pass by the right shoulder, then repeat moving forwards into your proper place.
For the optional course, I opted for Isabel Suri's class on German dances. We worked on another quadrille (cotillion) in triolet from 1834. The German dances have some really unusual figures (coming from the English dance repertoire), so it was really neat to use create different patterns on the floor.
Well, that's all for now... Tomorrow is the ball at the Chichester assembly rooms! Happy dancing!
2 pas de basques
2 pas de bourees
2 pas de basque brises
2 pas de basque pirouettes
We also worked on the first 2 parts of Barclay Dun's Third Quadrille from 1818, La Floride and La Valse Cotillion. La Floride, like the Gavottini Quadrille, also features solos for the men and women (so I need to work out what steps I want to do). A tip on composing solos (from Stuart) is to work with the rule of three. So, you choose to do 3 of one step, and 1 of another (ie. 3 pas de chat + 1 changement, and repeat).
La Valse Cotillion, according to Ellis Rogers, may be the earliest waltz quadrille. So, the waltz steps we've worked on for the past 2 days have been really helpful.
I did a lot of dancing in the afternoon as well (what a surprise), but everything I am learning is incredible! What an amazing opportunity. In the main afternoon course, we started work on the Twelve Quadrille from 1826, which is performed in triolet (3 on each side - 1 man between 2 ladies). The footwork that we are using in this dance is so invigorating. There is a sequence when each set of 3 is on the opposite side of the square, and to get back, the heads and sides do this sequence moving towards and past each other:
Skip change + assemble (turning clockwise) + jete (continue turning to face the opposite line) + balance forward and back to pass by the right shoulder, then repeat moving forwards into your proper place.
For the optional course, I opted for Isabel Suri's class on German dances. We worked on another quadrille (cotillion) in triolet from 1834. The German dances have some really unusual figures (coming from the English dance repertoire), so it was really neat to use create different patterns on the floor.
Well, that's all for now... Tomorrow is the ball at the Chichester assembly rooms! Happy dancing!
Monday, 27 July 2015
DHDS Day 4 - Pirouetting around the room!
To day was another vigorous day of dance and I learned many new style tips!
When instructions say "swing corners", there were a couple of different interpretations in Regency England. Thomas Wilson insisted on beginning a right hand turn with your PARTNER, then left with your CORNER etc. However, G. M. S. Chivers instructed his pupils to start a right hand turn with your CORNER first, then left with your PARTNER. So, the figure is reversed! I can only imagine that there must have been a couple of awkward moments in the ballroom, when students of Wilson and Chivers approached that figure and reached out to turn different people at once! However, if the first lady calls the dance she would specify how to perform the figure. I wonder which was the most common way? How did other dancing masters teach "swing corners"?
We also worked on pirouettes this morning. In the Regency era, all pirouettes started from 2nd position. You can do a pirouette as such: tendu right (or left), plié in 2nd and turn in coupe. One can also do a pas de basque pirouette, which has the setting step rhythm. I haven't quite gotten it yet, but I will work on it. The important thing to remember to to keep your weight and your upper body over your toes, and not to lean back.
This afternoon, we worked on a quadrille, which has solos for both the man and the woman, so we will have to work on different steps to choreograph that!
For the optional course, I did part 2 of Stuart's waltzing class, where we learned part of the waltz for a couple from T. B.'s 1826 dance book. As the instructions do not indicate male or female, this dance may have been meant to be performed by young ladies at their finishing school. Ever since I saw the version performed by a couple from Carnet de Bals at the National Historical Dance competition of France, I have wanted to learn that dance. So, I was very excited to learn Stuart's interpretation of the diagrams. It was very rewarding and a highlight of the course.
That's all for now! Until next time... Happy dancing!
When instructions say "swing corners", there were a couple of different interpretations in Regency England. Thomas Wilson insisted on beginning a right hand turn with your PARTNER, then left with your CORNER etc. However, G. M. S. Chivers instructed his pupils to start a right hand turn with your CORNER first, then left with your PARTNER. So, the figure is reversed! I can only imagine that there must have been a couple of awkward moments in the ballroom, when students of Wilson and Chivers approached that figure and reached out to turn different people at once! However, if the first lady calls the dance she would specify how to perform the figure. I wonder which was the most common way? How did other dancing masters teach "swing corners"?
We also worked on pirouettes this morning. In the Regency era, all pirouettes started from 2nd position. You can do a pirouette as such: tendu right (or left), plié in 2nd and turn in coupe. One can also do a pas de basque pirouette, which has the setting step rhythm. I haven't quite gotten it yet, but I will work on it. The important thing to remember to to keep your weight and your upper body over your toes, and not to lean back.
This afternoon, we worked on a quadrille, which has solos for both the man and the woman, so we will have to work on different steps to choreograph that!
For the optional course, I did part 2 of Stuart's waltzing class, where we learned part of the waltz for a couple from T. B.'s 1826 dance book. As the instructions do not indicate male or female, this dance may have been meant to be performed by young ladies at their finishing school. Ever since I saw the version performed by a couple from Carnet de Bals at the National Historical Dance competition of France, I have wanted to learn that dance. So, I was very excited to learn Stuart's interpretation of the diagrams. It was very rewarding and a highlight of the course.
That's all for now! Until next time... Happy dancing!
Sunday, 26 July 2015
DHDS Day 3 - Quadrilling and Waltzing
Well, it's another rainy day here, but the dancing definitely kept me warm! This morning we worked on a lovely quadrille called Le Wellington from an 1821 dance fan! We worked on a few different ways to do the balance - with chasses, glisses (for ladies to glide along the floor) and a third, more challenging version with sissone for men to show off fancy footwork. Today we discussed "masculine" and "feminine" figures in the different dances. Figures that were serpentine in nature (ie. heys and turns) were seen as feminine and the curves should be emphasized. Similarly, with figures that use straight lines (ie. changes of rights and lefts), the lines should be perfectly straight and the corners should be sharp.
We then rehearsed our performance dances for this evening.
In the afternoon, we did another quadrille called the La Charmante Anglaise from a collection of Waterloo-themed dances.
In the optional workshop, we learned waltzing with Stuart. We went through the slow waltz, sauteuse, jete, and German waltz, so now I need to work on polishing the steps. Once I do that I might post some videos or hold a workshop!
Finally, in the evening, we got to perform our dances - the reel, waltz country dance and the cotillion, which went rather well. The dances performed by Anne's class were also really pretty and had some interesting figures. It was good fun!
Well, that's all for now. I shall see what tomorrow brings. Happy dancing!
We then rehearsed our performance dances for this evening.
In the afternoon, we did another quadrille called the La Charmante Anglaise from a collection of Waterloo-themed dances.
In the optional workshop, we learned waltzing with Stuart. We went through the slow waltz, sauteuse, jete, and German waltz, so now I need to work on polishing the steps. Once I do that I might post some videos or hold a workshop!
Finally, in the evening, we got to perform our dances - the reel, waltz country dance and the cotillion, which went rather well. The dances performed by Anne's class were also really pretty and had some interesting figures. It was good fun!
Well, that's all for now. I shall see what tomorrow brings. Happy dancing!
Saturday, 25 July 2015
DHDS day 2 - Classes begin
Today I had my first classes with Stuart Marsden, where our class started learning a cotillion called La Comtesse du Nore from c. 1797. The Comtesse du Nord was a pseudonym for the Grand Duchess Maria Feodorovna when she travelled inconspicuously.
As a cotillion, the dance features changes and a chorus. The changes (with a balance and pas de rigadon) include:
1. Grand rond
2. Right and left hand turn partner
3. Ladies right and left moulinet (star)
4. Men do the same
5. Ladies circle left and right
6. Men do the same
7. Grand chain
8. Grand rond
It was quite a lot of dancing with the pas de rigadon and Demi-contretemps. Our group will be performing that tomorrow for the other dancers! Fingers crossed. I will post videos of the footwork when I get home.
We had a bit of a breather with Lady Charlotte Campbell's Waltz, which featured a lovely turn under the arm for the lady before casting into 2nd.
In the afternoon, we did a lively reel called Miss Vickor's Delight and then another waltz called Madame Saqui's Waltz which included slow waltz and sauteuse steps, so we are beginning to work on that! We will be presenting a few dances from Stuart's class tomorrow evening.
Then, for the optional course, I did Irish steps with Anne Daye and I learned to do a back step, single footing, double footing and forwards/sideways travelling steps in 9/8 time. Maybe one could work some steps into Physical Snob? It was really fun to do and I will make some videos for these different steps. We then incorporated them into Lord Grantham's Whim from 1810. It was both invigorating and exhausting!
In the evening after dinner, we had a Regency At Home led by Stuart, where we had silhouette cutting, cards, embroider, dancing, letters (like Emma and the infamous "blunder"), and several people "took a turn" by performing songs, Highland dances and exhibited on the piano. At the end of the evening, we played Snapdragon, which is a game that features a burning bowl of brandy-soaked raisins... You have to quickly snatch them out with your fingers and eat them! I was observing off to the side, when Stuart insisted that I try... And I did it! It was a lot of fun! I am so glad I did it.
Then we played Bullet Pudding, which consists of a pile of flour with jellies (the bullets) hidden inside. Each person took a turn cutting away the flour. If a jelly showed, you had to get the jelly out of the flour with your mouth - no hands! There were quite a few flour-covered faces by the end of the evening.
Well, that's all for now. More to come tomorrow! Happy dancing!
As a cotillion, the dance features changes and a chorus. The changes (with a balance and pas de rigadon) include:
1. Grand rond
2. Right and left hand turn partner
3. Ladies right and left moulinet (star)
4. Men do the same
5. Ladies circle left and right
6. Men do the same
7. Grand chain
8. Grand rond
It was quite a lot of dancing with the pas de rigadon and Demi-contretemps. Our group will be performing that tomorrow for the other dancers! Fingers crossed. I will post videos of the footwork when I get home.
We had a bit of a breather with Lady Charlotte Campbell's Waltz, which featured a lovely turn under the arm for the lady before casting into 2nd.
In the afternoon, we did a lively reel called Miss Vickor's Delight and then another waltz called Madame Saqui's Waltz which included slow waltz and sauteuse steps, so we are beginning to work on that! We will be presenting a few dances from Stuart's class tomorrow evening.
Then, for the optional course, I did Irish steps with Anne Daye and I learned to do a back step, single footing, double footing and forwards/sideways travelling steps in 9/8 time. Maybe one could work some steps into Physical Snob? It was really fun to do and I will make some videos for these different steps. We then incorporated them into Lord Grantham's Whim from 1810. It was both invigorating and exhausting!
In the evening after dinner, we had a Regency At Home led by Stuart, where we had silhouette cutting, cards, embroider, dancing, letters (like Emma and the infamous "blunder"), and several people "took a turn" by performing songs, Highland dances and exhibited on the piano. At the end of the evening, we played Snapdragon, which is a game that features a burning bowl of brandy-soaked raisins... You have to quickly snatch them out with your fingers and eat them! I was observing off to the side, when Stuart insisted that I try... And I did it! It was a lot of fun! I am so glad I did it.
That's me, after having eaten the flaming raisins!
Then we played Bullet Pudding, which consists of a pile of flour with jellies (the bullets) hidden inside. Each person took a turn cutting away the flour. If a jelly showed, you had to get the jelly out of the flour with your mouth - no hands! There were quite a few flour-covered faces by the end of the evening.
Well, that's all for now. More to come tomorrow! Happy dancing!
Friday, 24 July 2015
DHDS Day 1
Dolmetsch Historical Dance Society - Day 1
The summer school has officially begun! Today I got registered and met many friendly people in the course, as well as my instructor for the week. It looks like it will be a very full and rewarding week of dance! Some of the optional sessions include waltzing, Scotch and Irish footwork, dances from German sources and Waterloo-themed dances. There are so many wonderful options - I wish I could attend them all! This evening, after dinner, we got to do some fun introductory dances like The Family Party, Haste to the Wedding and Pavilion Waltz, to name a few. So it was a very rewarding evening and I am excited to learn more throughout the week.
That's all for now - happy dancing!
The summer school has officially begun! Today I got registered and met many friendly people in the course, as well as my instructor for the week. It looks like it will be a very full and rewarding week of dance! Some of the optional sessions include waltzing, Scotch and Irish footwork, dances from German sources and Waterloo-themed dances. There are so many wonderful options - I wish I could attend them all! This evening, after dinner, we got to do some fun introductory dances like The Family Party, Haste to the Wedding and Pavilion Waltz, to name a few. So it was a very rewarding evening and I am excited to learn more throughout the week.
That's all for now - happy dancing!
Monday, 20 July 2015
All quiet on the Western front... but not for long!
Hi everyone,
It's been a bit quiet on this site for a while - getting back from Waterloo and preparing for a new adventure!
A few months ago, I was given a bursary from the Dolmetsch Historical Dance Society to attend their 2015 summer school called "Dancing Around 1815" in Chichester! It will be one fantastic (and probably exhausting) week of historical dance in honour of the bicentennial of the battle of Waterloo. There will be dance sessions in the morning and afternoon, as well as some lovely evening entertainments, like a Regency At Home and a ball at the Chichester Assembly Rooms (c. 1782), talks and other evenings of casual social dance. It will be a very full week!
I am very excited to meet the course instructors for the week, including Anne Daye, who appeared on Dr. Lucy Worsley's 2014 documentary called "Dancing Cheek to Cheek" (episode 1 - The Devil's Work). Anne Daye will be teaching country dances, cotillions and Scottish reels from 1780 to 1815.
Stuart Marsden will also be teaching the course for the week. He was the dancing master in Dr. Amanda Vickery's fascinating 2013 social experiment "Pride and Prejudice: Having a Ball", in which the famous Netherfield Ball was recreated! Stuart Marsden is also involved in the new BBC production of Poldark! He will be teaching country dances, quadrilles and waltzes from 1805 to 1836.
It's been a bit quiet on this site for a while - getting back from Waterloo and preparing for a new adventure!
A few months ago, I was given a bursary from the Dolmetsch Historical Dance Society to attend their 2015 summer school called "Dancing Around 1815" in Chichester! It will be one fantastic (and probably exhausting) week of historical dance in honour of the bicentennial of the battle of Waterloo. There will be dance sessions in the morning and afternoon, as well as some lovely evening entertainments, like a Regency At Home and a ball at the Chichester Assembly Rooms (c. 1782), talks and other evenings of casual social dance. It will be a very full week!
I am very excited to meet the course instructors for the week, including Anne Daye, who appeared on Dr. Lucy Worsley's 2014 documentary called "Dancing Cheek to Cheek" (episode 1 - The Devil's Work). Anne Daye will be teaching country dances, cotillions and Scottish reels from 1780 to 1815.
Stuart Marsden will also be teaching the course for the week. He was the dancing master in Dr. Amanda Vickery's fascinating 2013 social experiment "Pride and Prejudice: Having a Ball", in which the famous Netherfield Ball was recreated! Stuart Marsden is also involved in the new BBC production of Poldark! He will be teaching country dances, quadrilles and waltzes from 1805 to 1836.
So, I've very excited to have the opportunity to learn from these two experts in the field of historical dance! My goal is to post on what I am learning each day, or if I am too exhausted in the evening, to write about my experiences when I get back. Fingers crossed!
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