Dance Instruction Video Collection
Volume 5 of the
American Ballroom Companion

The following list describes the 75 Video s that illustrate portions of the Dance Instruction Manuals on the 4 dance instruction CDs. These clips were selected from two different videotaping sessions. The first was a public event, "Society Dances and Parlor Amusements in The Great Hall," which took place at the Library of Congress on October 15, 1997. The event, which marked the 100th anniversary of the Library's Jefferson Building, featured late 19th-century dances performed in costume against the backdrop of the Great Hall, with music provided by a wind band using period instruments. The second videotaping session took place in the Library's Coolidge Auditorium on April 14, 1998. The videos from this session feature a pair of dancers demonstrating specific dances or movements from selected manuals in the collection. All time periods are represented in these videos.

The Table of Contents provides a complete list of the 75 clips arranged by historical period. The entries for individual Video s provide links to more details and references for each dance. (References are contained in Volumes 1-4 of the American Ballroom Companion.)

Table of Contents:

Late Nineteenth-Century Dance: Grand March (also known as The March, Polonaise, Grand Promenade, Opening March)

The following sources provide descriptions of the Grand March and its figures:

Harvey, J.H. Wehman's complete dancing master and call book, , p. 32
Reilley, E. The amateur's vademecum, p. 199
Koncen, M.J. Prof. M. J. Koncen's quadrille call book and ball room guide, , p. 15
Dewey, V. Persis. "Tips to dancers", , p. 18
Elmwell, L.H. Prompter's pocket instruction book, , p. 4
Dick's quadrille call-book, , p. 25
Cartier, P. Cartier and Baron's practical illustrated waltz instructor, , p. 42
The way to dance, , p. 16
Bosshardt-Strubi, J.R. Leitfaden fur den tanz , p. 51 (La Polonaise)
Meyen, H. The ball-room guide, , p. 17 (Polonaise)
Clendenen, F. Fashionable quadrille call book, , p. 13 (Polonaise)
Kopp, E.H. American prompter and guide to etiquette , , p. 15
Grant, H.N. How to become successful teachers of the art of dancing, , p. 25

Late Nineteenth-Century Dance: Quadrille

Virtually every dance manual published during the nineteeth century contains information on the performance of the quadrille. The following manuals provide helpful advice on late-nineteenth-century quadrilles: (Please note - there are no specific page numbers given, due to the amount of material in each volume.

Reilley, E.B. The amateur's vademecum,
Roberts. Roberts' manual of fashionable dancing,
Radestock, R. The royal ballroom guide,
Dick's quadrille call-book,
Rowe, G. The prompter's own book,
Cartier, P. Cartier and Baron's practical illustrated waltz instructor,
Carpenter, L. J.W. Pepper's universal dancing master,
White, C. Dancing and prompting,
Rivers, C. A full description of modern dances,
Howe, E. The pocket ball-room prompter,
Elmwell, L. Prompter's pocket instruction book,
Link, C. Unique dancing call book,
Witherspoon, E. The perfect art of modern dancing,
The way to dance ,
Kopp, E. The American prompter,
Clendenen, F. Fashionable quadrille call book,

Late Nineteenth-Century Dance: The German (also known as cotillon; German cotillon) "The Rope"

The following manuals provide descriptions of "The Rope" as well as other popular German figures:

DeGarmo, W. The prompter , , p. 46
Dick's quadrille call-book, , p. 146
How to lead the German, , p. 57
DeGarmo, W. Dance of society, , p. 120 ("La Corde")
Cartier, P. Cartier's practical waltz instructor, , p. 54
Koncen, M. Prof. MJ Koncen's quadrille call book, , p. 113
Brookes, L. Brookes on modern dancing, , p. 74 ("La Corde")

Late Nineteenth-Century Dance: The German (also known as cotillon; German cotillon) "The Fan" (L'Èventail)

The following manuals provide descriptions of "The Fan" as well as other German figures:

Sause, J. The art of dancing, , p. 110
Dick, Harris B. How to lead the german, , p. 53
DeGarmo, W. Dance of society, , p. 115 (L'Èventail)
Rivers, C. A Full description of modern dances, , p. 60 (L'Èventail)
Dodworth, A. Assistant for A. Dodworth's pupils, , p. 41
Howe, E. American dancing master, , p. 149
Dodworth, A. Dancing and its relations to education and social life, , p. 230
Cellarius, H. The drawing-room dances, , p. 109
Cellarius, H. La danse des salons, , p. 132-33 (L'Èventail)
Cartier, P. Cartier's practical illustrated waltz instructor, , p. 54
Koncen, M. Prof. M.J. Koncen's quadrille call book, , p. 97
Cartier, P. Cartier and Baron's practical illustrated waltz instructor, , p. 36
Harvey, J. Wehman's complete dancing master and call book, , p. 79
Ferrero, E. The art of dancing, , p. 169
Brookes, L. Brookes on modern dancing, , p. 80
Giraudet, E. Traité de la danse, , p. 105 (L'Èventail)
Paul, F. Le cotillon, , p. 83 (L'Èventail)

Late Nineteenth-Century Dance: The German (also known as cotillon; German cotillon) "Blind Man's Buff" (Le Colin Maillard)

The following sources provide descriptions of "Blind Man's Buff" as well as other German figures:

Dick, H. How to lead the german, , p. 51
DeGarmo, W. Dance of society, , p. 128
Dick's quadrille call-book, , p. 137
Koncen, M. Prof. M.J. Koncen's quadrille call book, , p. 99
Dodworth, A. Assistant for A. Dodworth's, , p. 41
Cellarius, H. Drawing-room dances, , p. 109-110 (La Colin Maillard)
Cellarius., H. La danse des salons, , p. 133 (La Colin Maillard)
Howe, E. American dancing master, , p. 149
Cartier, P. Cartier's practical illustrated waltz instructor, , p. 55
Cartier, p. Cartier and Baron's practical illustrated waltz instructor, , p. 37
Harvey, J. Wehman's complete dancing master and call book, , p. 81
Ferrero, E. The art of dancing, , p. 169
Brookes, L. Brookes on modern dancing, , p. 76 (Le Colin Maillard)
Rivers, C. A full description of modern dances, , p. 60

Late Nineteenth-Century Dance: Waltz Variations

Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Reneé Camus, Charles Garth, Elizabeth Keen, James Martin, Hugh Murphy, Maris Wolff. Choreography by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "La Gitana: Hesitation Waltz" by Ernest Bucalossi in Modern dance music, Boston, Chicago, 1890. Performed by Kim Miller, violin and John Legg, piano.

Late Nineteenth-Century Dance: Washington Post Two Step

Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Reneé Camus, Charles Garth, Elizabeth Keen, James Martin, Mark Mindek, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "Washington Post" by John Philip Sousa . Played by members of The Library of Congress Centennial Cotillion Brass Band, Emerson Head and Robert Sheldon, Leaders.

(Members, Metro Washington D.C. Federation of Musicians Local 161-710, AFM)

Late Nineteenth-Century Dance: The Washington Post Two Step

Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Reneé Camus, Charles Garth, Elizabeth Keen, James Martin, Mark Mindek, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "Washington Post" by John Philip Sousa . Played by members of The Library of Congress Centennial Cotillion Brass Band, Emerson Head and Robert Sheldon, Leaders. (Members, Metro Washington D.C. Federation of Musicians Local 161-710, AFM)

Late Nineteenth-Century Dance: Waltz and "Loomis' Glide Mazurka"

Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Reneé Camus, Charles Garth, Elizabeth Keen, James Martin, Mark Mindek, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "Tres Jolie' Waltzes" by C.E. Waldteufel and arranged for brass band by E. C. Walston. Played by members of The Library of Congress Centennial Cotillion Brass Band, Emerson Head and Robert Sheldon, Leaders. (Members, Metro Washington D.C. Federation of Musicians Local 161-710, AFM)

This performance was based on a description found in the following manual: Gilbert, M. Round dancing, , p. 79-88 (The Waltz), p. 148 ("Loomis' Glide Mazurka")

Late Nineteenth-Century Dance: "The Eugenie" and Waltz Cotillion (also known as Waltz Quadrille)

This performance was based on a description found in the following manual:
Gilbert, M. Round dancing, , p. 97 ("The Eugenie"),

Many nineteenth-century sources provide descriptions for waltz cotillions (or waltz quadrilles) including:

Strassburg, H. Call book of modern quadrilles, , p. 8,
Radestock, R. The royal ballroom guide, , p. 64,
Harvey, J. Wehman's complete dancing master, , p. 19,
Cartier, P. Cartier's practical illustrated waltz instructor, , p. 21,
Cartier, P. Cartier and Baron's practical illustrated waltz instructor, , p. 21,
[Witherspoon, E] Perfect art of modern dancing, , p. 49,
Wehman Bros.· book on the way to dance, , p. 49,
[Brown, R.], A treatise on the elements of dancing, , p. 82,
Howe, E. American dancing master, , p. 63,
Howe, E. Howe·s complete ballroom hand book, , p. 54,
Elmwell, L. Prompter's pocket instruction book, , p. 32,
French, J. The prompter's handbook, , p. 48,
Kopp, E. The American prompter, , p. 77,
White, C. Dancing and prompting, , p. 18,

 

Late Nineteenth-Century Dance: The Butterfly Dance

Choreographed by Elizabeth Aldrich and Jody Sperling. Performed by Jody Sperling. The Great Hall, The Library of Congress, 15 October 1997. Music: Themes from Grosse Fantasia aus Richard Wagner's "Die Walküre" arranged by Arthur Seidel, orchestrated for brass band by Robert Sheldon. Played by members of The Library of Congress Centennial Cotillion Brass Band, Emerson Head and Robert Sheldon, Leaders. (Members, Metro Washington D.C. Federation of Musicians Local 161-710, AFM)

Late Nineteenth-Century Dance: The German (also known as cotillon; German cotillon) "Blind Man's Buff" (Le Colin Maillard) "The Covered Pieces"

The following manual provides a description of "The Covered Pieces":
Dodworth, A. Dancing and its relations to education and social life , p. 232,

The following manuals provide descriptions of "Blind Man's Buff" as well as other figures:

Dick, H. How to lead the german, , 51,
DeGarmo, W. Dance of society, , p. 128,
Dick's quadrille call-book, , p. 137,
Koncen, M. Prof. M.J. Koncen's quadrille call book, , p. 99,
Dodworth, A. Assistant for A. Dodworth's, , p. 41,
Cellarius, H. Drawing-room dances, , p. 109-110 (La Colin Maillard),
Cellarius., H. La danse des salons, , p. 133 (La Colin Maillard),
Howe, E. American dancing master, , p. 149,
Cartier, P. Cartier's practical illustrated waltz instructor, , p. 55,
Cartier, p. Cartier and Baron's practical illustrated waltz instructor, , p. 37,
Harvey, J. Wehman's complete dancing master and call book, , p. 81,
Ferrero, E. The art of dancing, , p. 169,
Brookes, L. Brookes on modern dancing, , p. 76 (Le Colin Maillard),
Rivers, C. A full description of modern dances, , p. 60,

Early Nineteenth-Century Quadrille: Step combinations for figures balancé and tour de mains

Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Reconstructed by Elizabeth Aldrich. Music: La Pantalon from "Pietro l'Eremita" in Quadrilliana, a selection of the most admired and popular quadrille melodies. C. Wheatstone: London, 181-.

This performance was based on a description found in the following manual:
Strathy, A. Elements of the art of dancing, 1822 (# 154), Instructions for balancé, p. 76, Instructions for tour de mains: p. 67

Early Nineteenth-Century Quadrille: Step combinations for figures Forward and Back; Cross Over

Performed by dancers Cheryl Stafford and Thomas Baird; Susan Manus, violin. Reconstructed by Elizabeth Aldrich. Music: La Trenise from "La Latona" in Quadrilliana, a selection of the most admired and popular quadrille melodies. C. Wheatstone: London, 181-.

This performance was based on a description found in the following manual:
Gourdoux-Daux, J. Elements and principles of the art of dancing, 1817 . Instructions for Forward and Back, p. 70, Instructions for Cross Over, p. 71

Baroque Dance: Courante from "La Bourgogne" (1st couplet; man's part only)

Choreography by Raoul-Auger Feuillet; reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: unknown, provided in source.

This performance was based on a description found in the following manual:
Recueil de dances, composée par M. Pecour, 1709 , p. 43-44

Baroque Dance: Sarabande from "La Bourgogne" (1st couplet; man's part only)

Choreography by Raoul-Auger Feuillet; reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: unknown, located in source.

This performance was based on a description found in the following manual: Recueil de dances, composée par M. Pecour, 1709 , p. 47-48

Baroque Dance: Bourée from "La Savoye" (1st couplet; man's part only)

Choreography by Raoul-Auger Feuillet; reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: Act I, Méduse by Charles Hubert Gervais.

This performance was based on a description found in the following manual:
Recueil de dances, composée par M. Pecour, 1709 , p. 54

Baroque Dance: Sampler of steps: pas de bourée, coupé glissé, coupé ouverte

Choreography from "La Savoye" by Raoul-Auger Feuillet; reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: Méduse by Charles Hubert Gervais.

This performance was based on a description found in the following manual:
Feuillet, R. Chorégraphie, 1709 , pas de bourée from Table de Pas de Bourée, our Fleurets, p. 53, coupé glissé from Table des Coupés, p. 44, coupé ouverte from Table des Coupés, p. 45.

Baroque Dance: Pas de menuet de deux mouvements (minuet step of two movements)

Reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: unknown, located in source.

The following manuals provide descriptions of the above figure:

Rameau, P. Le Maître a danser, 1748 , p. 76-83
Weaver, J. The dancing-master, , p. 43-47

Baroque Dance: Pas de menuet de trois mouvements (minuet step of three movements)

Reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: unknown, located in source.

This performance was based on descriptions found in the following manuals:

Rameau, P. Le Maître a danser, 1748 , p. 76-83
Weaver, J. The dancing-master, , p. 43-47

Baroque Dance: "Entrée d'apolon" (1st couplet)

Choreography by Raoul-Auger Feuillet, reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: " Le Triomphe de l'Amour" by Jean-Baptiste Lully.

This performance was based on a description found in the following manual:
Feuillet, R. Recueil de dances, composeés par M. Feuillet , p. 60

Renaissance Dance: Cinq pas de la gaillarde (basic galliard step)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: variation on "Belle qui tiens ma vie" by Thoinot Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 53 recto

Renaissance Dance: Autres cinq pas (galliard variations)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: "Galliard" by Claude Gervaise.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 53 verso

Renaissance Dance: Passage d'unze pas (eleven-step gallliard variation)

Reconstructed by Cheryl Stafford. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: variation on "Belle qui tiens ma vie" by Thoinot Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 60 recto-60 verso

Renaissance Dance: Sample steps from the Italian repertory: continenza grave; 2 seguito ordinario; 2 seguito spezatto

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: "Amor Constante" from Nobiltà di dame.

This performance was based on a description found in the following manual:
Caroso, F. Nobiltà di dame, , continenza grave, p. 16, seguito ordinario p. 26, sequito spezatto p. 30.

For contrasting descriptions, see:
Negri, C. Nuove inventioni di balli, , continenza grave, p. 105, seguito ordinario, p. 108, seguito spezatto, p. 108,

Renaissance Dance: Sample steps from the Italian repertory: seguito ordinario; fioretto ordinario; seguito spezatto; saffice

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: "Amor Constante" from Nobiltà di dame.

This performance was based on a description found in the following manual:
Caroso, F. Nobiltà di dame, , seguito ordinario, p. 26, fioretto ordinario, p. 37, sequito spezatto, p. 30, saffice, p. 61.

For contrasting descriptions, see:
Negri, C. Nuove inventioni di balli, , seguito ordinario, p. 108;, fioretto ordinario, p. 51; , seguito spezatto, p. 108, (saffice not in Negri)

Renaissance Dance: Sample steps from the Italian repertory: seguito ordinario; trabuchetto grave; seguito spezatto; destice

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: "Amor Constante" from Nobiltà di dame.

This performance was based on a description found in the following manual:
Caroso, F. Nobiltà di dame, , seguito ordinario, p. 26, trabuchetto grave, p. 36, sequito spezatto, p. 30, destice, p. 62.

For contrasting descriptions, see:
Negri, C. Nuove inventioni di balli, , continenza grave, p 105, seguito ordinario, p. 108, seguito spezatto, p. 108. , (destice not in Negri)

Renaissance Dance: Sample steps from the Italian repertory: sequito spezatto schischiato; sequito battuto al canario

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: canario from "Adda Felice" from Nuove inventioni di balli.

This performance was based on descriptions found in the following manuals:

Caroso, F. Nobiltà di dame, (#199], sequito spezatto schischiato, p. 33
Negri, C. Nuove inventioni di balli, , sequito battuto al canario, p. 109 ,

Renaissance Dance: Pavane (pavan) steps for moving forward

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: "Belle qui tiens ma vie" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , pas simple p. 27 recto - 27 verso, pas double p. 27 verso

Renaissance Dance: Pavane (pavan) steps for moving backward

Reconstructed by Elizabeth Aldrich. Performed by Thomas Baird dancer; Susan Manus, violin. Music: "Belle qui tiens ma vie" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , pas simple p. 27 recto - 27 verso, pas double p. 27 verso

Renaissance Dance: Conversion while dancing the pavane (pavan)

Reconstructed by Elizabeth Aldrich. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: "Belle qui tiens ma vie" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , 29 recto

Renaissance Dance: Pavane (pavan)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Belle qui tiens ma vie" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , pas simple p. 27 recto - 27 verso, pas double p. 27 verso, conversion p. 29 recto, p. 28 verso, and 29 verso for information on performing pavane

Renaissance Dance: Branle Simple

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Branle Simple" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 71 recto - 71 verso

Renaissance Dance: Branle Double

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Branle Double" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 68 verso - 69 recto - 69 verso

Renaissance Dance: Branle Charlotte

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Branle Charlotte" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 76 recto - 77 verso

Renaissance Dance: Pas double for dancing the branle

Reconstructed by Elizabeth Aldrich. Performed by Thomas Baird, dancers; Susan Manus, violin. Music: "Branle des Lavandieres" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , pas double p. 27 verso

Renaissance Dance: Pas simple for dancing the branle

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford, dancer; Susan Manus, violin. Music: "Branle des Lavandieres" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , pas simple p. 27 recto - 27 verso

Renaissance Dance: Last bar: Branle des Lavandieres (Washerwomen's Branle)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Branle des Lavandieres" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 83 recto

Renaissance Dance: Branle des Lavandieres (Washerwomen's Branle)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Branle des Lavandieres" from Arbeau.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , pas simple p. 27 recto - 27 verso, pas double p. 27 verso, "Branle des Lavandieres" p. 83 recto - 83 verso - 84 recto.

Early Nineteenth-Century Dance: March steps, bow, and Slow French Waltz

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Tunes adapted to the French Slow Waltz" in Wilson.

Early Nineteenth-Century Dance: March steps, bow and curtsy

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Tunes adapted to the French Slow Waltz" in A description of the correct method of waltzing, Sherwood, Neely, and Jones: London, 1816.

Early Nineteenth-Century Dance: Scotch Reel steps

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Devil's Dream; a dance," New York: W. Hall, 185-.

This performance was based on a description found in the following manual:
Peacock, F. Sketches relative to the history and theory, but more especially to the practice of dancing . kemshóle, p. 91, minor kemkóssy, p. 92, double kemkóssy and single kemkóssy, p. 93.,

Mid-Nineteenth-Century Dance: Polka

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Sontag Polka" in The social orchestra by Stephen Foster, New York: Firth, Pond, 1854.

This performance was based on a description found in the following manual:
Ferrero, E. The art of dancing, , p. 144-145

Descriptions of the polka can be found in many mid-nineteenth sources including:

Cellarius, H. The drawing-room dances, , p. 20
Cellarius, H. La danse des salons, , p. 27
Hillgrove, T. A complete practical guide , p. 162-163
Durang, C. The fashionable dancer's casket, , p. 46-49
Hillgrove, T. The scholars' companion, , p. 82
The ball-room guide , p. 67-70
Howe, E. American dancing master , p. 108-109
Gawlikowski, P. Guide complete de la danse, , p. 53-54
Brooks, C. (The Polka Waltz), The ball-room monitor , p. 16
Blasis, C. Nouveau manuel complet de la danse, , p. 37
Reilley, E. The amateur's vademecum , p. 106-108
Ball-room dancing without a master, , p. 26
Coulon, E. Coulon's hand-book, , p. 3-4
Beadle's dime ball-room companion , p. 29

Mid-Nineteenth-Century Dance: Esmeralda (1st version)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Sontag Polka" in The social orchestra by Stephen Foster, New York: Firth, Pond, 1854.

This performance was based on descriptions found in the following manuals:

Hillgrove, T. A complete practical guide, , p. 168-169
Hillgrove, T. The scholars' companion, , p. 89

Mid-Nineteenth-Century Dance: Esmeralda (2nd version)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin.

Music: "Sontag Polka" in The social orchestra by Stephen Foster, New York: Firth, Pond, 1854.

This performance was based on a description found in the following manual:
Howe, E. American dancing master, , p. 110

For further descriptions of the Esmeralda, see

Brookes, L. Brookes on modern dancing, , p. 55
Reilley, E.B. The amateur's vademecum, , p. 121
DeGarmo, L. The dance of society, , p. 97
Cartier, P. Cartier and Baron's practical illustrated waltz instructor, , p. 31
Ferrero, E. The art of dancing, , p. 151

Renaissance Dance: Révérence

Reconstructed by Cheryl Stafford. Performed by Cheryl Stafford and Thomas Baird.

This performance was based on a description found in the following manual:
Arbeau, Thoinot. Orchesographie, , p. 40 verso

Baroque Dance: Révérence (Honour)

Reconstructed by Thomas Baird. Performed by Cheryl Stafford and Thomas Baird.

This performance was based on a description found in the following manual:
Rameau, P. Le maître a danser, , p. 62

Late Nineteenth-Century Dance: Bow and curtsy (Salutations)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird.

This performance was based on a description found in the following manual:
Dodworth, A. Dancing and its relations to education and social life , p. 75

Mid-Nineteenth-Century Dance: Schottisch (schotisch; schottische)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Susan Manus, violin. Music: "Rainbow Schottisch" in The social orchestra by Stephen Foster, New York: Firth, Pond, 1854.

This performance was based on a description found in the following manual:
Ferrero, E. The art of dancing , , p. 146-147

Mid-Nineteenth-Century Dance: Polka mazurka and the Gitana waltz

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers: Susan Manus, violin. Music: "Byerly's Waltz" in The social orchestra by Stephen Foster, New York: Firth, Pond, 1854.

This performance was based on descriptions found in the following manuals:

Ferrero, E. The art of dancing, , p. 148-149 polka mazurka, p.153 gitana waltz
Hillgrove, T. A complete practical guide to the art of dancing, , p. 175 polka mazurka , p. 187 gitana (called La Carlowitzka)
Howe, E. American dancing master, , p. 111 polka mazurka, p. 113 gitana (called gintana)

Mid-Nineteenth-Century Dance: Waltz (also known as La valse à trois temps; plain waltz; waltz of three steps; new valse; waltz a trois temps)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird; Boris Gurevich, piano. Music: "Waltz aus der oper "La Sonnombula" in A collection of dance music, waltzes, galops, polkas, polonaises, marches, etc., arranged in most part from operas by German and French composers, Mainz: B. Sohne, [182-?- 184-?].

This performance was based on a description found in the following manual:
Cellarius, H. The drawing-room dances, , p. 26 (waltze a trois temps)

Virtually every nineteenth-century manual contains description of the waltz. For other descriptions, see:

Cellarius, H. La danse des salons, , p. 35-40 (La Valse à Trois Temps)
Ferrero, E. The art of dancing, , p. 143 (The Waltz)
Hillgrove, T. A complete practical guide to the art of dancing, , p. 176-178 (Plain Waltz)
Durang, C. The fashionable dancer's casket, , p. 63-65 (Valse à Trois Temps)
Hillgrove, T. The scholars' companion, , p. 87 (The Waltz)
Gawlikowski, P. Guide complet de la danse, , p. 45-47 (Valse à trois temps)
Reilley, E. The amateur's vademecum, , p. 115-117 (The Plain Waltz)
Howe, E. American dancing master, , p. 118-119 (Waltz of Three Steps)
Brooks, C. The ball-room monitor, , p. 17-18 (Waltz)
Ball-room dancing without a master, , p. 50 (The New Valse)
Blasis, C. Nouveau manuel complet de la danse, , p. 34-36 (Valse à trois temps)
Ball-room guide, , p. 60 (Valse à trois temps)
Brookes, C. Brookes on modern dancing, , p. 47 (Valse à Trois Temps)
Coulon, E. Coulon's hand-book, , p. 69-70 (The waltz)
Beadle's Dime ball-room companion, , p. 27 (waltz a Trois Temps)
Giraudet, E. Traité de la danse, , p. 33-40 (Valse à Trois Temps)

Mid-Nineteenth-Century Dance: Varsovienne (varsoviana)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Violet Waltz," by R. Albert, New York: W. C. Peters and Sons, 1850.

The following manuals provide descriptions of the above figure:

Ferrero, E. The art of dancing, , p. 147-148
Hillgrove, T. A complete practical guide to the art of dancing, , p. 173-174
Hillgrove, T. The scholars' companion, , p. 92
Howe, E. American dancing master, , p. 107
Reilley, E. The amateur's vademecum, , p. 125-126
Ball-room dancing without a master, , p. 47
Durang, C. The fashionable dancer's casket, , p. 145 (Varsoviana)
Ball-room guide, , p. 65-67 (Varsoviana)
Giraudet, E. Traité de la danse, , p. 90-92 (Varsoviana)
Coulon, E. Coulon's hand-book, , p. 89-90 (Varsoviana)

Mid-Nineteenth-Century Dance: Zingirella

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "The Original Mazurka, and Cellarius Waltze," by Jullien, London: Jullien and Co., 184-.

The following manuals provide descriptions of the above figure:

Howe, E. American dancing master, , p. 115
Ferrero, E. The art of dancing, , p. 153
Hillgrove, T. A complete practical guide to the art of dancing, , p. 188

Mid-Nineteenth-Century Dance: Five Step Waltz (also known as Cinq Temps; Valse en Cinq Temps; Waltze à Cinque Temps)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Waltz in five-four," in First Part of the Musician's Companion, compiled by Elias Howe, Jr., Boston: E. Howe, 1844.

The following manuals provide descriptions of the above figures:

Hillgrove, T. A complete practical guide to the art of dancing, , p. 181-182
Howe, E. American dancing master, , p. 114
Ferrero, E. The art of dancing, , p. 152-153

For alternative methods of performing this waltz, see:

Cellarius, H. The drawing-room dances, , p. 48-50 (Waltz à Cinque Temps)
Cellarius, H. La danse des salons, , p. 61-64 (La Valse à Cinq Temps)
Brookes, L. Brookes on modern dancing, , p. 55-56 (Step of the Cinq Temps)
Giraudet, E. Traité de la danse, , p. 76 (Valse en Cinq Temps)

Late Nineteenth-Century Dance: Waltz

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Wein, Weib und Gesang Waltzes," in Johann Strauss Dance Music, Boston: White, Smith and Perry, 189-.

The following manuals provide descriptions of the above figure:

Gilbert, M. Round dancing, , p. 79-88
Dodworth, A. Dancing and its relations to education and social life, , p. 62-70

Late Nineteenth-Century Dance: Waltz (feet only)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Wein, Weib und Gesang Waltzes," in Johann Strauss Dance Music, Boston: White, Smith and Perry, 189-.

The following manuals provide descriptions of the above figure:

Gilbert, M. Round dancing, , p. 79-88
Dodworth, A. Dancing and its relations to education and social life, , p. 62-70

Late Nineteenth-Century Dance: Heel-and-Toe Polka (also known as the Bohemian)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Heel and Toe (Kutsche) Polka," in The national dance album by favorite composers, Philadelphia: Thos. Hunter, 1882.

This performance was based on a description found in the following manual:
[Brown, R]. A treatise on the elements of dancing, . p. 58-59

For alternative descriptions of the Heel and Toe Polka, see:

Koncen, M. Prof. M.J. Koncen's quadrille call book and ball room guide, , p. 91
Dodworth, A. Dancing and its relations to education and social life, , p. 56-57
[Witherspoon, E.] The perfect art of modern dancing, , p. 54
Harvey, J. Wehman's complete dancing master, , p. 72
Cartier, P. Cartier's practical illustrated waltz instructor, , p. 45
Gilbert, M.B. Round dancing, , p. 55-56

Late Nineteenth-Century Dance: Heel-and-Toe Polka (feet only) (also known as the Bohemian)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Heel and Toe (Kutsche) Polka," in The national dance album by favorite composers, Philadelphia: Thos. Hunter, 1882.

This performance was based on a description found in the following manual:
[Brown, R]. A treatise on the elements of dancing, . p. 58-59

For alternative descriptions of the Heel and Toe Polka, see:

Koncen, M. Prof. M.J. Koncen's quadrille call book and ball room guide, , p. 91
Dodworth, A. Dancing and its relations to education and social life, , p. 56-57
[Witherspoon, E.] The perfect art of modern dancing, , p. 54
Harvey, J. Wehman's complete dancing master, , p. 72
Cartier, P. Cartier's practical illustrated waltz instructor, , p. 45
Gilbert, M.B. Round dancing, , p. 55-56

Late Nineteenth-Century Dance: Cross Step Polka

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Spring Morning Polka," by A.P. Wyman in The organ at home, Boston: Oliver Ditson & Co, 1873.

This performance was based on a description found in the following manual:
Gilbert. M. Round dancing, , p. 54

Late Nineteenth-Century Dance: The Carlton

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Spring Morning Polka," by A.P. Wyman in The organ at home, Oliver Ditson and Co.: Boston, 1873.

This performance was based on a description found in the following manual:
Gilbert. M. Round dancing, , p. 64

Late Nineteenth-Century Dance: The Carlton (feet only)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Spring Morning Polka," by A.P. Wyman in The organ at home, Oliver Ditson and Co.: Boston, 1873.

This performance was based on a description found in the following manual:
Gilbert. M. Round dancing, , p. 64

Late Nineteenth-Century Dance: Loomis' Glide Mazurka

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Only for Thee-Polka Mazurka," by Hermann Fliege in Modern dance music, Boston and Chicago: White, Smith and Co., 1890.

This performance was based on a description found in the following manual:
Gilbert, M. Round dancing, , p. 148

Late Nineteenth-Century Dance: Loomis' Glide Mazurka (feet only)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Only for Thee-Polka Mazurka," by Hermann Fliege in Modern dance music, Boston and Chicago: White, Smith and Co., 1890.

This performance was based on a description found in the following manual:
Gilbert, M. Round dancing, , p. 148

Late Nineteenth-Century Dance: Waltz Minuet

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Spring Morning Polka," by A.P. Wyman in The organ at home, Boston: Oliver Ditson & Co., 1873.

This performance was based on a description found in the following manual:
Gilbert, M. Round dancing, , p. 102

Late Nineteenth-Century Dance: Star Schottische

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Military Schottisch" by C.H. Rowell in Modern dance music, Boston, New York, Chicago: White, Smith and Co., 1890.

This performance was based on a description found in the following manual:
Gilbert, M. Round dancing, , p. 123

Late Nineteenth-Century Dance: Star Schottische (feet only)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Military Schottisch" by C.H. Rowell in Modern dance music, Boston, New York, Chicago: White, Smith and Co., 1890.

This performance was based on a description found in the following manual:
Gilbert, M. Round dancing, , p. 123

Ragtime Dance: One Step Variation

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "The Castle Walk" by James Reese Europe and Ford T. Dabney, New York, Chicago, London, Australia: Jos. W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
Hopkins, J. The tango and other up-to-date dances, , p. 25

Ragtime Dance: Castle Walk

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "The Castle Walk" by James Reese Europe and Ford T. Dabney, New York, Chicago, London, Australia: Jos. W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
Castle, I and V. Modern dancing, , p. 47

Ragtime Dance: Standard Waltz

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Bink's Waltz" by Scott Joplin, Saint Louis: Bahnsen Music Co., 1905.

This performance was based on a description found in the following manual:
Newman, A. Dances of to-day, , p. 104-106

Ragtime Dance: The Maxixe (1st Step)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Bregeiro Maxixe" by Ernesto Nazareth in The Mark Stern latest society dance folio for piano, New York, Chicago, London, Australia: Jos. W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
Newman, A. Dances of to-day, , p. 143

Ragtime Dance: The Maxixe

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Bregeiro Maxixe" by Ernesto Nazareth in The Mark Stern latest society dance folio for piano, New York, Chicago, London, Australia: Jos. W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
[O'Donnell], B. The tango and the new dances, , p. 26-27 (4th Figure)

Ragtime Dance: The Maxixe

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "Bregeiro Maxixe" by Ernesto Nazareth in The Mark Stern latest society dance folio for piano, New York, Chicago, London, Australia: Jos. W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
[O'Donnell], B. The tango and the new dances, , p. 26-27 (4th Figure-upper torso)

Ragtime Dance: Argentine Tango

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "El Choclo" by A.G. Villoldo in The Mark Stern latest society dance folio for piano, New York, Chicago, London, Australia: Jos.W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
Walker, C. The modern dances, , p. 60 (1st Figure), p. 61 (3rd Figure), p. 61-62 (4th Figure) p. 63 (7th Figure)

Ragtime Dance: Argentine Tango (1st figure-feet only)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano.

Music: "El Choclo" by A.G. Villoldo in The Mark Stern latest society dance folio for piano, New York, Chicago, London, Australia: Jos.W. Stern and Co.: 1914.

This performance was based on a description found in the following manual:
Walker, C. The modern dances, , p. 60 (1st Figure--feet only)

Ragtime Dance: Argentine Tango (4th figure-feet only)

Reconstructed by Elizabeth Aldrich. Performed by Cheryl Stafford and Thomas Baird, dancers; Boris Gurevich, piano. Music: "El Choclo" by A.G. Villoldo in The Mark Stern latest society dance folio for piano, New York, Chicago, London, Australia: Jos.W. Stern and Co., 1914.

This performance was based on a description found in the following manual:
Walker, C. The modern dances, , p. 61-62 (4th Figure)

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