This CD shows 75 video clips 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 second videotaping session took place in the Library's Coolidge Auditorium on April 14, 1998.
The following list describes the 75 video clips 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 clips 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)
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� 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: "Masonic March" by J. Schatzman, 1859. 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: Quadrille
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Charles Garth, James Martin, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "Queen of Harvest Quadrille" by John Philip Sousa, 1889. 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) "The Rope"
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� Camus, Charles Garth, Elizabeth Keen, James Martin, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "The Stampede: A Descriptive Hunting Scene" by W. E. Pettee, 1892. 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) "The Fan" (L'�ventail)
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� Camus, Charles Garth, Elizabeth Keen, James Martin, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "The Stampede: A Descriptive Hunting Scene" by W. E. Pettee, 1892. 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)
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� Camus, Charles Garth, Elizabeth Keen, James Martin, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "The Stampede: A Descriptive Hunting Scene" by W. E. Pettee, 1892. 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 Variations
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� 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, Rene� 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 (1889). 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, Rene� 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 (1889). 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, Rene� 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 (1881) 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, (#250), p. 79-88 (The Waltz), p. 148 ("Loomis' Glide Mazurka")
Late Nineteenth-Century Dance: "The Eugenie" and Waltz Cotillion (also known as Waltz Quadrille)
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� 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 (1881) 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, (#250), p. 97 ("The Eugenie"),
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 Walk�re" 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"
Performed by members of The Jonquil Street Foundation, Inc. Ariane Anthony, Thomas Baird, Barbara Barr, Patricia Beaman, Christopher Caines, Rene� Camus, Charles Garth, Elizabeth Keen, James Martin, Hugh Murphy, Maris Wolff. Choreography/reconstruction by Elizabeth Aldrich. The Great Hall, The Library of Congress, 15 October 1997. Music: "The Stampede: A Descriptive Hunting Scene" by W. E. Pettee, 1892. 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)
The following manual provides a description of "The Covered Pieces":
Dodworth, A. Dancing and its relations to education and social life (#186), p. 232,
Early Nineteenth-Century Quadrille: Step combinations for figures balanc� 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 balanc�, 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 (#212). 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, compos�e par M. Pecour, 1709 (#073), 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, compos�e par M. Pecour, 1709 (#073), p. 47-48
Baroque Dance: Bour�e 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, M�duse (1697) by Charles Hubert Gervais.
This performance was based on a description found in the following manual:
Recueil de dances, compos�e par M. Pecour, 1709 (#073), p. 54
Baroque Dance: Sampler of steps: pas de bour�e, coup� gliss�, coup� ouverte
Choreography from "La Savoye" by Raoul-Auger Feuillet; reconstructed by Thomas Baird. Performed by Thomas Baird, dancer; Susan Manus, violin. Music: M�duse (1697) by Charles Hubert Gervais.
This performance was based on a description found in the following manual:
Feuillet, R. Chor�graphie, 1709 (#072), pas de bour�e from Table de Pas de Bour�e, our Fleurets, p. 53, coup� gliss� from Table des Coup�s, p. 44, coup� ouverte from Table des Coup�s, 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.
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.
Baroque Dance: "Entr�e 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" (1681) by Jean-Baptiste Lully.
This performance was based on a description found in the following manual:
Feuillet, R. Recueil de dances, compose�s par M. Feuillet (#073), 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, (#219), 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, (#219), 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, (#219), 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 Nobilt� di dame.
This performance was based on a description found in the following manual:
Caroso, F. Nobilt� di dame, (#199), continenza grave, p. 16, seguito ordinario p. 26, sequito spezatto p. 30.
For contrasting descriptions, see:
Negri, C. Nuove inventioni di balli, (#121), 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 Nobilt� di dame.
This performance was based on a description found in the following manual:
Caroso, F. Nobilt� di dame, (#199), 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, (#121), 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 Nobilt� di dame.
This performance was based on a description found in the following manual:
Caroso, F. Nobilt� di dame, (#199), 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, (#121), 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.
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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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, (#219), 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 (#133). kemsh�le, p. 91, minor kemk�ssy, p. 92, double kemk�ssy and single kemk�ssy, 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, (#067), p. 144-145
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.
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, (#102), p. 110
Renaissance Dance: R�v�rence
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, (#219), p. 40 verso
Baroque Dance: R�v�rence (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 ma�tre a danser, (#142), 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 (#186), 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 , (#067), 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.
Mid-Nineteenth-Century Dance: Waltz (also known as La valse � 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, (#037), p. 26 (waltze a 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.
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-.
Mid-Nineteenth-Century Dance: Five Step Waltz (also known as Cinq Temps; Valse en Cinq Temps; Waltze � 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.
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-.
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-.
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, (#162). p. 58-59
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, (#162). p. 58-59
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, (#250), 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, (#250), 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, (#250), 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, (#250), 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, (#250), 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, (#250), 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, (#250), 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, (#250), 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, (#097), 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, (#240), 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, (#122), 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, (#122), 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, (#239), 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, (#239), 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, (#161), 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, (#161), 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, (#161), p. 61-62 (4th Figure)
