CREATED/PUBLISHED [New York, Hurst & co., c1872]

SUMMARY This manual suggests that anyone can learn to dance without the aid of a teacher and, after providing a short discussion on organizing balls, appropriate dress, and etiquette, the book focuses on the popular ballroom dances of the era--quadrilles, polka, schottisch, polka mazurka, and varsoviana. This "do it yourself mentality was common during the late nineteenth century and this particular dance manual was reissued in 1876 under the title Offenbach's dancing without a master.

CREATED/PUBLISHED London, F. Warne and co., 1866.

SUMMARY Like many other nineteenth-century dance manuals, much of the material in The ball-room guide is not original but borrowed from other sources. The manual opens with discussion on the arrangements for balls, appropriate dress for ladies and gentlemen, and thirteen pages of etiquette. Various dances are described including quadrilles, the waltz, varsoviana, polka and three group dances, "The Spanish Dance," "Temp�te," and "Sir Roger de Coverly." The manual concludes with a glossary of terminology used in ballroom dance.

CREATED/PUBLISHED New York, Huestis & Craft, 1841.

SUMMARY This manual, small enough to fit into a pocket, declares it contains "all the information which is interesting to the world of dancing" [p. 5]. In fact, like many nineteenth-century dance manuals, the text is heavily borrowed from numerous sources and compiled by a publisher. Its format is common for this type of manual and it begins with a discussion on etiquette followed by description of quadrilles--popular group dances performed by four couples facing in a square. Although, the waltz was a staple of the mid-nineteenth-century ballroom, it is not discussed in this manual.

CREATED/PUBLISHED Belfast, Me., H. G. O. Washburn; Boston, G. W. Cottrell, 1863.

SUMMARY The publisher of this tiny manual (called a "vest pocket edition") notes that of the many books available to the dancing public, few contain "the good old contra dances of our ancestors." To remedy the situation, the manual gives figures for fifty-six English country dances, group dances consisting of figures performed by a column of men facing a column of women.

CREATED/PUBLISHED Graz, Austria : Akademische Druck- u. Verlagsanstalt, 1988.

SUMMARY This is a facsimile reproduction with additional commentary of a rare fifteenth-century source for the bassedanse, a Burgundian court dance. Known as Brussels manuscript 9085, it consists of twenty-five parchment leaves on black paper with gold rules and calligraphic initials in silver. Seventeen folios contain specific music and choreographies in the earliest known dance notation.

CREATED/PUBLISHED New York, Beadle and company [c1868]

SUMMARY This manual is typical of books that were assembled by publishers to be dissminated to a broad mass market. It is a compilation of many treatises covering etiquette, dress and demeanor, and describes the popular ballroom dances of the era--quadrille, waltz, schottisch, and polka.

OTHER TITLES Constitution of the Virginia Polytechnic Institute German Club

CREATED/PUBLISHED [Blacksburg], The Institute, [1917]

SUMMARY This revised constitution lists the objectives of a club organized to hold dances that consisted solely of the German, a popular parlor game wherein the participants performed a series of party games to music. The constitution lists the duties of the officers and standing committees, which included committees for refreshments, invitations, reception, and music. Part of the constitution noted that "no member of the Club shall drink any intoxicating liquor within twenty-four hours immediately preceding [the event]."

OTHER TITLES Plaisirs de l'Arquebuse Recueil de danses

CREATED/PUBLISHED Paris, [17--]

SUMMARY This is a bound collection of over eighty-five late eighteenth-century contredanses and contredanse variants such as contredanse francaise; contredanse allemande; and contredanse anglaise, each choreographed by well-known dancing masters and dancers including Philip Desnoyers, Marie Allard, Landrin, and Denis. Each contredanse consists of a title page, a page for description of the figures, another for the floor plan, and a fourth page for the music. Although most contredanses were designed for four couples facing in a square, this collection contains dances for up to twelve performers.

CREATED/PUBLISHED Philadelphia, Pa. : A. Moore, 1900.

SUMMARY Translated from French by Arabella E. Moore, this is an example of the growing body of historiographical texts that began to appear in the late 1890s into the turn of the twentieth century. The work borrows heavily from previously published materials for sections on primitive and ancient dances. As with other authors of this era, "modern dances" are considered to be pavane, gavot, rigodon, and minuet. In keeping with a renewed interest in the reconstruction of Renaissance and Baroque dances, the manual includes a chapter, "Revival of Popular Old Dances." A chapter on "contemporary dances" includes polka quadrilles, Boston, mazurka, and cotillon (also known as the German).

CREATED/PUBLISHED New York, F. M. Reed [c1874]

SUMMARY This manual is a compilation of previously published materials. The guide begins with a brief description of the necessary arrangements for a ball, appropriate dress for men and women, and ballroom etiquette. The work continues with dances such as the quadrille, waltz, varsoviana, polka, schottisch, "Cellarius Waltz," and dances for larger groups of dancers--"Spanish Dance," "La Tempete," and "Sir Roger de Coverley."

CREATED/PUBLISHED [London] Printed by J. Heptinstall, for H. Playford, 1698.

SUMMARY Originally published in 1650 under the title of The English dancing master, this work went through numerous editions from 1652 to 1728. Compiled by John Playford (1623-1687), a publisher of music books, the treatise is considered an important work on English country dances, a form of dance where couples perform a series of set patterns. In this tenth edition, Henry Playford notes that he has made corrections and added several new dances and tunes. The work utilizes a rudimentary dance notation and page one of the treatise is devoted to an explanation of the symbols. Part one contains 215 dances; part two has 46 dances and additional music for "A new spanish entry and saraband," as danced by Monsieur L'Abbe. Appropriate music, in the form of a treble line, is provided for each dance. Most of the dances are designated for longways sets of three couples, four couples, or "as many as will."

CREATED/PUBLISHED London, Printed by W. Pearson and sold by J. Young, 1728.

SUMMARY Originally published in 1651 under the title of The English dancing master, the work went through numerous editions from 1652 to 1728. Compiled by John Playford (1623-1687), a publisher of music books, the treatise is consider an important work on English country dances, a form of dance where couples perform a series of set patterns. The work utilizes a rudimentary dance notation and page one of the treatise is devoted to an explanation of the symbols. Each of the 360 dances contained in this last edition is given appropriate music, in the form of a treble line. Most of the dances are designated for longways sets of three couples, four couples, or as many as will.

CREATED/PUBLISHED Boston, Chicago [etc.] White, Smith & co. [c1884]

SUMMARY Assembled by Professor Bonstein (pseudonym for Charles A. White) from the writings of others, this manual begins with advice to parents regarding children. "Send them to dancing school and save many a doctor's bill." The etiquette section in this manual is reduced to a section simply called "hints." The author provides advice to prompters and rules for calling quadrilles. Of the many popular ballroom dances performed in the ballroom, only the quadrille, German (also known as the cotillon), and contra dances are discussed.

CREATED/PUBLISHED New York, Dick & Fitzgerald [c1878]

SUMMARY This is a compilation by Dick and Fitzgerald of previously published sources on ballroom dance. Although advertised as a ballroom prompter, only one page is devoted to calling figures in a quadrille. The book contains rudimentary etiquette advice and dance instructions for numerous dances including the grand march, quadrilles, contradances such as "Virginia Reel," "Pop Goes the Weasel," "Spanish Dance," and "Sicilian Circle." Also described are various round dances such as the polka, polka redowa, modern plain waltz, Boston Dip, varsovienne, and galop. The manual concludes with 104 figures for the popular parlor game, the German (also known as the cotillon).

CREATED/PUBLISHED Norwich, Printed by J. Trumbull, 1798.

SUMMARY The etiquette section of this manual anticipates many nineteenth-century concerns regarding decorum and bodily control and some of the ill manners described include "swinging the arms, and all other awkward gestures" and "leaning on the shoulder, or chair of another person." The manual provides nine figures for the cotillon, a precursor to the quadrille consisting of a series of figures known as changes that were performed alternately with the cotillon figure. The manual also gives the figures for seventy-nine English country dances, a popular group dance performed by a column of men facing a column of women.

CREATED/PUBLISHED Chicago, Jansen, McClurg and company, 1879.

SUMMARY This manual, which is devoted entirely to performance of the popular parlor game, describes the duties of the hostess ("remove all unnecessary furniture"), appropriate music, refreshments, and choosing a leader. Also included is a section on etiquette for guests participating in the German (also known as the cotillon). More than forty figures are described.

CREATED/PUBLISHED New York, Tousey & Small, 1878.

SUMMARY Designed for people, who never learned to dance either because of bashfulness or lack of time or money, this manual covers the bare necessities of dress, introductions, and general etiquette. Descriptions are also provided for quadrilles, schottisch, polka, redowa, waltz, several country dances. The manual concludes with rules for the supper room and advice to waltzers.

CREATED/PUBLISHED New York, Everitt and Francis co. [etc.] 1904.

SUMMARY This antidance work is typical of the genre of dance writing that has its roots in published works reaching far back into the Renaissance. Three arguments are raised: (1) although dance is acknowledged to have been practiced during biblical times, it was always performed by and for women solely; (2) dancing is considered bad for the health and, (3) dance is a waste of time. The editors of this manual single out round dances, specifically waltzes, as immoral. To fortify the argument, the book contains testimonials from Catholic and Protestant church representatives.

CREATED/PUBLISHED New York, E. James, c1873.

SUMMARY This book begins with a brief history of jig dancing and provides a chronology of jig and clog dancers from famed African-American dance Master Juba to Johnny Diamond and Dick Pelham. The manual also describes twenty steps including "heel and toe step," "shuffle,""clog break," and "plantation breakdown."

CREATED/PUBLISHED Philadelphia, Carey, Lea, and Blanchard, 1836.

SUMMARY In a rapidly growing consumer market for etiquette manuals during the nineteenth century, this is an example of a manual that attempts to reinforce the authority of its contents by suggesting legal foundations in its title as well as the qualifications of its author, in this case "A Gentleman." The straightforward chapters include "Good Breeding," "Dress," "Balls," and "Funerals." Reissued throughout the 1840s, much of the manual is a paraphrasing to earlier texts.

OTHER TITLES Leaflets of the ballroom

CREATED/PUBLISHED Philadelphia, New York, Turner & Fisher [c1847]

SUMMARY Compiled by a publisher and small enough to fit into a pocket, this manual gives directions for polka quadrilles, mazurka quadrilles, and "The New Redowa," all "as taught by Mr. Durang and daughter." Other dances include a waltz cotillion, gallopade quadrille, and Spanish Dance.

OTHER TITLES Cotillon, manuel de la danse

CREATED/PUBLISHED Paris, Ouach�e [between 1890 and 1900]

SUMMARY This late nineteenth-century manual is devoted to description of the popular parlor game, the German (also known as the cotillon). Every page of the manual has an advertisement for Au Paradis des Enfants in Paris, a shop that sold party accessories for the cotillon, including tambourines for the leader, ball cards, hair ornaments, decorations, roulette wheels, and paper lanterns.

CREATED/PUBLISHED Lausanne, Soci�t� pour la distribution de livres religieux dans le canton de Vaud, 1830.

SUMMARY An antidance treatise, the argument presented by the anonymous author is based on the idea that dancing is inconsistent with teachings in the Scripture, specifically the Ten Commandments. For example, just as the golden calf represented idolatry, the author argues that pleasure derived from dance is also idolatry, thus breaking the First Commandment. Similar arguments are made for all but the Second Commandment.

OTHER TITLES Rinnce na h�ireann Rinnce na �ireann

CREATED/PUBLISHED New York : Gaelic League of the State of New York, c1907.

SUMMARY First published in 1902, the work was suggested by a member of the New York Philo-Celtic Society. The discusion includes music, steps, and instructions for reels, "High Caul Cap, four-hand jig, and Rinnce Fada.

CREATED/PUBLISHED New York : N. Bangs and J. Emory for the Tract Society of the Methodist Episcopal Church, [between 1824 and 1832]

CREATED/PUBLISHED New York, Street & Smith, 1890.

SUMMARY This manual sought to teach the art of dance to those who could not "avail himself or herself of a professional teacher." In its description of general conduct, the author notes that etiquette is nothing more than self-denial. As the work is aimed at the untutored, ten pages are devoted to the primary positions of the feet. The manual describes the grand march, quadrilles, and round dances.

CREATED/PUBLISHED Kansas City, Kan., The author, c1921.

SUMMARY This antidance treatise is divided into four parts. The first part discusses the physical effects of the dance and the author concludes that habitual dancers are sick more often and women are more prone to "female weaknesses." The second section focuses on the dangers of dance on the mind and concludes that many girls fail in school because they dance too much. In the Third section, the author argues that dance is immoral and "fires the passions of young women." The concluding section is devoted to detailing passages in the Scriptures that the author interprets as supporting his arguments.

CREATED/PUBLISHED Paris, Les Marchands de nouveaut�s, 1830.

SUMMARY An important early nineteenth-century physiology of dance, the author provides extensive discussion on the importance of dance. Numerous extractions from Alerme's text can be found throughout later nineteenth-century dance literature.

CREATED/PUBLISHED Lengres, Imprim� par Iehan des Preyz, 1589.

SUMMARY Written by a French cleric, Jehan Tabourot, in the form of a dialogue between a dancing master and his student and originally published in 1588, this manual is an important tool in the understanding of late sixteenth-century French social dance. The manual provides critical information on social ballroom behavior and on the interaction of musicians and dancers. The book's usefulness is also enhanced by a notation system that correlates the music to the dance steps. Orchesographie discusses a full spectrum of late Renaissance dance including the galliard, pavane, branle, volta, morisque, gavotte, allemande, and courante.

CREATED/PUBLISHED Amsterdam, Et se trouve � Paris, chez Valade [1785?]

SUMMARY In part one of this treatise, Bacquoy-Gu�don (fl. 1780) presents, a short history of dance as well as arguments in favor of dancing. The focus of this section is devoted to performance of contredanses and minuets. Part two contains eight-bar triple-meter airs for minuets and eight-bar duple-meter airs for contredanses, all composed for a single treble instrument. Additional music is included for a variant of the contredanse called the contredanse allemande (in triple-meter); a marche, and two rigaudons. The treatise concludes with a diagram of figures and music for the minuet.

CREATED/PUBLISHED Paris, Dondey-Dupr� p�re et fils, 1825.

SUMMARY Essentially a history of Greek, Roman, and early religious dance, and French court dance, the text is drawn from numerous writers, including Mme. Elise Voiart, Joseph Juste Scaliger, Claude Fran�ois M�nestrier, Louis de Cahusac, Diderot, and Jean-Georges Noverre. The first part of this book comprises seven letters written by Baron during 1821 and 1822. The second part takes the form of conversations with Sophie and, occasionally, two more participants named Heraclite and D�mocrite.

CREATED/PUBLISHED Paris, Roret, 1866.

SUMMARY Although attributed to Italian dancer, choreographer, and writer Carlo Blasis, this manual contains an abridgement of Blasis's writing on the subject of social dance as published in The Code of Terpsichore (1830). The manual's discussion of specific dances is augmented by M. Lemaitre and includes quadrilles, the waltz, polka, schottisch, polka-mazurka, redowa and cotillon.

CREATED/PUBLISHED [London, E. Bull, 1830]

SUMMARY This is one of several books written by Italian dancer, choreographer, and writer Blasis (1795-1878). It covers the history and theory of dance, pantomime, the composition of ballets, and contains a section devoted to social dances entitled "private dancing." Although much of the discussion on technique is identical to Blasis'S earlier treatise, Trait� �l�mentaire th�orique et pratique de l'art de la danse (1820), the manual is a comprehensive survey of ballet during the early nineteenth-century.

CREATED/PUBLISHED Halle, In verlag des W�ysenhauses, 1750.

SUMMARY This manual is an early German example of the literature against the practice of dancing. In this case, Bogatzky (1690-1774) compares gambling with dancing, and asks the reader to consider these practices in the context of Scripture, especially the Ten Commandments.

CREATED/PUBLISHED La Rochelle, Les heritiers de Hierosme Havltin, 1606.

SUMMARY An early example of an antidance treatise, this manual provides a foundation for arguments that continued to the end of the nineteenth century--that dancing is a sin against God. Much of Boiseul's argument is based on biblical examples (chapters and verses are noted in the margins of each page). While acknowledging that dance is mentioned in the Bible, the author is quick to point out that the dances were "joyous and spontaneous" and very different from the seventeenth-century social dances of his day. The courante, branle, and galliard come under specific attack. Additionally, Boiseul makes particularly strong arguments against the dances of non-Christian "savages."

CREATED/PUBLISHED Coimbra, Na Officina dos irma�s Ginhoens, 1767.

SUMMARY Portuguese dancing master Bonem's manual borrows from the work of contemporary French sources, including dancing masters Guillaume-Louis Pecour and Pierre Rameau. The manual's fourteen chapters focus on dance in the court of Louis XIV and include discussion on feet positions, bows appropriate for various occasions, and the steps and arm positions for the minuet.

CREATED/PUBLISHED Z�rich, Juchli & Beck, 1897.

SUMMARY This manual opens with a brief history of dance and continues with descriptions of feet positions, and figures for quadrilles and "La Polonaise" (also known as the grand march). Round dances such as schottisch, waltz, and polka are also included. The manual is enhanced by fourteen full-page illustrations.

CREATED/PUBLISHED Paris [Imp. Jouve & cie] 1912. NOTES This manual contains directions for a dances that were popular during at the end of the nineteenth century including the Berline, Badoise polka, and les patineurs. Botallo also includes directions for several specialty dances such as "La Marocaine," and "Danse des Tambourins." The author includes many quadrille and cotillon figures, although neither dance was often performed in the ballroom by 1912. Acknowledging that other dances were more popular, the author includes three figures for a Tango-Argentine.

CREATED/PUBLISHED Paris, Garnier fr�res [1909?]

SUMMARY As was common practice during the nineteenth and early twentieth centuries, much of this text was borrowed from other writers. The author begins with a general history of dance and proceeds with an explanation of terms found in dance such as les grands battements and ronds de jambes. The manual contains directions for many Renaissance and Baroque dances including La Pavane, and, although the author quotes from Thoinot Arbeau's Orchesographie of 1588, the directions for performance are strictly a nineteenth-century interpretation. Bourgeois's manual also covers nineteenth-century social dances and he provides the history and directions for dances such as the waltz, polka, mazurka, and quadrille.

OTHER TITLES Dance halls of Chicago

CREATED/PUBLISHED [Chicago] The Juvenile Protective Association of Chicago, 1917.

SUMMARY This is a revised edition of a work based on an investigation done in 1910 regarding the conditions of public dance halls in Chicago. Bowen's complaints included the late hours, too much liquor, and the general behavior of men noting, "... men wear their hats; they all smoke and expectorate freely." She also suggests the waiters and other employees provide information on the location of "disreputable lodging houses," and delivers condemnation against masquerade and fancy dress balls because many women were found "attending in male attire."

CREATED/PUBLISHED Paris, C. Douniol, 1863.

SUMMARY This is a fourth edition of a book that acknowledges other antidance tracts including Boullay's R�forme de las danse des salons; Gustave Louis's Physiologie de l'opinion, and La Chr�tienne de nos jours by l'Abb� Bautain. The author notes, with some disdain, that the waltz was introduced into France "par les impures du Directoire" (p. 8). The polka also receives criticism.

CREATED/PUBLISHED St. Louis, J. W. McIntyre, 1869.

SUMMARY This is a typical example of the antidance literature that was published during the nineteenth century. Although Brookes provides a weak defense of dancing, his final conclusion is that the large assemblies, indelicate dressing, "unwarrantable freedom of intercourse between the sexes," as well as uncontrolled excitement, leads to a thorough worldliness and, ultimately, to the forgetfulness of God. The manual was reissued in the 1890s under the title The modern dance.

CREATED/PUBLISHED New York [The author] 1867.

SUMMARY The format for this manual is typical of nineteenth-century dance treatises. It begins with a short discussion on the utility of dancing followed by a section devoted to etiquette of the ballroom and how to give balls. Descriptions of dances in this manual include quadrilles, waltz, polka, polka redowa, schottisch, polka mazurka, varsovienne, and the waltz in 5/4. The book concludes with eighty-seven cotillon figures and eight pages of ballroom dance music.

CREATED/PUBLISHED Philadelphia, J. H. Johnson [c1866]

SUMMARY Like many other nineteenth-century dance manuals, much of the material in The Ball-room monitor is not original but is borrowed from previously published sources. The manual, which would fit into a pocket, contains information on quadrilles (called cotillions by Brooks), waltz, polka, redowa, and schottisch. Additionally, the manual contains numerous variety quadrilles--polka quadrilles, schottisch quadrilles, Polaca quadrilles, Varsoviana quadrilles, and a mazurka quadrille.

CREATED/PUBLISHED San Francisco, The Bancroft company, 1891.

SUMMARY Many manuals compiled from previously published sources under a variety of author names were aimed at an ever-expanding group of people who could not avail themselves of a dance master. This work strives to instruct in a plain and explicit manner, making no attempts to discuss dance "technically and methodically." The manual is structured as a series of lessons. For example, lesson one of eleven on the waltz requires the reader to begin by being "seated upright in a chair." The manual also covers the polka, glide polka, heel and toe polka, schottisch, quadrilles and the German (also known as the cotillon).

OTHER TITLES Title on p. 1: Dance ordinances of the city of Buffalo

CREATED/PUBLISHED [Buffalo, 1914]

SUMMARY Issued from the Buffalo, New York, City Clerk's office on 14 December 1914, the ordinance defines requirements for a public dance hall, including license fees, security, alcohol prohibitions, and hours of operation.

CREATED/PUBLISHED Venezia, 1746.

SUMMARY In this history of dance, Burette (1665-1747) presents an extensive discussion on Greek and Roman dance, basing his information on literary references such as the Iliad and authors such as Lucian. Included in the discussion are tragic and serious ballet, satire, and pantomime. While this text illuminates the importance of Greek and Roman influence on the arts of the mid-eighteenth century, modern dance scholars will find many interpretive and factual errors.

CREATED/PUBLISHED New York [etc.] The Butterick publishing company, limited, c1906.

SUMMARY This manual provides step-by-step instructions, augmented by numerous illustrations, for giving masquerades, conducting tableaux, and creating "fancy drills." Costumes, hair styles, and accessories are included for Calico and Martha Washington balls, Joan of Arc, a football player, Beau Brummel, and a shepherdess. Additionally, the manual provides suggestions for tableaux scenes and living pictures ("pose plastique").

CREATED/PUBLISHED A La Haye [i.e. Paris] chez J. Neaulme, 1754.

SUMMARY This three-volume work on dance history describes dance from its origins through the court f�tes of Louis XIV. Volume one stresses the importance of studying the theories of all the arts and covers the dance history of numerous ancient civilizations including Greek, Roman, Turkish, and Egyptian. Volume two describes the renaissance of the arts and the origins of ballet to 1610. Volume three focuses on dance in the court of Henri IV and the establishment of French opera. Cahusac borrows heavily from other writers, especially Philippe Quinault. Although by twentieth-century scholastic standards, Cahusac's interpretations may be problematic, the work formed the foundation for much of the writing on dance history until the twentieth century.

OTHER TITLES Ballarino

CREATED/PUBLISHED In Venetia, Presso il Muschio, 1600. Ad instantia dell'auttore.

SUMMARY In this significant manual detailing late-Renaissance Italian court dance, dancing master Caroso redefines and, in some cases, corrects information found in his first treatise, Il ballarino (1581). The manual gives rules for sixty-eight steps and contains specific choreographies for forty-nine dances. Many dances are preceded by full-page illustrations and each dance is provided with appropriate music written in Italian lute tablature and/or mensural notation. This manual was reissued in 1630 under the title, Raccolata di variji balli.