A Treatise on the Elements of Dancing


Book Description

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).




A Treatise on the Elements of Dancing


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.







A Treatise on the Art of Dancing


Book Description

Originally published in 1762 and reissued in 1765, this work borrows heavily from previously published materials, including the works of Locke, Goldini, and especially John Weaver's 1712 An Essay towards a history of dancing. Gallini (1728-1805) presents a history of dance, arguments for learning the art of dance, and a discourse on the minuet. Especialy interesting are Gallini's comments on European and non-European dance, and discussion includes practices in Britain, Spain, Naples, the peasants of Tirol, Russia, Turkey, China, Africa, and the Americas.







A Treatise on the Art of Dancing


Book Description

ADVERTISEMENT. What I have here to say is rather in the nature of an apology than of a preface or advertisement. The very title of a Treatise upon the art of dancing by a dancing-master, implicitly threatens so much either of the exageration of the profession, or of the recommendation of himself, and most probably of both, that it cannot be improper for me to bespeak the reader's favorable precaution against so natural a prejudice. My principal motive for hazarding this production is, indisputably, gratitude. The approbation with which my endeavours to please in the dances of my composition have been honored, inspired me with no sentiment so strongly as that of desiring to prove to the public, that sensibility of its favor; which, in an artist, is more than a duty. It is even one of the means of obtaining its favor, by its inspiring that aim at perfection, in order to the deserving it, which is unknown to a merely mercenary spirit. Under the influence of that sentiment, it occurred to me, that it might not be unpleasing to the public to have a fair state of the pretentions of this art to its encouragement, and even to its esteem, laid before it, by a practitioner of this art. In stating these pretentions, there is nothing I shall more avoid than the enthusiasm arising from that vanity or self-conceit, which leads people into the ridicule of over-rating the merit or importance of their profession. I shall not, for example, presume to recommend dancing as a virtue; but I may, without presumption, represent it as one of the principal graces, and, in the just light, of being employed in adorning and making Virtue amiable, who is far from rejecting such assistence. In the view of a genteel exercise, it strengthens the body; in the view of a liberal accomplishment, it visibly diffuses a graceful agility through it; in the view of a private or public entertainment, it is not only a general instinct of nature, expressing health and joy by nothing so strongly as by dancing; but is susceptible withall of the most elegant collateral embellishments of taste, from poetry, music, painting, and machinery. One of the greatest and most admired institutors of youth, whose fine taste has been allowed clear from the least tincture of pedantry, Quintilian recommends especially the talent of dancing, as conducive to the formation of orators; not, as he very justly observes, that an orator should retain any thing of the air of a dancing-master, in his motion or gesture; but that the impression from the graces of that art should have insensibly stoln into his manner, and fashioned it to please. Even that austere critic, Scaliger, made the principles of it so far his concern, that he was able personally to satisfy an Emperor's curiosity, as to the nature and meaning of the Pirrhic dance, by executing it before him. All this I mention purely to obviate the prepossession of the art being so frivolous, so unworthy of the attention of the manly and grave, as it is vulgarly, or on a superficial view, imagined....




A Treatise on the Art of Dancing


Book Description

A Treatise on the Art of Dancing By Giovanni-Andrea Gallini What I have here to say is rather in the nature of an apology than of a preface or advertisement. The very title of a Treatise upon the art of dancing by a dancing-master, implicitly threatens so much either of the exageration of the profession, or of the recommendation of himself, and most probably of both, that it cannot be improper for me to bespeak the reader's favorable precaution against so natural a prejudice. My principal motive for hazarding this production is, indisputably, gratitude. The approbation with which my endeavours to please in the dances of my composition have been honored, inspired me with no sentiment so strongly as that of desiring to prove to the public, that sensibility of its favor; which, in an artist, is more than a duty. It is even one of the means of obtaining its favor, by its inspiring that aim at perfection, in order to the deserving it, which is unknown to a merely mercenary spirit. Under the influence of that sentiment, it occurred to me, that it might not be unpleasing to the public to have a fair state of the pretentions of this art to its encouragement, and even to its esteem, laid before it, by a practitioner of this art. In stating these pretentions, there is nothing I shall more avoid than the enthusiasm arising from that vanity or self-conceit, which leads people into the ridicule of over-rating the merit or importance of their profession. I shall not, for example, presume to recommend dancing as a virtue; but I may, without presumption, represent it as one of the principal graces, and, in the just light, of being employed in adorning and making Virtue amiable, who is far from rejecting such assistence. In the view of a genteel exercise, it strengthens the body; in the view of a liberal accomplishment, it visibly diffuses a graceful agility through it; in the view of a private or public entertainment, it is not only a general instinct of nature, expressing health and joy by nothing so strongly as by dancing; but is susceptible withall of the most elegant collateral embellishments of taste, from poetry, music, painting, and machinery. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.




Dancing the Elements


Book Description







Hoedowns, Reels, and Frolics


Book Description

In Hoedowns, Reels, and Frolics, old-time musician and flatfoot dancer Philip Jamison journeys into the past and surveys the present to tell the story behind the square dances, step dances, reels, and other forms of dance practiced in southern Appalachia. These distinctive folk dances, Jamison argues, are not the unaltered jigs and reels brought by early British settlers, but hybrids that developed over time by adopting and incorporating elements from other popular forms. He traces the forms from their European, African American, and Native American roots to the modern day. On the way he explores the powerful influence of black culture, showing how practices such as calling dances as well as specific kinds of steps combined with white European forms to create distinctly "American" dances. From cakewalks to clogging, and from the Shoo-fly Swing to the Virginia Reel, Hoedowns, Reels, and Frolics reinterprets an essential aspect of Appalachian culture.