Jane Austen loved to dance!

Jane Austen Festival Australia is entering into its 7th year in 2014, and though still occupying three days in the middle of April, the program has grown to such an extent that it is moving to occupy more rooms and space in the beautifully landscaped University House at the Australian National University.

This festival is a celebration and exploration not just of Jane Austen’s novels, but of the culture of her time. Accordingly, there are not just dedicated sessions on her work, but on music, dance, costume, food, theatre and living history. There’s top presenters from around the country offering not just talks, but hands-on sewing workshops, feet-on floor dance workshops, and stage shows. Though casual dress for all these is fine, there’s lots of opportunity to costumed-up for outdoor promenades, evening dinners and balls.

In an age when popular culture would have us believe that anything before DVDs is ancient history, that it’s only other people who have a cultural heritage, and that its more important to be outrageous, ground-breaking and cool, than considerate, accomplished or gentle, many are discovering the satisfaction that can be had by better understanding the past and bring forward from it elements that appeal. In this regard, the age of Jane Austen has proved particularly attractive to modern day young men and women. Whereas the fashions of the 18th century and late 19th century might seem weird or cruel, those high-waisted gowns and squire-like tails from the first decades of the 19th century seem romantic. Where the social order of the 18th century seems alien, and that of the late 19th century torn sooted by the industrial revolution, that of the first decades of Jane Austen’s age seem more egalitarian. Where the dancing of the 18th century is imagined to be all courtly and stiff, and that of the late 19th century all black-tie and formal, that of the Jane’s day seems plain fun. The age’s accessibility is further enhanced of course by the themes, characters, plots and good humour of Jane Austen’s novels and by the many engaging recent screen adaptations of those novels.

Perhaps we might demonstrate the attraction of the Festival by turning to just one element of it. One of the main interests of Jane Austen’s day, and indeed of Jane Austen herself, was dancing, and dance workshops and balls fill the dance hall all day on Friday and Saturday of the Festival, there is a grand Jane Austen Ball on Saturday night and an afternoon Cotillion Ball on Sunday. Dance teacher and historian Dr John Gardiner-Garden make joining in and learning easy and fun, and people soon realise why it is observed in Pride and Prejudice, that ‘To be fond of dancing was a certain step towards falling in love’ and ‘There is nothing like dancing after all. -- I consider it as one of the first refinements of polished societies’. Participants start to understand why Austen novels why it is noted in Persuasion ‘thirteen winters’ revolving frosts had seen her opening every ball of credit which a scanty neighborhood afforded’, why in Mansfield Park Fanny ‘found herself the next moment conducted by Mr. Crawford to the top of the room, and standing there to be joined by the rest of the dancers, couple after couple, as they were formed’, and why Northanger Abbey Catherine Morland's clever dance partner Mr Tilney says: ‘I consider a country-dance as an emblem of marriage. Fidelity and complaisance are the principle duties of both; and those men who do not chuse to dance or marry themselves, have no business with the partners or wives of their neighbours’ and why when this comparison is challenged on the grounds that ‘people that marry can never part, but must go and keep house together’ but ‘People that dance, only stand opposite each other in a long room for half an hour’, he goes on to argue:

‘You will allow, that in both, man has the advantage of choice, woman only the power of refusal; that in both, it is an engagement between man and woman, formed for the advantage of each; and that when once entered into, they belong exclusively to each other till the moment of its dissolution; that it is their duty, each to endeavour to give the other no cause for wishing that he or she had bestowed themselves elsewhere, and their best interest to keep their own imaginations from wandering towards the perfections of their neighbours, or fancying that they should have been better off with anyone else.’

Participants in the Jane Austen Festival dance workshops and balls start to appreciate why in Emma the heroine expected to open the ball but ‘must submit to stand second to’ [the newly-wed] ‘Mrs. Elton, though she had always considered the ball as peculiarly for her’ and why ‘It was almost enough to make her think of marrying’. Indeed, invariably these workshops, balls, and indeed our Festival end with people wanting more, for as is also remarked in Emma:

‘It may be possible to do without dancing entirely. Instances have been known of young people passing many, many months successively without being at any ball of any description, and no material injury accrue either to body or mind; - but when a beginning is made - when the felicities of rapid motion have once been, though slightly, felt - it must be a very heavy set that does not ask for more.’

Learn to dance like Jane Austen - New Book Release

Historic Dance VII: 1800-1825

A4 book by John Gardiner-Garden. 642 pages of research, discussion and analysis with dozens of illustrations, musical scores, dance reconstructions, source extracts, transcriptions and translations.

To order, go to Shop.

26 page Preface and bibliography then the following 5 parts (omitting the subheadings
for the Part 4 dance contents):

Part 1 ~ Dance Context ~ 42 pages ~ England ~  4 ~ The private ball according to Jane Austen ~  6 ~ Assembly room dancing ~  10 ~ Public balls according to Thomas Wilson ~  16 ~ Dancing in Jane Austen screen adaptations ~  24 ~ Denmark to Slovenia ~  27 ~ Congress of Vienna ~  29 ~ France ~  31 ~ America ~  34 ~ Australia ~  39 ~ Poland and Russia ~  41 Part 2 ~ Dance Forms ~ 58 pages ~ Allemande ~  4 ~ The Country Dance ~  6 ~ Variety ~  6 ~ Its mechanism ~  8 ~ Its setting to music ~  9 ~ Its decline ~  11 ~ Écossaise ~  14 ~ The Finishing dances ~  17 ~ Gavotte ~  19 ~ The Mazurka ~  20 ~ The Minuet ~  23 ~ The Polonaise ~  27 ~ In Poland ~  27 ~ In Russia ~  28 ~ To the West ~  30 ~ The Quadrille ~  32 ~ Its origins and first devotees ~  32 ~ Its form ~  33 ~ Its stepping ~  35 ~ Its debut in England and Scotland ~  37 ~ Its diversification ~  39 ~ Quadrillemania ~  41 ~ The Scotch Reel ~  47 ~ The Waltz ~  49 ~ Arrival in England ~  52 ~ Arrival in America ~  56 ~ Arrival in Australia ~  57 Part 3 ~ Dance Technicalities ~ 158 pages ~ Style ~  4 ~ Deportment ~  4 ~ Management of arms and hands ~  6 ~ A new naturalism ~  7 ~ Knowing appropriate steps ~  7 ~ Shunning exhibitionism ~  8 ~ The reality of the ballroom ~  10 ~ Etiquette ~  14 ~ Honours ~  19 ~ The bow and courtesy ~  19 ~ Honours in quadrilles ~  20 ~ Putting on and taking off the hat ~  21 ~ Holds and positions ~  22 ~ Turn out ~  22 ~ Five positions ~  23 ~ Standing ~  26 ~ Carriage of the arms ~  26 ~ Couples dance arm holds ~  28 ~ Formations ~  29 ~ Couples ~  29 ~ Triple minor set ~  29 ~ The Quadrille ~  31 ~ The Ecossaise ~  32 ~ Figures ~  33 ~ In the Quadrille ~  34 ~ In the Country Dance ~  40 ~ In the Écossaise ~  43 ~ À Droite et à Gauche / Chassez-dechassez ~  46 ~ À Droite sur les Côtes ~  49 ~ Allemande ~  50 ~ En Avant et en Arrière ~  51 ~ Back to Back / Dos à Dos ~  51 ~ Back / Retreat and Advance ~  52 ~ Balancé ~  52 ~ Cast off ~  52 ~ Chaîne Anglaise ~  56 ~ Chaine ~  56 ~ Chaînes des Dames ~  58 ~ Change / Change over ~  58 ~ Change sides ~  59 ~ Change Places ~  59 ~ Chase ~  59 ~ Chassé Crois(s)é ~  60 ~ Chassé out / Chassé ouvert ~  64 ~ Contra corners / Turn corners / Swing corners ~  65 ~ Crossing Over / Traverser ~  69 ~ Dechassé ~  75 ~ Demi Promenade ~  75 ~ Dos-à-dos ~  75 ~ En Avant et en Arrière ~  75 ~ En Avant les Huits ~  76 ~ Figure / Figure of eight ~  76 ~ Forward and Back / En Avant et en Arrière ~  79 ~ Forward all Eight / En Avant les Huit ~  82 ~ Gypsy~  83 ~ Half Promenade / Queue de chat ~  83 ~ Hands across / Moulinet ~  83 ~ Hands round ~  84 ~ Hands three / Rond de Trois ~  84 ~ Hands four / hands four round / circle ~  86 ~ Hands six / circle ~  86 ~ Hey ~  87 ~ Ladies’ Chain / Chaîne des Dames ~  87 ~ Lead around ~  89 ~ Lead down and back ~  89 ~ Lead outside ~  94 ~ Lines / Les Lignes ~  95 ~ Moulinet (Le) ~  96 ~ Petit tour ~  96 ~ Pirouette ~  96 ~ Poussette ~  96 ~ Promenade / La promenade ~  97 ~ Right and Left / Chaîne Anglaise ~  100 ~ Set / Setting / Balancer ~  105 ~ Set and change places ~  112 ~ Set and change sides ~  112 ~ Set contrary corners ~  113 ~ Set Four in line / Balancez Quatre En Ligne ~  113 ~ Set three in place and three across ~  114 ~ Swing ~  115 ~ Swing corners~  115 ~ Swing round~  116 ~ Tour de Mains ~  116 ~ Tour sur place ~  116 ~ Traversez ~  116 ~ Le Tiroir ~  116 ~ Turn with both hands / Tour de Mains ~  116 ~ To the Right and to the Left ~  119 ~ To the Sides / À Droite sur les Côtes ~  119 ~ Traverser ~  119 ~ Turn corners ~  119 ~ Turn right hand / Turn left hand / La Main / Swing ~  119 ~ Steps ~  122 ~ Country Dance Steps ~  126 ~ Quadrille Steps ~  129 ~ Assemblé ~  130 ~ Balancé ~  131 ~ Ballonné ~  131 ~ Balloté ~  132 ~ Battement ~  132 ~ Bending / Plié ~  133 ~ Bourrée ~  134 ~ Change of the Feet / Changement de Jambe ~  135 ~ Chassé ~  137 ~ Contretems / Contretemps ~  140 ~ Coupé ~  140 ~ Entrechat ~  141 ~ Eschappé / Flic Flac / Fosgladh~  142 ~ Flic Flac / Fosgladh ~  143 ~ Glissade ~  143 ~ Jeté ~  145 ~ Kemkossy~  149 ~ Kemshoole ~  149 ~ Minuet (Pas de) ~  150 ~ Pas de basque ~  150 ~ Pirouette ~  151 ~ Rond de Jambe ~  152 ~ Seby-trast ~  153 ~ Sissone ~  153 ~ Tem(p)s Levé ~  156 ~ Temps de Courante ~  157 ~ Zephyr (Pas de) ~  158 ~ Walking / Pas marché ~  158  Part 4 ~ Dances in Detail ~ 316 pages ~ The Alexander ~  4 ~ Allemande (3) / Strassburger ~  6 ~ The Battle of Leipzig ~  17 ~ La Boulangère (1) ~  19 ~ Butter’d Pease (2) ~  22 ~ The Caledonian Quadrille ~  24 ~ The Chase (1) ~  46 ~ Congo Minuet ~  48 ~ Countess of Yarmouth’s Fancy ~  53 ~ The Cushion Dance (2) ~  56 ~ The Czar ~  61 ~ Downfall of Paris ~  63 ~ The Duke of Kent’s Waltz ~  68 ~ Dutch Dollars ~  72 ~ Elegance and Simplicity ~  74 ~ The Fair Circassian ~  75 ~ The Fairy Dance ~  77 ~ The Good Girl ~  79 ~ Haste to the Wedding ~  83 ~ Italian Monfrina (1) ~  87 ~ Italian Monfrina (2) ~  89 ~ La Josephine ~  91 ~ Juliana (1) ~  93 ~ Juliana (2) ~  95 ~ Lady Caroline Lee’s Waltz ~  99 ~ The Lancer’s Quadrille (1) / The Strathy Lancers ~  102 ~ The Lancers’ Quadrille (2) / The Duval Lancers ~  111 ~ The Lancer’s Quadrille (3) / The Hart Lancers ~  143 ~ Money Musk (2) ~  163 ~ Morgiana in Ireland (1a, b, c) ~  165 ~ Morgiana in Ireland (2) ~  168 ~ Mr Turner’s Academy Cotillion ~  174 ~ La Napoléon ~  177 ~ Nichol’s Favourite ~  180 ~ The Perigodine ~  182 ~ Pleasures of the Town (2) ~  186 ~ Polonaise (3) / The Polonese Russe ~  189 ~ Quadrille Français (1) ~  192 ~ Quadrille Français (2) / Paine’s 1st Set~  206 ~ Russian Dance (1) ~  240 ~ Russian Dance (2) ~  243 ~ The Scotch Reel ~  245 ~ Sir Roger de Coverley (2) ~  255 ~ La Tempete (1) ~  263 ~ The Triumph (1) ~  266 ~ The Triumph (2) ~  271 ~ The Union Waltz ~  276 ~ La Vinetta ~  278 ~ The Volga ~  280 ~ Waltz (1) / French Waltzing ~  282 ~ Waltz (2) / German Waltzing ~  299 ~ Wilson’s Quadrilles ~  308 Part 5 ~ Dancing Masters ~ 38 pages ~ The Profession ~  3 ~ The importance of dance classes ~  3 ~ The changing repertoire ~  6 ~ The teachers of dubious quality ~  6 ~ The teachers of quality ~  11 ~ Calling ~  14 ~ Publication and Notation ~  16 ~ Publication ~  16 ~ Notation ~  16 ~ Lives and Works ~  19 ~ Anonymous ~  19 ~ Becker ~  22 ~ Blanchard ~  23 ~ Campbell ~  23 ~ Cassidy ~  23 ~ Charpentier ~  23 ~ Clarchies ~  24 ~ Dun ~  24 ~ Duval ~  24 ~ Gourdoux-Daux ~  25 ~ Hart ~  26 ~ Lund ~  26 ~ Moreau de Saint-Méry ~  27 ~ Nichols ~  27 ~ Noke ~  27 ~ Paine ~  28 ~ Peacock ~  30 ~ Rice ~  31 ~ Rosenhain ~  31 ~ Saltator ~  32 ~ Schaffer ~  32 ~ Simonet ~  32 ~ Stender ~  33 ~ Strathy ~  33 ~ Théleur ~  33 ~ Thompson ~  34 ~ Voiart ~  34 ~ Wilson ~  34

Program of Events

The 2009 Jane Austen Festival is gearing up to be our best yet, with more activities and events than ever before!It will run from 16-20 April 2009, in Canberra, Australia.

Morning teas, lunches and afternoon teas are provided.

For more details and discount earlybird tickets

(last year sold out so book early!)

visit

www.earthlydelights.com.au/Austen.html

Festival venues include:

St Johns Church Hall, Constitution Ave, Reid;

YMCA Sailing Club, Alexandrina Dr, Yarralumla; &

The Garden Cottage, Yarralumla.

Welcome & Registration

Attend an informal gathering at The Garden Cottage, the home of the Festival Director, Aylwen Gardiner-Garden. A sampling of regency delicacies & drinks will be served and guests are encouraged to bring a contribution for a potluck dinner in the english cottage garden setting. Festival programs will be available for collection and light regency-era music will be playing in the background. 

Regency Fashion
Although Jane Austen makes few references to fashion in her books, the references in her letters indicate a certain fascination with the subject. Aylwen Gardiner-Garden, historical costumer with special expertise in the light, high-waisted, low-necklined women’s gowns of the time, will offer an illustrated lecture and close-up examination of antique regency garments in her collection.

Regency Etiquette
Calling on people was an important part of Regency social life, but the rules were strict. The etiquette of the ballroom was even trickier. Julia Emert of the Canberra Jane Austen Society will discuss the correct way to behave, whether calling, dining, dancing, giving or receiving introductions... even breathing. 

Regency Cooking
Readers of Jane Austen know food is central to her novels. Jennifer Bowles, an historical cookery enthusiast, will share some late 18th century recipes, discussing the ingredients and their importance to the times. 

Regency Bonnet Workshop
During the Regency era ladies seldom went out of doors without a bonnet or hat. Styles ran the gamut from plain straw bonnets to elaborately trimmed capotes. Join the President of the Australian Costumers Guild, Lynne Cook, and make a bonnet of your own. 

Jane Austen: Her life and works
The six most polished, controlled and elegant social comedies in English Literature were written by a woman whose personal life was unexciting and confined. Jane Austen’s cool judgement, ironic detachment and genius, however, gave her novels depth and charm and made them some of the most popular novels ever!
Susannah Fullerton, President of the Jane Austen Society of Australia and noted Austen scholar, shares her passion for these novels and interest in the author and her times. Slides bring the Regency world to life and readings will remind audiences just how funny Jane Austen can be.

Regency Dance Classes
Regency dance expert and author of many books on dance, Dr John Gardiner-Garden, will teach some of the dances planned for the ball – not just those in forms familiar from the movies, but also some of those popular at the time but not yet seen on the screen. No experience or partner necessary. Several antique dance books from Jane Austen’s day will be on display.

Jane Austen’s Music
‘Jane Austen’s Music’ was a hit at the 2008 Adelaide Fringe Festival and its presenter will be coming with 2 accompaniests to offer us the same treat. Gillian Dooley, singer, musician, and Honorary Research Fellow in the Department of English and Special Collections Librarian at Flinders University, will be performing the Overture to La Buona Figliuola by Nicolo Piccinni (1728-1800) (First movement), Sweet Transports by William Shield (1748-1828), Thy Fatal Shafts (Anon), The Soldier’s Adieu by Charles Dibdin (1745-1814), Captivity by Stephen Storace (1762-1796), The Marseilles March, The Joys of the Country by Charles Dibdin (1745-1814), Somebody (Anon), My Phillida by Miss Mellish, and The Wedding Day by James Hook (1746-1797). 

Regency Games
Join us for Regency-era games including cards, board games and outdoor pursuits. Tea and delicious Regency-era refreshments will be served. 

Grand Regency Dinner & Ball
Step back to the time of Jane Austen at this period dinner and ball. Attend with Miss Elizabeth Bennett and dance with Mr. Darcy! The dinner will feature a Regency buffet by chef Michael Wischermann. The ball will feature flowing English Country dances and fashionable c.1800 imports all expertly led by a selection of callers from the Academy and all to live music from the band Earthly Delights. Refreshments, desserts and card room available during ball. Period evening dress encouraged but optional. Bookings required. 

Regency Debate
Take a side or take a seat to enjoy the repartee as cases are advanced for and against the proposition ‘That Jane Austen’s novels lack the passion of the screen adaptations’.

Costumed Promenade and Picnic
Join us for a costumed promenade & picnic lunch down by Lake Burley Griffin. Picnic contributions welcomed. 

Farewell Dance
Learn and enjoy some of the most popular dances of the late Regency era. Live music, refreshments and lake views provided.