Tanssiasento on hyvin suora ja ryhdikäs. Jalat tulisi askelikoilla tanssittaessa kiertää auki noin 90 astetta. Pää pysyy pystyssä; varpaiden (tai katonreunan) katseleminen on epäkohteliasta. Empireajan tanssityyli on hyvin energinen mutta askeleet tulee silti artikuloida tarkasti. Tavallaan aiempien vuosikymmenien seremoniallisuus on antamassa tilaa uuden vuosisadan kevyemmälle otteelle, mutta tekninen tarkkuus ja hienostuneisuus säilyvät. Askelia otettaessa ensin laskeutuvat varpaat ja päkiä, viimeisenä kanta. Kädet ovat rennot mutteivät veltot, eivätkä ne nouse ylös-alas musiikin tai liikkeen mukana.
Tanssin kuviot tulee ajoittaa musiikkiin. Tyypillisesti seuratanssien musiikki koostuu neljän tai kahdeksan tahdin fraaseista ja tanssin kuviot istuvat musiikkiin. Toisin sanoen kuvio alkaa fraasin alussa ja päättyy fraasin lopussa ja koko aika on tarkoitus käyttää kuvion tekemiseen. Kuulostaa itsestäänselvältä, mutta riskinä on myöhästyminen tai ennakointi. Kuvio on valmis vasta kun fraasi päättyy, eikä tanssijoiden liikkeen ole tarkoitus loppua aiemmin.
Koska tanssi on sosiaalinen tapahtuma, on toisten huomioiminen ensiarvoisen tärkeää. Paria tulee katsoa silmiin eikä hymyily ole haitaksi. Tanssiessa usein pidetään kädestä ja valssissa löytyy jo vienti ja seuraaminen. Kontakti muodostetaan pehmeästi mutta varmasti - kukaan ei purista ketään. Mikäli tanssi alkaa tuntua tutulta, voi myös kohteliaasti keskustella parin ja muiden lähellä olevien kanssa. Mutta vain siten ettei seurustelu koidu koreografian kohtaloksi! Tanssiaiset olivat myös naimattomille nuorille mahdollisuus seurustella keskenään. Vaikka empireajan tanssit eivät ole erityisen intiimejä vaan pikemminkin yhteisöllisiä, oli tilanne silti vapautuneempi ja esiliinat kauempana kuin tavallisesti.
Ennen kaikkea tanssin on tarkoitus olla hauskaa. Tanssi on yhteisöllinen, parhaimmillaan euforinen kokemus. Aleksanterin baalin tanssilattiasta toivottavasti muodostuu tila jossa tutkittu ja harjoiteltu historiallinen materiaali herää iloisella tavalla eloon.
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| Frontespiisi Edward Jonesin valssikokoelmaan. Frontespiece for a collection of waltzes by Edward Jones. Thomas Rowlandson 1806. janeaustensworld.wordpress.com |
Empire era balls were first and foremost social events. Dancing enabled socializing, showing off your skills (and clothing) and simply brought people together for a pleasant pastime to enjoy a shared art-form. Typically the programs would consist of group dances danced with a partner and this is the principal guideline for Alexander's Ball as well.
The posture is very upright. If using other than plain walking steps the feet should be turned out to form a 90 degree angle. Head is held erect but level; looking at your feet or the ceiling would be impolite. The dance style of the era is energetic but steps must be articulated neatly. In a way the more ceremonial dance forms of previous decades were giving way to a lighter style of the new century, but technical precision and elegance remained. When taking steps you should first land on your toes and the ball of your foot, heel landing last. Hands and arms are relaxed but not limp, and they don't move up and down with music or other body movements.
Dance figures are timed to music. Typically ballroom music consists of four or eight bar phrases and dance figures are tailored to match. In other words a dance figure commences at the beginning of a musical phrase and ends when the phrase ends. This sounds rather self-evident but there is a danger of being late or arriving early. The figure is finished together with the phrase and dancers should not end their movements in advance.
Because dancing is a social event it is vitally important to pay attention to and acknowledge others. You should maintain eye contact with your partner and smiling doesn't hurt either. While dancing, you often hold hands and in waltz you should lead or follow. Physical contact should be created softly but firmly - nobody squeezes anyone. If the choreography begins to feel familiar you can hold up a polite conversation with your partner and others who are close - but not at the cost of the choreography! Balls were also an opportunity for unmarried young people to meet and greet. Although Empire era dances are more communal than intimate they still create relaxed situations and chaperones are further away than usual.
The most important thing is that dancing should be fun. Dance is a communal experience - and at its best euphoric. We hope that the dance floor at Alexander's Ball will be a space where historical research and hours of practice come alive in joyful way.
The posture is very upright. If using other than plain walking steps the feet should be turned out to form a 90 degree angle. Head is held erect but level; looking at your feet or the ceiling would be impolite. The dance style of the era is energetic but steps must be articulated neatly. In a way the more ceremonial dance forms of previous decades were giving way to a lighter style of the new century, but technical precision and elegance remained. When taking steps you should first land on your toes and the ball of your foot, heel landing last. Hands and arms are relaxed but not limp, and they don't move up and down with music or other body movements.
Dance figures are timed to music. Typically ballroom music consists of four or eight bar phrases and dance figures are tailored to match. In other words a dance figure commences at the beginning of a musical phrase and ends when the phrase ends. This sounds rather self-evident but there is a danger of being late or arriving early. The figure is finished together with the phrase and dancers should not end their movements in advance.
Because dancing is a social event it is vitally important to pay attention to and acknowledge others. You should maintain eye contact with your partner and smiling doesn't hurt either. While dancing, you often hold hands and in waltz you should lead or follow. Physical contact should be created softly but firmly - nobody squeezes anyone. If the choreography begins to feel familiar you can hold up a polite conversation with your partner and others who are close - but not at the cost of the choreography! Balls were also an opportunity for unmarried young people to meet and greet. Although Empire era dances are more communal than intimate they still create relaxed situations and chaperones are further away than usual.
The most important thing is that dancing should be fun. Dance is a communal experience - and at its best euphoric. We hope that the dance floor at Alexander's Ball will be a space where historical research and hours of practice come alive in joyful way.
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