Printable version
This program traces traditional social, comic and theatrical dance styles popular in Vermont, New England and America, back to their European ancestors. We will begin our exploration in Renaissance Europe and follow these dances as they cross the Atlantic and make their way to New England and Vermont.
Our school program would require one-half day of workshops with Maris Wolff, professor of dance, Johnson State College. The Vermont Dance Collective and select students from your school would perform on a second day.
Our lively and sumptuously costumed program begins with a playful ballo popular during the time that Christopher Columbus was making plans to sail west. We will follow the roots of New England square and couple dances from the beautiful symmetry of renaissance balletti, to a delicate baroque dance using intricate patterns of a dance choreographed for four young ladies at a boarding school in England, (similar dances were performed by young ladies in cities like Boston). We will laugh and have fun following the development of the traditional Commedia dell’Arte from its early European origins to the Vaudeville skits performed in Opera & Town houses in Vermont and New England.
We’ll jump our way through an intricate regency era duet, a type of dance performed by young ladies, who wished to show off their dancing skills at society balls in New England.
We’ll continue dancing our way through the nineteenth century with a playful schottische and polka, just as our New England ancestors did before us in assembly halls, society ballrooms and barn dances. We’ll kick up our heels in a lively Charleston of the 1920’s, just as flappers did in many a New England town.
We’ll delight in the silly animal dances of the ragtime era, just before World War I (and again in the 1960’s before the Vietnam War). We’ll tap our way through the 40’s just as many New England girls did before, during, and after World War II. Our poodle skirts will be flying as we swing our way through the fifties.
We’ll conclude with a lively contemporary hoe down using typical New England Square dance music, patterns and steps.
Artists involved: F. Reed Brown, Nichole Lefaivre, Brandy Ofciarcik-Perez, Kate Severance, Maris Wolff.
All ages.
Full Performance $2,000 plus transportation & hospitality
Single School Performance $1,250 plus transportation & hospitality. Note: Additional funding may be available to certain schools through a generous grant from the Carl Gary Taylor Foundation for Children to the Vermont Dance Collective.
Master Workshop: Single Workshop $350 plus transportation & hospitality. Note: Additional funding may be available to certain schools through a generous grant from the Carl Gary Taylor Foundation for Children to the Vermont Dance Collective.
Four “Half Hour Long Master Workshops” $600. Note: Additional funding may be available to certain schools through a generous grant from the Carl Gary Taylor Foundation for Children to the Vermont Dance Collective.
School Residency includes four “half hour long master workshops” with select students from your school, a rehearsal with selected students and a performance with the Vermont Dance Collective and those select students.
$1,500 plus transportation & hospitality. Note: Additional funding may be available to certain schools through a generous grant from the Carl Gary Taylor Foundation for Children to the Vermont Dance Collective.
New England has a rich cultural heritage that has strong European roots. It is fascinating to see how many of the steps and patterns of New England social dances, including square, contra and couple dances can be found in their European counterparts that were performed as far back in history as the earliest recorded dances of the renaissance. Our colonial ancestors brought with them beautiful dances, intricate in design.
Dance was an integral aspect of daily life in the fifteenth through twentieth centuries, especially for the high society of the upper classes. Through this gracious art, one could not only show off ones elaborate wardrobe, but could also (if performing flawlessly) achieve greater esteem. The delicate and demanding precision involved in moving gracefully, required countless hours of practice under the tutelage of a highly trained and respected dancing master. The costs and leisure time necessary to perfect this art made it impossible for the lower classes to participate at that level. Therefore, dance became a status symbol which the rising middle class strove to achieve. Proper Etiquette and Deportment were essential for all well bred persons on both sides of the Atlantic.
The following is from a manuscript of rules on good behavior compiled by our own George Washington before his 16th birthday! He based this on "Youths Behavior, or Decency in Conversation Amongst Men" by Francis Hawkins, an Englishman. Hawkins had based his work on a Jesuit manual from the sixteenth century. (Aldrich 34-36)
[Ferry Farm, c. 1744]
1st Every Action done in Company, ought to be with Some Sign of Respect, to those that are Present.
2d When in Company, put not your Hands to any Part of the Body, not usualy Discovered. …..
5th If You Cough, Sneeze, Sigh, or Yawn, do it not Loud but Privately; and Speak not in your Yawning, but put Your handkercheif or Hand before your face and turn aside.
6th Sleep not when others Speak, .....
12th …. bedew no mans face with your Spittle, by appr[oaching too nea]r him [when] you Speak. …..
26th In Pulling off your Hat to Persons of Distinction, as Noblemen, Justices, Churchmen &c make a Reverence, bowing more or less according to the Custom of the Better Bred, and Quality of the Person. ….
51st Wear not your Cloths, foul, unript or Dusty but See they be Brush'd once every day at least and take heed tha[t] you approach not to any Uncleaness. …
54th Play not the Peacock, looking every where about you, to See if you be well Deck't, if your Shoes fit well if your Stokings sit neatly, and Cloths handsomely. ….
90 Being Set at meat Scratch not neither Spit Cough or blow your Nose except there's a Necessity for it. …
[9]4th If you Soak bread in the Sauce let it be no more than what you [pu]t in your Mouth at a time and blow not your broth at Table [bu]t Stay till Cools of it Self. ….
100 Cleanse not your teeth with the Table Cloth Napkin Fork or Knife but if Others do it let it be done wt. a Pick Tooth.
101st Rince not your Mouth in the Presence of Others. …
107th If others talk at Table be attentive but talk not with Meat in your Mouth.
Finis
Washington's School Exercises:
Rules of Civility & Decent Behaviour
In Company and Conversation
[Ferry Farm, c. 1744]
http://etext.lib.virginia.edu/
George Washington was known to be a wonderful dancer who enjoyed many a ball. In addition to private balls held in the homes of the elite, dances occurred in statehouses, court houses, market buildings, taverns, and dance assemblies. Dance Assemblies were very popular and took place in halls built specifically for the purpose.
These dance assemblies were highly structured events with published rules and regulations. Dance assemblies, society balls, and barn dances were popular throughout New England. They were an opportunity not only to have a great deal of fun, but also to show off your fine dancing skills and beautiful wardrobes. An additional bonus was a great physical workout
Maris Wolff
Dance Dept./Johnson State College
337 College Hill
Johnson, VT 05656
Phone: 802-635-1318
Alt. Phone: 802 851-1120
Fax: 802-635-1465
Email: dance@vtusa.net
Website(s):www.vermontdancecollective.com