A young lady's dances could be reserved in advance, in which case the name of the young man was recorded on her dance card. It was not acceptable for a man to dance more than once with the same partner. And if his invitation to dance was refused, he should never press his point. However, unless she had serious reason to, a young woman was never to refuse a dance invitation.
Finally, nothing was ruder than for a man or a woman to forget that he or she had promised a dance to someone.
During private balls the host had to make sure that none of the girls were left twiddling their thumbs on the sidelines. He had to invite anyone who had not yet danced onto the dance floor. In general, it was expected that every man invited to a ball would get up and dance, out of basic courtesy to the hosts.
Magnificent gatherings of elegant and richly dressed men and women in colourful and brightly lit settings - balls were rich fodder for the imagination. In the 19th and early 20th centuries, they were an extremely popular form of entertainment.
For, despite their numerous constraints, such events provided the perfect opportunity for strangers to touch - to hold one another by the waist and by the hand. Balls were of course great fun for those in attendance, but they were also an occasion to find a husband or wife, to make connections and to affirm membership in a certain social class.
Sherwood, Mrs. Manners and Social Usages. The Ball-Room Guide. London: F. Warne and Co. Joannis-Deberne, Henri. The waistcoat would be low, so as to disclose an ample shirt-front, fine and delicately plaited; it was not embroidered, but small gold studs were used for decoration.
He would also have a black or white cravat, tie or stock—the necktie would be of a washing texture, not silk, and not set off with embroidery. In addition, included were a pair of patent leather boots with low heels; white kid gloves—not straw-color or lavender; and a white linen cambric handkerchief.
The hair would be well dressed, without too many curls; the whole effect would be in perfect keeping with the general appearance. Excess of jewelry would not be worn: simple studs, gold solitaire sleeve-links, and a watch chain—massive with charms and appendages.
Perfumes would be avoided as effeminate; if used at all, only for the handkerchief, they would be of the very best scent so as not to offend. I n calling for the lady invited, the Victorian gentleman would be punctual at the hour appointed. If he ordered a carriage, he handed her in first, and sat opposite to her unless she requested him to change his position. They were not obliged to go exactly at the appointed hour; it was even fashionable to go an hour later.
Victorian married ladies were accompanied by their husbands; unmarried ones by their mother or by a chaperon. In leaving the carriage, the Victorian gentleman preceded the lady and assisted her in descending, he would then conduct her to the ladies' dressing room, leaving her in the charge of the maid, while he went to the gentlemen's apartments to divest himself of overcoat, hat , and boots.
A cloak-room for the ladies was usually provided, with one or two maids to receive the shawls or cloaks. The maids would also render any assistance in the way of arranging hair or dress, repairing a torn dress, or any necessity of that kind. In this room there would be several mirrors, with a supply of hair-pins, needles and thread, pins, and similar trifles. A hat room for Victorian gentlemen was also available with tickets, numbered in duplicate for the articles belonging to the ladies and gentlemen that were left in the charge of the attendants.
With two tickets of each number, one of these was pinned on the coat or cloak as it was handed in, and the other given to the owner. By this means the property of each guest was identified, and confusion at the time of departure was prevented. The floor-managers gave the order to the orchestra to commence, and also took the lead in entering the Victorian ballroom.
The Victorian gentleman either joined in the promenade, or conducted his lady to a seat. The sound of a trumpet was generally the signal for the assembly to take their positions on the floor for dancing. A gentleman would, in all cases, dance the first set with the lady in company with him, after which he could exchange partners with a friend; or dance again with her, as circumstances or inclination would dictate.
A Victorian lady could not refuse the invitation of a gentleman to dance, unless she had already accepted that of another, for she would be guilty of an incivility.
Ladies who danced often, would be very careful not to boast of the great number of dances for which they were engaged in advance before those who danced but little or not at all. They would also, without being seen, recommend these less fortunate ladies to gentlemen of their acquaintance.
At a private ball or party, a lady would show reserve, and not show more preference for one gentleman than another; moreover, she would dance with all who asked properly. The master of the house would see that all the ladies danced; he would take notice particularly of those who appeared to be wall-flowers, and would see that they were invited to dance.
But he would do this wholly unperceived, in order not to wound the self-esteem of the unfortunate ladies. Gentlemen, whom the master of the house requested to dance with these ladies, would be ready to accede to his wish, and even appear pleased at dancing with the lady recommended. Frequently, some young Victorian gentlemen breached the rules of proper etiquette; they were so very particular that they considered it a remarkable inconvenience to dance with a lady unless she happened to be very pretty and interesting.
Those young men rarely brought ladies with them, and were constantly bothering their friends and the floor managers to be introduced to the best dancers and the prettiest young ladies that they saw in the room.
If there were not as many gentlemen as ladies present; two ladies were permitted to dance together in order to fill up a set, or two gentlemen could dance if there were a shortage of ladies. But it was not proper for ladies to refuse to dance with gentlemen, and afterwards dance together, or for gentlemen to do the same after having refused to be introduced to ladies. Engaged persons would not dance together too often; it was in bad taste; furthermore, it was considered a violation of etiquette for man and wife to dance together.
When introduced to a lady, a Victorian gentleman was particular about how he asked her to dance, and the manner in which he bowed to her, and also of requesting to see her card; ladies were susceptible of first impressions, and it depended a good deal upon the manner in which the gentleman first presented himself. When a Victorian gentleman danced with a lady to whom he was a stranger, he was cautious in his conversation.
When the music ended, he bowed to his partner, presented his right arm, and led her to her seat; if the seat was occupied, he would politely ask her to what part of the hall she would like to be conducted; he would also bow as she took her seat. The gentleman was not at liberty to sit by her side, unless he was on terms of intimacy.
Would he wish to dance with a lady with whom he was not acquainted, he applied first to his friends, who would try to procure for him the desired introduction. If not, the Victorian gentleman would make application to one of the floor managers, who would introduce him if he was acquainted with the lady; otherwise the floor manager would not present him without first demanding the consent of the lady.
While new way is characterized by precise movement of the arms, wrists and hands, vogue fem is broken down into either fast, angular movements or much slower, sensual and deliberate movements. However, Madonna was accused of culturally appropriating a culture that she had no claim to and turning a rich history of vogue into a fad. But Livingston, as a queer white woman, has been accused of enabling cultural appropriation through her documentation of house balls.
Several participants in the documentary also threatened to sue after not receiving compensation following the success of the film.
Glover says they expect ballroom culture to continue to evolve as a vital element of the Black queer community—and periodically influence broader audiences. But there are moments when the scene comes up for air and emerges through the water, making a splash within the popular culture scene before returning to the oceans depths while those on the surface feel its ripples for quite some time.
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