· The EDCAnnual Festival
Thisone-day event, hosted by different Early Dance groups around thecountry,provides the opportunity to meet and dance with friends, to show yourlatestwork and to see that of others. The Festival itself is always on aSaturday, inthe autumn, and there are often associated activities on the Fridayevening orthe Sunday morning. These have included lectures and visits to localmuseums,country houses or costume collections.
· TheEarly Dance Annual Lecture
This lecture, givenin London, is open to all - and free.
The Annual Lecture isusually held on the third Friday in February. An eminent speaker is invited to talk on a topic relevantto Early Dance. The aim is to promote Early Dance to a wider audience andto demonstratethat it is a serious field of study.
Thelecture is followed by an opportunity for informal talk.
Thetext of the most recent Lecture
· TheEDCBiennial Conference
This is a one-dayevent often held on the Saturday following the Early Dance Lecture. A number of speakers address a topic (a theme or aspecific period)relevant to the study and appreciation of Early Dance. The programme usually includes some practicaldemonstration of dancing.
TheProceedings are published (see Publications).
· One-offevents organised by the EDC
Workshops, study daysand additional lectures are also arranged as opportunity offers. For the most part, however, there are now enough events ofthis kindorganised by local groups and individual teachers to make nationalinitiativessuperfluous.
Future events of allkinds are notified in the Diaryof Early Dance Events.
Events organised bythe EDC will be found at Forthcoming EDC events.
1984 29 September LONDON,The Camden Centre
1985 15 September LONDON,Porchester Hall, Bayswater
1986 13September LONDON, Porchester Hall, Bayswater
1987 31October LONDON, Porchester Hall, Bayswater
1988 15October LONDON, Porchester Hall, Bayswater
1989 14October NELSON, Silverman Hall
1990 13October STRATFORD-UPON-AVON, Town Hall
1991 5October LONDON, All Saints Arts Centre, Barnet
1992 10October WORCESTER, The King’s School
1993 30October BROMLEY, The Ravensbourne School
1994 1October OXFORD, Gosford Hill School, Kidlington
1995 14October LONDON, Ealing Town Hall
1996 12October CAMBRIDGE, Long Road Sixth Form College
1997 18October WATFORD, Queen’s School, Bushey
1998 17October ROCHDALE, Town Hall
1999 9October PLYMOUTH, College of St Mark & St John
2000 14October FARNHAM , Frensham Heights
2001 13October EDINBURGH, The Edinburgh Academy
2002 19October LUDLOW, The Assembly Rooms
2003 11October BATH, Kingswood School
2004 17October ROCHDALE , Town Hall
2005 9 October NORWICH, Assembly House, Norfolk
2006 21 October CANTERBURY, St. Edmund’s School
2007 13 October STRATFORD-UPON-AVON, King Edward VI School
2008 18October HARROGATE, Ashville College
2009 16October CAMBRIDGE, Long Road Sixth Form College
2010 29October BROMLEY, Ravens Wood School
2011
15October ROCHDALE, Town Hall
1988 Belinda Quirey
‘Bel Salto’
The Place, StPancras, London
1989 MollyKenny
‘Claims to a Dance Inheritance’
ByronTheatre, Old Cavendish Street, London
1990 PeterBrinson
‘The Nobilityof Dance’
CentralHalls, Westminster, London
1991 PeggyDixon
‘Early Dance in Perspective’
RoyalAcademy of Dancing, London
1992 MaryCollins
‘Early Dance in Education’
StBride’s Institute, Fleet Street, London
1993 ---------------
1994 JoanRimmer
‘On the Coranto’
StBride’s Institute, Fleet Street, London
1995 RogerSavage
‘Purcell and Theatrical Dance’
StBride’s Institute, Fleet Street, London
1996 MargaretMcGowan
StBride’s Institute, Fleet Street, London
1997 StanleyGlasser
StBride’s Institute, Fleet Street, London
1998 JeremyBarlow
‘The Minuet Remembered’
StBride’s Institute, Fleet Street, London
1999 PeterHolman
‘When is a Dance not a Dance?’
StBride’s Institute, Fleet Street, London
2000 JackEdwards
‘Staging 17th- and 18th-century Baroqueopera’
StBride’s Institute, Fleet Street, London
2001 GeraldineStephenson
‘Swirling Skirts Fill the Screen’
StBride’s Institute, Fleet Street,London
2002 BarryGrantham
‘The Dancer as Actor: lessonsfrom the Commedia dell’Arte’
StBride’s Institute, Fleet Street, London
2003 DavidWilson
‘But how do you know howthey danced so long ago?’
StBride’s Institute, Fleet Street, London
2004 Ellis Rogers
‘TheImage in the Mirror - social dance as the reflection of its society.’
StBride’s Institute, Fleet Street, London
2005 BarbaraSegal
‘Heroesand Harlequins: Dance & Pantomime on the English Stage
in the early 18thcentury.’
StBride’s Institute, Fleet Street, London
2006 AnneDaye
‘The Queen's Revels: Henrietta Maria and theStuart masque’
StBride’s Institute, Fleet Street, London
2007 Dr.Anne Bloomfield
‘Agentof the Enlightenment: The significance of the Dancing Master
in creating a civilised society in the 18thcentury.’
StBride’s Institute, Fleet Street, London
2008 Ian Chipperfield - Staymaker:
‘ALaboured Hoop to Ornament the Fair’
comparing andcontrasting the 16th C. Farthingale, the 18th C. hoop
and the 19th C.Crinoline, their affect on deportment and movement
StBride’s Institute, Fleet Street, London
2009 HumphreyBurton, CBE
‘Fun and Fancy Free - Leonard Bernstein and dances fromHistory.’
StBride’s Institute, Fleet Street, London
2010 Barbara Sparti
‘THE MULTI-FACETED MORESCA, The ItalianTradition of Pantomimic Ballet’
TheArt Workers Guild,London
2011 Georgina Boyes
“…our dancers will appear”: Popular culture and early recordsof English traditional dance.
TheArt Workers Guild,London
Concert
10thNovember 1990
‘StepStately: a Measurein Time’
TheCommonwealth Institute, Kensington, London
AnEarly Dance Show with dancers in period dress, music on periodinstruments andwords from period texts.
Aprogramme of 40 dances was performed by a troupe of 70 dancers, drawnfrom 13dance groups, with 21 musicians and readings by 2 speakers.
YouthDance Competition for Young People 2005-2006
February2006
Big Dance Week
5-13th July 2008
3-11th July 2010
5thApril 1997
‘BelindaQuirey and Historical Dance’
BirkbeckCollege, London
PhrossoPfister ‘Belinda Quirey, MBE: gloriouseccentric’
AnneDaye ‘Historical Dance in Higher Education’
VelmaPursehouse ‘TheBelinda Quirey Memorial Fund’
AnnHutchinson Guest ‘Belinda Quirey: anappreciation’
DianaCruickshank ‘“We’ve got a carriage!” ’
PeggyDixon ‘Historical Dance – past, present andfuture’
BrianTrowell ‘Some memories of Belinda Quirey’
Forthe proceedings, see Publications
27thFebruary 1999
‘Educationand Early Dance’
RoyalSociety of Arts, London
JohnHarland ‘Effects and effectiveness of the teaching ofDance in schools’
MaryCollins ‘ “The Art that All Other Arts DoApprove” ’
JudySmith ‘Dance teaching packs: guidelinesfor producers’
AnneBloomfield ‘The dancing children of Clifton Hall’
JuneMcKay ‘Blind Dance’
NicolaGaines ‘Early Dancein the preliminarytraining of children in Classical ballet’
DianaScrivener ‘Settingthe stage for EarlyDance’
CatherineBowness ‘From goalsand scrums tomediaeval drums: conversionin anon-dancing society’
Forthe proceedings, see Publications
23rdFebruary 2002
‘TheRestoration of Charles II: publicorder, theatre and dance’
BanksideHouse, London
RoySherwood ‘Cromwell’sMerry England’
JohnMiller ‘Back tonormal? Governmentand society in Restoration Norwich’
AnneDaye ‘Theatre dancein the private andpublic domains of Stuart and Commonwealth London, 1625-85’
JeremyBarlow ‘“Mockmusick” and survival ofantimasque traditions in the Restoration theatre’
MoiraGoff ‘Shadwell,Saint-André and the“curious dancing” in Psyche’
Forthe proceedings, see Publications
21st February, 2004
The GreatDivide?: A Conference to Explore the impact of theFrench Revolution on Dance, Costume and Culture
St. Bride Institute,London
| Clarissa Campbell Orr | The French Revolution as a cultural event |
| Sarah Nixon Gasyna | Looking like Death: dress and allegory at the Balsà Victime |
| Ellis Rogers | Changes in the ballroom repertoire initiated by theFrench Revolution |
| Elspeth Reed | Dancing with Jane Austen |
| Frances Tucker | Styles of dress in France and England from theFrench Revolution to the Regency |
There was also a demonstration by the Jane AustenDancers
Forthe proceedings, see Publications
25th February, 2006
Masks, masques andmasquerades: a living tradition
St. Bride Institute,London
| YanaZarifi | Greeksatyr dances, ancient and modem |
| KarlToepfer | Masksin the ancient Roman pantomime |
| DanielTércio | Moreschidances in the history of Portugal |
| AnneDaye | Masquingvizards |
| BarbaraSparti | Themask in the dance etchings of G. M. Metelli (1634-1718) |
| BarbaraSegal | Masqueradeballs in 18th-century England |
| MargaretColdiron | Maskedperformance in Bali and Japan |
| FrancesTucker | Methodsfor making masks |
Forthe proceedings, see Publications
23rd February, 2008
Dancing Master or HopMerchant? The role of the dance teacher through the ages.
St. Bride Institute,London
| FrançoiseCarter | Changingattitudes to dance through the ages |
| WilliamTuck | Dancingmasters in 15th C. Burgundy |
| AnneDaye | Danceand education in the 17th C. - a report on work in progress |
| SydneyAnglo | FencingMasters, Dancing Masters, and Drill Masters. |
| MadeleineInglehearn | DancingMasters: Professionals or Businessmen? |
| JenniferThorp | Scholars,apprentices and dance training, 1700-1750 |
| MoiraGoff | TheAdroit and Elegant Monsieur Nivelon |
| GrainneMcArdle | DancingMasters in 18th C. Dublin |
| SheilaDickie | Danceteaching in London from the 1890s - 1920s |
| JeremyBarlow | "J'aydeffault de la dance". |
Forthe proceedings, see Publications
20th March, 2010
Dance andHeritage: Creation, Re-creation and Recreation
AllSaints Pastoral Centre, London Colney, St. Alban
| KlausAbromeit | LittlePunch meets Alexander the Great - Lecture/Demonstration |
| JeremyBarlow | Picturingthe Past: Later illustrations of the dance in the garden from |
| CathieBowness | PastPerformance: A review of intentions and outcomes, in three acts |
| GeorginaBoyes | Featurelessflannels and vulgar fichus: Problems of dress in the |
| MichaelBukht | Bonnetsand Bullshit: the effect of popular and participative |
| FrancesCampbell | Varietyis the spice of life - variations on the double step |
| FrancoiseCarter | Theidea of cosmic harmony in late 16th |
| GrainneMcArdle | DancingMasters in 18th C. Dublin |
| IngolfCollmar | Emotionof an Echo - Performance of Modern Baroque |
| AnneDaye | Early[modern] dance and the genesis of [Early] Modern dance |
| Moira Goff | Deadly Complaisance?Lecture/Demonstration |
| Tiziana Leucci | Théophile Gautier on MariaTaglioni’s ‘creation’ of theBayadère character and the Indian Temple Dancers performing in Paris in 1838 |
| Tiziana Leucci | From Dasi Attam to Bharata Natyam:re-definition and re-creation of a South Indian dance style in the first half of the 20th century -Performance |
| Barbara Kane | Looking at Isadora Duncan’suse of Ancient Greek Myth, Muses and Philosophy - Lecture/Demonstration/Workshop. |
| Jackie Marshall-Ward | Dance Alive! |
| Cecilia Nocilli | Recreation of Historical Dance: aLegacy of the Collective I magination of the Screen |
| Kimiko Okamoto | Two Sisters’ SeparatePaths: Early Dance and Early Music in the Age of Postmodernism |
| Nira Pullin & WilliamWilson | Everybody’s Doin’It - A Ragtime Workshop |
| Barbara Segal | John Weaver and John Rich:Re-creation versus Recreation in 18th century Pantomime |
| Bill Tuck | “ChivalricHumanism” and the role of the basse danse in the re-creation of a mythic past at the 15thC Burgundian Court |
| Tomasz Marcin Wrona | Court ballet intomilky–bar–arts’ times: a CulturalStudies’ view of dance reconstruction |
Forthe proceedings, see Publications