Die Empirezeit erfreut sich durch die Werke von Jane Austen und neuerdings auch durch die Streaming-Serie Bridgerton reger Beliebtheit. Tanzen war ein Mittelpunkt des gesellschaftlichen Lebens und dank unzähliger erhaltener Tanzbücher wissen wir auch recht genau, wie am Anfang des 19. Jahrhunderts getanzt wurde. Wir beschäftigen uns an unserem Tanzwochenende insbesondere mit den geselligen Tanzformen, wie sie in den Jane Austen Verfilmungen zu sehen sind. So stehen bei den damals beliebten Longways (englische Tänze) die Paare in einer langen Gasse und wiederholen eine kurze Abfolge von Figuren jeweils mit einem neuen Paar. Beim Cotillon (Contredanse française) stehen die Paare (oder manchmal auch Trios) an den Seiten eines Quadrats und die getanzten Figuren folgen einem Strophen-Refrain Prinzip. Klingt alles erst einmal kompliziert, ist aber schnell zu durchschauen und macht dann eine Menge Spaß. Einen Partner oder eine Partnerin muss man zum Wochenende nicht mitbringen, das findet sich.

Wann?
Samstag, 17. Februar 2024 13h-19h und
Sonntag 18. Februar 2024 10h bis 16h (mit je 1h Pause)

Wo?
Ausländer:innenzentrum (hinter dem KulturCafé)

Wie viel?
Studis 30,00 €* (inkl. Getränke und Snacks)
Nicht-Studis 50,00 €* (inkl. Getränke und Snacks)

Anmeldung:
https://asta-bochum.de/empire2024/

Weekly practice for group members 20:00-22:00 Thursdays (most weeks). 

Taught by members of the group.

New members welcome! Please contact in advance to ensure the session is happening

Plenty of free parking, near M3 Junction 5. 

Nearest train station is Hook, then Stagecoach 13 bus (hourly--check online for schedules) stops right outside the hall, and we can arrange to give lifts back to train station. 
Walking from the train station is possible (1.5 miles) but not pleasant; taxi's also available (ring in advance)

Stagecoach 13 bus runs from Basingstoke to Alton (both of which also have rail stations)

Die Torgauer Renaissancetänzer tanzen seit 1996 in Torgau Gesellschaftstänze der Renaissance wie z.b. Branles (Arbeau) und Allemanden, Bassadanza (Domenico, Ebreo, Negri, Caroso), Tänze aus dem Grelsey-Manuskript und natürlich Playford, sowie auch andere historische und historisch angelehnte Tänze.

Neueinsteiger sind jederzeit herzlich willkommen.

Kosten pro Termin zu 100 Minuten 5 € pro Person - oder Vereinsmigliedschaft 60 € im Jahr.

Immer am ersten und dritten Donnerstag im Monat 20:00–21:45 Uhr.

Keine Vorkenntnisse notwendig.
Kein Partner notwendig.

Anmeldung: steffen.rolle@gmx.de

Experiencia inmersiva de los " Bailes de Máscaras " que se representaban en las cortes europeas de los siglos XVI, y XVII, con coreografías originales de la época y donde los invitados podrán bailar con los miembros de la compañía 

2024 marks 40 years since the birth of The Early Dance Circle. A full day is planned to celebrate, including a dance workshop, the Annual Lecture, a light supper and a vintage-themed dance evening.

THE PROGRAMME FOR THE DAY

• 1:30 pm Doors Open
• 2:00 - 3:30 Workshop on the Dances of Thomas Bray, in honour of Diana Cruickshank (former Chair of the EDC), led by Barbara Segal
• 3:30 - 4:00 Afternoon Tea/Coffee Break
• 4:00 - 5:30 Dr Lynsey McCulloch’s lecture on Dance, Stillness and the Early Modern Image
• 6:00 A light supper will be provided
• 7:30 – 9:00 Dancing, with our members calling to recorded music

Dr Lynsey McCulloch’s lecture on Dance, Stillness and the Early Modern Image will deal with the iconic nature of the dance image in the English court masque. She will examine the use of stillness within dance - not as a precursor to motion - but as a state in its own right and also look at dance as a static image in art and printed sources in the early modern period. Dr McCulloch has taught at Coventry University and is a Research Fellow in the Department of Learning and National Partnerships at the Royal Shakespeare Company. Her new book, Dance and the Static Image, has just gone to press.

The event is free to EDC Members (a birthday present!); non-members is £10 per person. An EDC Annual Membership is £20; email members@earlydancecircle.co.uk to join. Reserve your tickets at http://tinyurl.com/bde4829s 

Cost £110 for 2 days, £50 non-refundable deposit.  Single day cost on request.  See booking leaflet for how to book and pay.   This course is aimed at dancers who are already familiar with the 16th century Italian repertoire and who would like to improve their style and performance technique and also at musicians who want to find out about the dances that go with the music that they play. Improving the integration between dancers and musicians is a particular interest of our tutor.   The Hall is warm and roomy, and has a good floor for dancing. It has plenty of free parking and is only a short journey from Junction 5 of the M3. The nearest railway stations are at Hook (30 min service Sat, 60 min service Sun, phone in advance for local taxi to hall, 10min/£8) & Basingstoke. (Bus available on Saturday direct to hall, no bus on Sunday). 

Tea and Coffee are provided, but you will need to bring a packed lunch. On Saturday, you are invited to join us for dinner at a nearby pub (meal not included in the price of the workshop).   Mary Collins is an Early Dance specialist whose research and teaching approach has inspired musicians to look afresh at the dance music that is at the heart of the baroque repertoire bringing, in turn, a fresh perspective on the great composers spanning the renaissance and baroque eras .   Through collaboration with many of the world’s leading exponents of early music, Mary’s radical impact upon historical performance-practice is widely acknowledged. Similarly. Her work with dancers encourages a development of the musical fluency required to facilitate real communication between the disciplines.   A practitioner and researcher, Mary has worked in music, dance and theatre as adviser, choreographer, dancer and actress, touring regularly, presenting master-classes, concerts, lecture-recitals and workshops.   Mary teaches at the Royal Academy of Music and the Royal College of Music in London, receiving frequent invitations from conservatoires around the world. Her teaching has introduced young musicians across the globe to a more informed realisation and performance of a dance-based repertoire spanning both renaissance and baroque epochs.