Roseanna White here to introduce a good friend and new member of Colonial American Christian Writers, Dina Sleiman. Dina's first American historical romance just released yesterday (huzzah!), and we are excited to introduce it and its early American setting. As one may be able to tell from the title, Love in Three-Quarter Time, a certain dance is featured in Dina's novel. And she's here to tell us a little bit about it. Take it away, Dina!
~*~
The Forbidden Dance
No, I’m not talking
about the tango. In the late 1700s and early 1800s the waltz was
considered quite a scandalous dance. It gained popularity on the
European continent by around 1780, but was still scorned in
respectable circles in England and the United States. It wasn’t
until the Prince Regent introduced the waltz at a ball in 1816 that
it was accepted in England. As for the newly formed US, all we can
say for certain is that it was a standard dance by 1830.
For my new novel, Love
in Three-Quarter Time, I assumed that as in
all things fashionable, Americans would have followed close on the
heels of their British cousins. I showed the waltz being introduced
to Charlottesville, Virginia, by a trend-setting plantation matron in
1817. But the waltz of the Regency (or in this case late Federalist)
era was quite different than the waltz we know today. It was closely
related to the cotillion, and it incorporated a variety of handholds
that could, in fact, turn a bit risqué in the wrong company.
Here are just a few lines
from a very lengthy poem called “The Waltz,” written by Lord
Byron in 1813.
Endearing Waltz! -- to thy more melting tune
Bow Irish jig and ancient rigadoon.
Scotch reels, avaunt! and country-dance, forego
Your future claims to each fantastic toe!
Waltz -- Waltz alone -- both legs and arms demands,
Liberal of feet, and lavish of her hands;
Hands which may freely range in public sight
Where ne'er before --- but --- pray "put out the light."
Methinks the glare of yonder chandelier
Shines much too far --- or I am much too near;
And true, though strange --- Waltz whispers this remark,
"My slippery steps are safest in the dark!"
The
waltz of that time was not the gliding Viennese Waltz or the boxy
American Waltz we might be familiar with from dance shows today. It
began with a side-by-side promenade called “The March,” but then
moved into “The Pirouette” section which involved a variety of
holds, some of them quite intimate and hip to hip, with hands linked
overhead. The dance then moved into the quicker, hopping "Sauteuse"
and
"Jetté"
portions,
but always returned to the sensuous pirouettes. Unlike other dances
of its time such as cotillions, minuets, reels, gavottes, and country
dances which allowed only fleeting contact, the waltz allowed for
extended body and eye contact between the partners. These holds
allowed ample time for gazing into the partner’s eyes and…shall
we say, conversation?
As in Colonial days, dance
in the Federalist Era was an essential part of high society life.
One’s ability to dance played an essential role in one’s good
standing in the community. Little wonder my Mrs. Beaumont was in such
a tizzy that her twin daughters were about to be launched into
society and she couldn’t secure the best dance instructor in
Virginia. And once she did find a suitable teacher, enter my heroine
Constance Cavendish, little wonder that Mrs. Beaumont desired to wow
her peers by being the first to thpresent the waltz in her area.
Thomas Jefferson, who
makes a cameo appearance in my novel as a retired president and
resident of Albemarle County, once wrote that dance “is a healthy
exercise, elegant and very attractive for young people.” And as
Jefferson spent much time in France, I surmise he would have enjoyed
a good waltz himself.
I had tons of fun playing with the idea of introducing
this “scandalous” dance into the polite society of the planter
elite class in Albemarle County, Virginia. I hope you have fun
reading about it as well. If you’d like to get a peek at the
Regency Era waltz, check out this video. The filming quality is poor,
but it’s the only one I could find that shows one of the more
questionable holds.
~*~
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In the style of Deeanne Gist, Dina Sleiman explores the world of 1817 Virginia in her novel Love in Three-Quarter Time. When the belle of the ball falls into genteel poverty, the fiery Constance Cavendish must teach the dances she once loved in order to help her family survive. The opportunity of a lifetime might await her in the frontier town of Charlottesville, but the position will require her to instruct the sisters of the plantation owner who jilted her when she needed him most. As Robert Montgomery and Constance make discoveries about one another, will their renewed faith in God help them to face their past and the guilt that threatens to destroy them in time to waltz to a fresh start? http://dinasleiman.com









