Some etiquette tips that makes dancing go better:

Listen to the dancing master and don’t distract others who are trying to listen to him!
Listen for when a dance will be taught for everyone and when it is a pre-arranged display.
Listen to any background offered on a dance, as understanding context can increase reward.
Be patient when the dancing master offers basics for beginners or extras for the advanced.
Share experience and friendship around, so if experienced ask a beginner for a dance and vice-versa.

Every year we follow inspirations to produce a very different JAFA dance program with lots of new material that helps add context to our exploration of Jane Austen’s world. This year in addition to the dozens of dances drawn from period English sources, we will feature on Friday Georgian-era dances from France, Austria, Spain and the Caribbean, on Saturday Napoleonic-era dances from Italy, Germany, France and Scotland (the latter including one danced at a pioneer’s party in New South Wales), and on Sunday early-Victorian-era dances popular across Europe, some to tune suite’s with Australian connections. Then, as now, the world was interconnected. Most of the dances have multiple geographic origins—an Austrian impression of an English dance; an English record of a French version of a Polish dance; German impressions of Scottish dance reimported to England; and a dance invented in France, published in Scotland, set to a suite specially written in England for a Waverley ball. Many dances are also of mixed social origin—a French folk dance, La Batteuse, that became a favourite of the London regency aristocracy; an African slave’s impression of a Caribbean plantation-owner’s version of a European ballroom standard that French and American dancing masters had re-enter the European ballroom as the Congo minuet. We will also enjoy, just as they did in Jane Austen’s day, participatory dancing to music by famous composers as Bach, Mozart, Beethoven and Schubert. 

Hope you can join us for the dance adventure and ballroom fun that awaits!

20 April at CANBERRA BAPTIST CHURCH HALL, Currie St, Kingston.
THURSDAY 20 APRILfestival three-eras-in-one-day dance overture. $30 Festival add-on.

For novices and experienced dancers alike to enjoy building skills and exploring steps, figures and repertoire ahead of the festival proper at the Albert Hall. While some use other rooms in this lovely venue for pre-Festival costuming workshops, we’ll use the main hall for dancing. We’ll cater for all levels, and devote:
9:15-10:30 to the Georgian era,
11:00-12:30 to the Napoleonic era,
1:30-3:00 to the
late-Regency/early Victorian-era, and
3:30-5:00 to revision, extension and possible display review (with a role for
We’ll offer free refreshments and snacks. The venue has a lovely picnic area and Kingston Shops are just two minutes walk for those wanting to purchase a meal. Needs to be booked in advance.

21-23 April at ALBERT HALL, Commonwealth Ave, Yarralumla


FRIDAY 21 APRILdances from the 18th century into which Austen was born.

9.00-10.30: The Georgianera country dancelongways dances for the evening Pleasures.
11.00-12.30: The square set Cotillion—the craze that in Austen’s youth spread from France to England.
1.30-3.00: Austen meets Mozartthe English country dance craze in Germany, Austria and beyond.
3.30-5.00: Improvised dancesthe congo minuet, allemande and other little known treats.
6.30 for 7:00-11.00: GEORGIAN PLEASURES EVENINGEat at candle-lit tables, enjoy displays of the French courtly dance, and join-in on dances workshopped during the day and other friendly dances of the kind done at a Bath assembly. Appropriate dress would be Georgian, Regency or something semi-formal.

SATURDAY 22 APRIL—dances from the period of Jane Austen’s novels.

9:00-10:30: The Austen-era country dancelongways dances for the evening ball.
11:00-12:30: Square and big setsthe latest dance fashions from Europe.
1:30-3:00: Scottish-inspired dancesin England and in contemporary Germany language manuals.
3:30-5:00: The waltz and mazurkatwo beautiful new couples dances that invade ballrooms everywhere.
6.30 for 7:00-11.00: THE GRAND NAPOLEONIC BALLAll the new dances from the daytime workshops plus some old favourites will come together for a full evening of dances from the Jane Austen novel / Napoleonic War period. Appropriate dress would be Regency/Napoleonic or something formal.

SUNDAY 23 APRILdances from decades immediately following Austen’s death.

9:00-10:30: New hybridssome of the most popular dances of 1820s-40s combined old favourites.
1:30-3:00: New couples dances—the gallop, polka and new dance games opened a new era.
3:30-5:00: New quadrillesone to music composed in 1840 Tasmania and a rare Scottish sixdrille.
6:30 for 7:00-10:30: THE WAVERLEY BALL*Any dress fine at such a masquerade, be it Georgian era, Regency, Scottish or early Victorian. We’ll fit in all the1820s-40s dances previewed in daytime workshops plus more around a dinner break, desert break, costume parade, displays and lots of farewell fun!

*The popularity of the historical novels of Sir Walter Scott (a contemporary and favourable reviewer of Jane Austen) gave rise to costumed balls to which guests would come dressed as characters from his novels (his first in 1814 entitled ‘Waverley’) and groups of friends would try and costume to the same theme for the opening quadrille. Soon any historical dress was acceptable and Waverley balls were even being held in Australia and New Zealand.


Georgian Era Dancing Friday 21 April featuring dances for the 18th century into which Austen was born.

GEORGIAN DANCE SCHOOL (dances for the evening ball)

9:00-10:30 The Georgian-era longways country dance  (Jamaica, Commical Fellow, Marset’s no.1, Pistolet, La Coquette).
11:00-12:30    The Cotillion that in Austen’s youth spread from France to England (La Boheimienne, Jeu des quatres coins, Marset’s no.2, Pontlevoy)
1:30-3:00  Austen meets Mozart—the English country dance craze in Germany, Austria & beyond (Blessmann’s no.1&2, Link’s no.2&4, Wachet Auf).
3:45-5:15  Improvised dances—including the arm-interlacing allemande, Perigordine and thrilling Congo minuet.

7:00 – 7:30      Arrival, uncalled minuets à deux and à quatre, and welcome
Jamaica /Bonne Amité to signature tune called by JGG
Le Pistolet to signature tune called by SH
Display of La Bourgogne, La Bacchante (ballet & contredanse)
La Matelotte to signature tune called by SH
La Coquette to signature tune called by SD
La Bohaimiene to André Campra’s ‘Trip to Paris’ tune called by JGG/SH
8:30 – 9:00      Refreshment Break & Impro Theatre (ImproACT)
Display of Les Contrefaiseurs, St.Martin’s Lane and Les Manches Vertes
Link’s English dance no.2 to Mozart’s contredanse no. 5 called by JGG
Link’s English dance no. 4 to Mozart’s contredanse no. 4 called by JGG
Display of Gavotte du Roy, Le Cotillon and Le Cotillion de Surenne
Marset’s contradanza no. 2 to signature tune called by JGG
Marset’s contradanza no.1 / The Baulk to Spanish & English tunes called by JGG
Uncalled dance to section of Bach’s ‘Wachet auf’ (Sleepers awake) cantata.
Blessmann’s English dance no. 1 to tune by Weis called by JGG
10:00 – 10:30   Supper Break
Display of Pecour’s L’Allemande then free allemande
Le Jeu des Quatre Coins to signature tune called by JGG
Uncalled Pontlevoy to signature tune
Comical Fellow to signature tune called by DW
 Uncalled Congo Minuet to ‘De’il among the Tailors’ (‘The Devil’s Dream’)
Perigordine to tune in Jane Austen’s music book led by JGG & MV
11:30  End of evening.

Regency Era Dancing Saturday 22 April featuring dances from the period of Jane Austen’s novels

REGENCY DANCE SCHOOL (dances for the evening ball)
8:30-10:00     The Austen-era country dance—longways dances for the evening ball (Magri’s no.8&29, Petersen’s no.5, Wernigeröder 19, Juliana).
11:00-12:30    Square & big set sets—including the Prince of Wales’ Cotillion, Regency London favourite La Batteuse, and Battle of Waterloo.
1:30-3:00       Scottish-inspired dances—in England and in contemporary German language manuals (Highland Reel, Lowe’s Reel of 6, Country Bumpkin, Länger’s Ecossaise no.1).
3:30 -5:00      The waltz and mazurka—two couples dances that were to invade ballrooms everywhere (Waltz and Mazurka variants, Wechsel-Waltzer, Mazurka Cotillion, Peterson’s no.9, Keraus).

7:00 – 7:30      Arrival display of Menuet de la Cour & Minuet Waltz and Welcome
Grand March to Schubert’s ‘Marche Miltaire’ led by JGG
Prince of Wales’ Cotillion to signature tune called by JGG
Uncalled Chiver’s Juliana to signature tune
Magri’s contradanza no.8 to signature tune called by JGG
Magri’s contradanza no.29 to signature tune called by JGG
Highland Reel to Mrs McCleod’s Reel called by DW
8:30 – 9:00      Refreshment Break & Impro Theatre (ImproMafia)
 Uncalled mazurka cotillion to Hart’s mazurka suite, led by JGG
Petersen’s English Dance no.9 to Beethoven’s contredance no.6 called by JGG
Petersen’s English Dance no.5 to Wernigeröder no.1 called by SH
Länger’s Wechsel Waltzer to Helmke’s Triolet Waltz DAABBCC called by JGG
Uncalled Lowes’ Reel of Six to the ‘Highland Laddie’ led by JGG
La Batteuse to signature tune called by JGG
La Galopade / Black Dance called by JGG
10:00 – 10:30   Supper Break
Free waltz to JGG’s ‘Whirl of Memories’ set (LD Court 16)
Wernigeröder English Dance no. 19 called by JGG
Keraus called by JGG
Uncalled Country Bumpkin for Nine to ‘De’il among the Tailors’ led by JGG
Länger’s Écossaise no.1 to Beethoven’s 6 Ecossaises called by JGG
The Battle of Waterloo to Beethoven’s contredanse no.4 called by JGG
11:30  End of evening

Romantic-era Dance Sunday 23 April featuring dances from the decades immediately following Austen’s death

ROMANTIC-ERA DANCE SCHOOL (dances for the evening ball)
9:15-10:30     New hybrid dances—some popular dances of 1820s-40s, (the Swedish, Contre-& Kreuz Ecossaise, Conversation, La Triolet & Tempête)
11:00-12:30    New couples dances—basic polka & galop, Spanish Waltz, Fan & Scarf cotillion, Wind-up Galop
2:00-3:30       The Quadrille—including Mundy’s 1st set, a Sixdrille from Scotland and French galopade quadrille.

6:00 – 6:30      Start to gather for… 6:30 – 7:00  Darcy’s Cold Buffet
Free waltz or display of JGG’s Hands off medley to Lost Dance Village 10
Grand March to d’Albert’s Sydney Exhibition Quadrille led by JGG
Quadrille Francaise to Mundy’s 1st set called by DW
Spanish Waltz called by JGG
Swedish Dance to La Poule called by JGG
The Fan dance to JGG’s ‘The Fleeting Glance’ set led by JGG
The Scarf cotillion to d’Albert’s ‘The Queen of Ball’ led by JGG
8:00 – 8:15      Refreshment Break
Display JGG’s Barbarous Elegance mazurka medley to Town 4
Länger’s Contre-Ecossaise to Lauchery’s Ecossaise for 1823 LD called by JGG
DW’s How does your Garden Grow to Beethoven’s 6 Ecossaise called by DW
Helmke’s Triolet Waltz to JGG’s ‘Highest Tower’ set LD Country 8 called by DW
Länger’s The Conversation to one of Beethoven’s 6 Deutsche called by JGG
Galopade Quadrille to Offenbach’s Infernal Galop called by JGG
9:15 – 9:30      Dessert Break
Free polka or display of JGG’s Grapevine Polka medley to LD Village 3
Länger’s Kreuz-Ecossaise to Russian Dance/Fairy Dance called by JGG
The Sixdrilles to Merriott’s ‘Waverley Quadrille’ set called by JGG
Länger’s La Tempête to signature tune called by JGG
Uncalled reprise of Wachet Auf to Bach’s tune
Uncalled reprise of Congo Minuet to ‘De’il among the Tailors’
Free galop or display JGG’s Wind-up Galop to Charles Godfrey’s tune
10:30   End of Ball and Festival Farewell