The Simple, The Complicated, & The Continent Part II

In Part I of The Simple, The Complicated, & The Continent, I shared casual pictures from the mid-19th century dance week I attended last August. Now it’s time for the (mostly) more elegant pictures of the formal balls from the week. You’ll see why I say mostly elegant… there are some silly pictures, too!

On the Wednesday of the dance week we had an informal ball at the school. In terms of dancing, it went generally well. We’d had two days of dance classes and we weren’t completed exhausted yet. Everyone looked lovely so it was fun, as always, to admire other people’s ensembles. We were informed that the social custom of Denmark is to only post photos of other people if you have their permission, so I don’t have too many photos I can share of the informal ball, in particular. It’s a reasonable custom, I think, just quite different from what we’re used to in America. It really is the Wild West of willy-nilly picture posting here! Maybe the Wild West village on the grounds of the school made more sense than I thought…

So here I am dressed for the informal ball. My hair was frizzy and big by the evening of the day so I decided to run with it! Big round hair is perfect for the 1858 anyway. I wore Georgina, with her evening bodice. Actually, all of the Americans wore our mid-19th century cotton ballgowns (many of which you can see in this past post), which quite impressed many of the other attendees. We were told that fabrics like these are difficult to find in and around Denmark.

After another two days of classes, the week ended with a formal dinner and ball. We were bussed to the town where these events were to be held (and it was quite an adventure, getting all the large dresses onto the tour buses and into the seats!) and then did a small walking tour of the town before dinner. A new friend snapped this photo of me traipsing across the street after getting some photos taken. I chose my matching crocs to wear around the town before going into dinner and the ball, but I didn’t think anyone would see them!

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Dinner was lovely and then it was time for the ball. It was quite exciting to be attending a formal ball on ‘the continent!’ It sounds so fashionable in a 19th century way!

The ballroom contained actual candles! These are forbidden in many of the halls I normally get to dance in, so that was a nice novelty. They were especially lovely as the light faded outside.

Our hosts provided us with dance cards, which had a convenient hook for hanging the dance card off of a belt or waistband. In my case, the belt on my dress was perfect!

The ballroom was rather small for the number of people we squashed into it, but I suppose that is probably rather accurate for some events in the 19th century. It did mean that the room became quite hot, so I spent a fair bit of time enjoying the lovely garden outside.

As you can see, I wore Eleanor, my plaid silk ball gown. It was a good choice for traveling and it was fun to be elegantly simple in my clothing choice.

Capturing the photographer in a photo! Isn’t it lovely how well their dresses coordinate with the colors in the garden?

Why was I lifting my skirt so scandalously? I think to see how high I could easily lift my leg in my dress. Or perhaps to check my balance? Doesn’t really matter, does it? Silly photos are fun!

I did get permission to share this photo of me with two new friends. Our colors coordinated so well and that uniform was absolutely stunning! And it had fur on the cuffs. Such soft fur! I bet it was boiling hot, but it was also quite dashing!

Unfortunately, by this point in the week we were all brain-dead, so the room in general didn’t do a great job of executing all the dancing we had been working on without many mistakes. That felt like rather a let down, sadly, as it would have been nice to dance at a ball on ‘the continent’ with perfect execution. I guess this gives me another reason to go back and try again some day!

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1864 Evie Hair (Returning Heroes Ball 2018)

In March, I again had the pleasure of attending The Commonwealth Vintage Dancers‘ annual Returning Heroes Ball (you can read about other years I’ve attended here). I decided to wear Evie, my 1864 ballgown, simply because it had been a year or so since the last time I wore that particular gown.

In order to change things up I did two things differently with this wearing: I wore different earrings and did my hair differently. Small changes, but it makes wearing an old dress feel new and exciting!

I don’t think I’ve ever worn these earrings for mid-19th century events before (only for things later and earlier than this period), though now that I’ve tried it I think they work quite well. I made them from triple drop earrings that I bought from a modern store (I forget now, but I think it was New York and Company). I just took off the bottom drop and attached them to clip hardware. They catch the light and sparkle nicely.

1860s and earrings together reminds me of the scene in Gone With The Wind in which a straggling soldier try to steal ‘ear bobs’ from the house. Not that these look at all similar (and luckily my story ends on a happier note than that scene), but a GWTW reference generally makes me smile.

I was going to do a simple hairstyle (my usual go-to c.1860 style with a center part and the hair in a low mass at the back of my head), but as I was getting ready I chanced a look at Pinterest and got excited about trying a more complicated style than I usually do. In particular, I liked the puffed fronts on some of these styles from 1864 and the curls on the sides like some of these from 1861.

I sort of mashed these two looks together, using small rats to puff the front sections of hair and a curling iron to get smooth curls for the sides. My hair is getting to be so long that I had to pin the hanging curls up to shorten them! The rest of my hair was just twisted and pinned on my neck without too much attention paid to it. I was running out of time and knew I’d be adding my hair piece on top, which would cover most of the back of my hair anyway.

I really like the end result for this particular dress of mine. I feel it compliments the hair piece and the silk dress nicely. Isn’t it lovely when all these little details come together to create one cohesive end result? Yay!

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Christmas Cheer (Fezziwig’s Ball 2017)

While it’s still holiday season I want to share a few pictures from The Commonwealth Vintage Dancers’ 2017 Fezziwig’s Ball. This year we had snow on the day of the event. It made for some slippery driving, which unfortunately caused a number of people to not be able to make it, but the bright side was that Salem was enchantingly draped in snow.

It was a bit colder than it has been in some previous years, so it was necessary to wrap up warmly for outdoor caroling. The easiest (and warmest) option that would fit over my gigantic 1830s sleeves was my 1860s wool cape (it is lined in flannel and has thick batting so it is quite soft and warm!). It was great to make use of its amazing warmth since I hadn’t worn it in years, though I have yet to get actual documenting photos of it. I always seem to be wearing it when it’s dark outside! We did get this nice picture though. The stars of light are made using a special Petzval lens (you can read more about this special lens in this past post). The cape plus a muff did a good job of keeping everything but my head warm. There’s no easy way I know of to cover a big hairstyle without mussing it while also keeping your head warm…

As I’ve mentioned in previous posts, I wore last year’s 1832 dress again, but with bigger and better underpinnings, so you’ll likely recognize one of these images from my comparison of 1830s pouf.

Super puffed sleeves, a little more skirt volume, and ribbons on my shoes are the notable changes from last year’s wearing.

I basically styled my hair the same way as last year. I really liked what I came up with and there seemed to be no need to reinvent the wheel!

After vigorous dancing to lovely holiday music it is always a treat to partake of the lavish refreshments, which provided a perfect outing for my refreshing apron. It does a wonderful job of keeping my dresses clean!

Happy holidays!

I hope you’ve had a joyous December so far, full of laughter and blessings!

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1850s Chenille Headdress At The Victoria & Albert Ball

It’s been almost exactly a year since the inspiration for a new mid-19th century headdress stuck in my mind. I was attending a workshop at the Civil War Weekend last October and watching others make lovely floral headdresses with low hanging flowers, like this. Another inspiration headdress was similar in having two sections of decoration on each side of a headband, but made of loops of silk chenille rather than flowers. I decided then and there that I wanted to try out this more unusual style. The image below was my main inspiration, followed by a similar style made of silk ribbon.

MFA. Hair Ornament. Mid 19-th Century. Accession number 53.2245.

MFA. Headdress. Mid 19-th Century. Accession number 51.376.

It’s charming, right? I thought it would be silly, fun, and different, so I went on a hunt for chenille yarn to complement one of my mid-19th century dresses, Annabelle. It was rather harder than I thought it would be to find just the shade of purple that I was looking for as well as an off white, but I persevered and found them on Esty.

The base of my headdress is millinery wire. I formed loops at the ends in order to have a section to easily bobby pin to my hair. The over-the-head millinery wire is covered in black acrylic yarn from the stash to blend in with my hair, while the ends are black because I colored them with a sharpie–easy and quick. No yarn to get stuck in the bobby pins on the ends.

The loops of chenille vary in length. Each piece was folded in half, twisted, and then tied to the base. The chenille I found is not as plush as my inspiration, but with overlapping twists I was able to achieve a similar overall shape.

Here are two pictures of the headdress, one from the back, which better shows off the chenille headdress, and one from the front, which also shows one of our lovely bouquets from the ball.

As the title mentions, I was able to wear this ensemble to a mid-19th century Victoria and Albert themed ball. In addition to the usual loveliness of balls (live music, refreshments, etc.), we had added decorations, special fan shaped dance cards, a quadrille performance, and sashes. Here are the dance cards laid out on a silver tray in the entryway.

And here’s the whole ensemble worn with my sash. The chenille frames the sides of my face and puffs out a bit farther than my hair. Fun and different! I really like this somewhat quirky and unusual headdress!

Regency Dance Weekend 2017

My last few posts have been about the new Regency clothes I made earlier this year: Orange Boven Pelisse and Hat from 1814 as well as a look at the history behind the description Orange Boven and 1817 Gold Stripe Duchess Evening Gown. Now that I’ve got all the details about the construction and history of these garments recorded, it’s time for a look at the Regency Dance Weekend that provided an opportunity to wear these clothes in the company of other fabulously dressed people and in historical halls built in the early 19th century.

This annual Regency Dance Weekend is organized and run by the Commonwealth Vintage Dancers. If you want to see more pictures and read more about the amazing Regency moments I’ve had in past years, I have posts about them here: 2013, 2014, and 2016.

Saturday always begins with dance classes in modern clothes. The hard work we all put in during the day pays off at the evening ball, when we are able to dance with quick reminders of the figures but without full teaching. It’s a very special experience every year!

After a final class on Sunday morning, we take the afternoon off from dancing for a bit of leisure. Often it has been tea, though in some years we’ve had promenades, or even archery! This year we focused on tea, games, and chatting.

This venue, Old Town Hall, has lovely windows that make perfect frames for picture taking!

After tea, those of us running the weekend calmly (well, probably with a lot of scurrying) switch venues to the more elegant Hamilton Hall, where we have a formal ball with a lavish reception. Hamilton Hall is special, with a gleaming sprung floor, musicians balcony, and gorgeous gilt framed mirrors.

Sometimes, though, silliness ensues! I couldn’t resist making a face in the picture below… After that is a face that often happens after I run out of pose ideas…

There is lovely dancing on that evening. The things we’ve all learned have had time to sink in and people dance marvelously, again without teaching.

There are lots of yummy and beautiful foods to tempt everyone away from the ballroom, as well. This year we had some successful fruit filled jellies, a popular dessert in the 19th century.

After lots of dancing (and dish washing–lovely spreads like this with real dishes don’t appear without a fair bit of work behind the scenes) a much needed sitting break provided a nice opportunity for a group photo.

As usual, it was a lovely weekend full of great dancing and meeting lots of lovely new people from around the country, the more local New England area, and even Canada! Maybe some year I’ll get to meet you, too!

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Returning Heroes Ball 2017

A few months ago, I had the privilege of being present once again at the Commonwealth Vintage Dancers’ annual Returning Heroes Ball. It was a lovely evening full of dancing, admiring the well turned out ladies and gentleman, chatting…and lots of dish washing (that’s what happens behind the scenes at these things–someone has to do all of the dishes.)

Here are two very similar views of the ballroom. I thought I’d include both because you see different dresses in each one and that’s one of the things that I greatly enjoy about attending historical events!

I didn’t spend all my time watching, however. Here I am participating in a quadrille. I wore my most recently constructed mid-19th century dress, Eleanor. I was grateful that the only change I needed to make after the first wearing was shortening the hem one turn so I didn’t step on it while dancing.

I made my refreshing apron a few years ago, but since then others have joined me in my apron endeavors (they really are quite practical when doing dishes, filling punch bowls, and setting out refreshments!). Aprons in a row!

An Introduction To Eleanor (HSM #10)

The Historical Sew Monthly challenge for October is Heroes – Make a garment inspired by your historical hero, or your historical costuming hero.

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You may or may not know that one of my favorite movies is Gone With The Wind. (I posted about this topic years ago when the blog was in its infancy–most of what I claimed then is still true and the 1860s will always have a special place in my heart, but I can now say that other periods give me excited wiggles too!) You can read the old blog post to get more specifics, but the essential point is that despite her personal shortcomings and the turbulent and controversial history of the period, Scarlett reminds me of the clothing that I love and therefore is an historical costuming hero to me.

And this gown has an added historical hero, Eleanor ‘Felcie’ Bull, who came to my rescue when I was contemplating what sleeve style to give my dress.

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Eleanor “Felicie” Bull. 1863.

Prior to finding her image, I had been planning to name this dress Johanna, in honor of the friend who convinced me that I needed the fabric a few years ago. But I had sort of decided this was weird, since all my other dresses from this period have names that I like, but that are not from a specific living person. Once I found this image I was completely overtaken with excitement–I love the name Eleanor and there she was, helping me out! The choice was obvious.

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I made a new hair decoration to go with Eleanor. I had the perfect stem of purple velvet leaves, but no flowers to match the dress. So I dyed some white millinery flowers to a golden yellow. They have a fluffier texture than before being dyed, but the color is perfect. Using millinery flowers brings me so much joy, because it’s easy to shape any section since each stem is fully wired. And I couldn’t pass up the opportunity to wear my Dames a la Mode purple earrings and necklace.

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Regarding dress construction, we must start with a bit of a personal habit, or perhaps a theory, though I’m not sure it’s as thought out as that. When the opportunities arise for me to make multiple garments from the same period that could be carbon copies of each other in different fabrics (so much speedier on the patterning and planning front!), I hardly ever take that easy road. I am drawn to exploring the small variations.

So it is with Eleanor. I decided to: knife pleat her skirt instead of box pleating, cartridge pleating, or gathering; to make a plain darted bodice instead of using seams or gathers; to make the bodice straight across all around, which is more unusual for evening gowns made of silk than having points in front and back; to overlap and topstitch her side back seams; to omit the oft-seen bertha around the neckline; and to have single puff bias cut sleeves. These things all make this dress just slightly different than my others from this period, adding a bit of thought and time to the process. And if we’re talking about time, let’s just mention how mind-boggling cutting plaid pieces with curved seams and darts is when the pattern matching is important to you!

I collected images of plaid gowns with a focus on evening bodices and noticed these features, which is why I decided on them. The most useful images are in one place here, on my Pinterest board for the project. I was contemplating the sleeve type when I came across Eleanor ‘Felcie’ Bull. Interestingly, she shows all of those traits I’d decided on. I loved her simple sleeves and restrained bodice trimming, which then set me on an extensive Ebay and Etsy hunt to find just the right brooches to replicate her style. Yes, I did look through about 150 pages of bow brooches to find just the right one for less than $15. Plus many pages of gold oval brooches. I couldn’t have wished for better results! Remember the look I gave you a look a few posts ago? The only thing I did was to brush the oval brooch (which is new, not vintage) with a bit of brown acrylic paint to bring it down to the old gold color of the bow brooch.

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Other construction details include flatlining the bodice and facing the skirt in a remnant of dusty mauve cotton from my stash (used it up, yay!), creating boning channels in the darts to keep the front nicely shaped, and finishing the neck and bottom edge of the bodice as well as the armholes with very narrow cording.

Just the facts:

Fabric: About 6 yards of silk taffeta and 1 yard of cotton.

Pattern: Adapted from Past Patterns #702, 1850s-1863 Dart Fitted Bodices and Period Costumes for Stage and Screen as a reference for the sleeves.

Year: 1862, given the details that I decided on.

Notions: Thread, hooks and bars, canvas to interline the belt, narrow yarn for cording, and plastic wire ties for boning the bodice.

How historically accurate is it?: I’m going to go with 99% on this one. Materials and methods are well researched and executed. This would be entirely recognizable in its time.

Hours to complete: I really didn’t keep track. But I can safely say many!

First worn: October 22 for a ball.

Total cost: $98 total: $68 for the silk, $10 for bow brooch, and $18 for the oval brooch.

I’ll end this with my photographic homage to Eleanor ‘Felcie’ Bull.

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Regency Dance Weekend 2016

Way back in April, I was excited to be part of the Commonwealth Vintage Dancers’ annual Regency Dance Weekend again. As usual, there were lots of dance classes, an informal ball, an afternoon tea and promenade, and a formal ball. It’s always a joy to do Regency dancing in Salem in historical halls built during this period.

I thought I would share an overview of the weekend to start off my six-months-late sharing of the event. I did actually post about one thing from the Regency Weekend a few months ago. My new shoe poms! Here I am showing them off while artfully covering our refreshment table at the beginning of Saturday evening.

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I’m wearing my Refreshing Apron and 1819 Ruffle Gown with flowers I made for it back in 2014. I’ve inspired a friend to make an apron as well, so we had to showcase them together!

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Unveiled, here is the refreshment table from the informal ball. Yummy! There was even a homemade jelly (visible in the back).

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On Sunday, we took the opportunity to take a group picture in our lovely hotel. The building is quite full of history, though the hotel is new in that building. We enjoyed our stay very much. It was great to have a common living room to relax in as a group. Plus, who can complain with having historical paintings on the walls?

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After group pictures, we headed to Salem Old Town Hall, where we were meeting for tea and as a starting point for a promenade to the water. It was a bit chilly for April this year, making shawls rather welcome to stay warm.

I wore one of my all time favorite dresses, my 1815 Tree Gown, with my 1819 brown spencer, green shawl, and 1815 Tree Bonnet.

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Sunday evening was the grand ball, held in Hamilton Hall. I wore my 1811 Elusive Blue Gown with the turban fillet.

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Hamilton Hall is lovely with a sprung floor intended for dancing and large mirrors around the walls. Here are the dancers all lined up and ready to go!

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Another neat feature of Hamilton Hall is that the dance floor is actually on the second floor, meaning that every guest is able to ascend and descend the stairway to get to the ballroom–perfect for pictures!

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All in all it was a lovely weekend. I’m really looking forward to next one in April 2017! It’s really special to have a weekend to get in such depth for one period. Here are my accounts of past years: 2013 and 2014. In particular, 2014 had blog posts which really express the special quality of this event.

Wicked, Monstrous, Silly, And A Good Time

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Some friends and I, taken by the official photographer of the night.

In the words of journalist Heywood Broun, “The Jazz Age was wicked and monstrous and silly. Unfortunately, I had a good time.” I don’t know about wicked or monstrous, but I certainly had a silly and good time recently at the Greater Boston Vintage Society’s White Lightning Ball.

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Silly faces!

I wore my 1924 robe de style from last summer, updated with new dramatic trimmings that suit the dress much better than the last iteration. It’s such a fun, unusual, and distinctive style to wear. I fielded quite a few questions about the style and happily encouraged people who knew things about it such as that it looked like Lanvin. For my hair, I didn’t have time to attempt waves, so I aimed for a romantic style that was less time consuming, inspired by these: no waves worn with a robe de style, a romantic bun (on the right), and long hair pinned up. Also, this set of drawings shows a large hair comb worn with a robe de style which reminded me that I haven’t worn mine in a long time.

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My accessories include: my vintage celluloid hair comb; silver drop earrings with peachy faux stones, which don’t often match things, so it was nice to wear them since they don’t get worn often; and a recent purchase from American Duchess, black Seaburys! (Never fear, there’s a whole post coming about the Seaburys, but for now we’re focusing on the event and the clothes.)

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This event is held at the Larz Anderson Auto Museum in what was the Anderson family’s carriage house in the early 20th century. It is a large building with multiple levels used for stabling horses as well as storing carriages and cars. The upper floor of the carriage house housed an exhibit of motorcycles during the event, if you’re wondering about the background. Downstairs was the collection of Anderson family cars from the 1900s and 1910s. They were very fun to look at and so tempting to sit in… I know it wouldn’t be good for the cars… And there were security cameras… so I had to content myself with looking at them and dreaming of reproductions that we could ride in.

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My other silly accessory was a candy cigarette. It does rather add to the 20s look, but of course I don’t smoke, so there was rather a lot of me flipping it around in my hand trying to figure out how to hold it and not look ridiculous. I didn’t ever try eating it, so I can’t report how it tasted, but I was pleased that it lasted almost until the end of the night when I dropped it for the second time and it broke in half. Until then it was going strong and gave me something to do with my hands in pictures, which is always a good thing.

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Mostly I stood around and talked to friends, hatched dreamy plans for how to sit in the cars, and took pictures, but we did go out on the dance floor a few times for some Charleston. Too bad nobody got pictures of that!

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This was the third year of the event, I believe, but only the first year I had been free to attend. It was fun, and nice to attend an event that I wasn’t helping to run.

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19CBRE: Following With Trust

(I thought I was very clever when I came up with the name for the post… and then a few days later I couldn’t remember what I was thinking the content should be! I guess if I confuse myself that easily I should certainly explain my cleverness so you can appreciate it, too!)

I was reading Thomas Hillgrove’s The Art of Practical Dancing from 1868 and I came across this passage on page 154:

“It is recommended that the lady, when waltzing, leave herself to the direction of her partner, trusting entirely to him, without in any case seeking to follow her own impulse. A lady who should endeavor to avoid an encounter with other dancers, would risk interfering with the intention of the gentleman, to whom alone should be trusted her security amid the crowd surrounding and crossing her in every direction.” 

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I thought, “Hm! Trusting myself entirely to my partner’s care is something I rarely do! I’m often giving non-verbal hints about my opinions on where we should go, how much we should rotate, etc… and depending on the ability of my partner, my hints sometimes come down to downright back-leading.” I’m sure this partly comes from eight or so years of competitive modern ballroom dancing, in which the leader is in charge, but the lady has the duty to do her part to see what’s going on around the floor and help ensure that crashes, etc. don’t occur, as well as my independent-modern-woman mindset. However, despite these reasons, I imagine Hillgrove would have taken exception to my dancing style!

I started thinking about whether it made sense for me to attempt Hillgrove’s method while dancing historical dances. I dance in three settings, at private rehearsals when the dance troupe I am part of is practicing for performances, during performances with said dance troupe, and at public balls when I am dancing with guests of varying abilities or with members of the dance troupe.

I think it boils down this way: when dancing in a performance there are goals of elegance, nice spacing between couples, etc. that we are aiming for, and my interpretation of our artistic directors’ instruction in addition to my own feeling is that every person dancing should contribute to these goals, so a bit of hinting makes sense for the context. I feel similarly about hinting while dancing at balls depending on the ability of my partner, and if the goal is to ensure the safety of myself, my partner, or other people who might cut us off, etc. I also feel justified in back-leading a partner who needs some assistance to stay with the music, avoid crashes, or know how much rotation to complete in a given step, etc… but it sounds like I don’t really ever  follow with trust!

With these thoughts in mind at a recent ball, I attempted to follow partners (whose abilities I have faith in) with trust. It was surprisingly uneventful! I think it really comes down to the ability of a partner in order to determine if I’m comfortable with that level of trust. Do you entirely follow your partners with trust at historical dance events? Or are you like me, picking and choosing when you feel comfortable doing so?

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Success! Time to go home.

(As another side note, it’s been just about a year since my last 19CBRE post. If you’re not sure what that’s all about, check out this introductory post. You can see all of the posts relating to 19CBRE here. Perhaps this year I’ll get around to posting more of the interesting tidbits I’ve been thinking of posting over the last year!)