Dance in Sir Walter Scott’s Works and Times

Summary of the Talk:

Alena opened by acknowledging that English is not her first language and that her talk would focus mainly on dance history rather than Scott’s biography. She intended to use Scott’s writing, especially Redgauntlet, as a lens to examine 18th- and 19th-century Scottish dance culture.

There are relatively few resources for studying Scottish dance in this period. Some country dance collections and personal diaries survive, but information is scattered and incomplete. Interestingly, scholars have used Scott’s descriptions of dance scenes as sources for reconstructing historical dance practices.

Scott likely did not receive formal dance training due to contracting polio as a child, which left him lame in one foot—making rigorous dance education unlikely. Furthermore, the High School of Edinburgh (where Scott studied) did not employ dancing masters at the time, and dance instruction was typically reserved for girls' schools or private tuition.

In Redgauntlet, there are vivid dance scenes. Dr Shmakova focused on a rustic ball described in the novel and a character’s performance of the “Old Scots Jig.” This led to an exploration of real historical figures like the French dancing master Charles Le Picq (and possibly his family members), who taught and performed in Edinburgh in the mid- to late 18th century.

Le Picq’s presence is documented in The Caledonian Mercury, and his influence may have extended to Scott’s fictional depictions. A deeper dive into archival materials reveals his school in Edinburgh and performances at the Canongate Concert Hall.

The talk included footage of a reconstructed French jig and comparisons with Scottish styles. The audience in Redgauntlet laughed at the character Darcy Latimer’s refined jig—perhaps because it was stylistically out of place at a rustic event.

Dr Shmakova then discussed minuet and country dances—highlighting how country dancing once allowed couples to converse between figures, unlike the fast-paced, highly social Scottish country dancing of today. She addressed the evolving role of the Edinburgh Assembly Rooms, their architecture, and their sociocultural importance. Assembly leadership was historically female-led, a unique aspect of Scottish dance culture.

The talk ended with a reconstruction project of a Strathspey for two dancers, inspired by descriptions from the royal visit of George IV in 1822, which Scott orchestrated. Though the king did not dance, he watched and applauded performances.

Dr Shmakova discussed the rarity of detailed step descriptions in British sources and how foreign dance manuals—especially French and German—offer more precise guidance for reconstruction. She emphasised that “recreation” rather than “reconstruction” is often more appropriate due to interpretive challenges.

Summary

Dr Shmakova presented a detailed and engaging lecture on the role of dance in the life and times of Sir Walter Scott. Using Scott’s Redgauntlet as a case study, she examined 18th–19th century Scottish dance culture, discussing specific dances, their social settings, and historical figures like French dance master Charles Le Picq. She noted Scott’s likely lack of formal dance training due to physical disability and social limitations. The talk highlighted how archival research, literary analysis, and performance reconstruction combine to recover lost elements of historical dance. Dr Shmakova also showcased a reconstructed Strathspey duet inspired by George IV’s visit in 1822.

Noteworthy Points

1. Dance in Literature as Historical Evidence: Scott’s novels, especially Redgauntlet, offer valuable insight into period-specific dances, even though Scott himself couldn’t dance due to polio.
2. Role of French Dance Masters in Edinburgh: Charles Le Picq and his family played a crucial role in shaping elite dance instruction in 18th-century Edinburgh.
3. Assembly Rooms as Cultural Hubs: The transformation of Edinburgh’s Assembly Rooms from private ventures to charitable institutions reflected broader changes in Scottish society and sociability.
4. Female Leadership in Dance: Unlike many European counterparts, Scottish assembly dances were often directed by women, a significant detail in cultural history.
5. Reconstruction Challenges: British sources often lack technical detail, making foreign manuals essential for accurate recreation of period dance styles.
6. George IV’s Visit: Though highly ceremonial, the royal visit included balls with performances of Scottish reels, Strathspeys, and country dances—some of which were recreated using historical techniques.
7. Multicultural Dance Evolution: The talk explored how English country dances were adopted and transformed in France, becoming codified as "contredanses," which influenced later European forms like the quadrille and cotillion.