Dance in Late Georgian and Regency England
In eighteenth century fiction, as well as in life, there were a wide range of venues for dances, several diferent types of dance and etiquette appropriate to venue and dance style
Perhaps the most exlusive venue was Almack's in London, which Austen never descibes and probably never visited ,since the admisssion tickets were jealiously gaurded by it's lady patronesses.
Private London parties and balls such as those given by Sir John and Lady Middleton
Public dances at the Bath Assembly Rooms, such as those Catherine Moreland attends
Gentlemens' private country house balls, such as that given by Mr Bingley at Netherfield
Informal family dances, held after dinner to music played by amateur musicians, such as those held in the Musgrove's parlor
Each of these types of venue would consist of a different mix of dances and each had its own code of behavior
Not everyone could dance at a ball. From Frank Churchill's careful arrangements at the Crown we see that a card room needed to be provided so that the older members of the party could play at whist. Supper was an integral part of a evening ball, and a gentleman would escort the lady who had been his last partner to the supper room where he ensured she was served with food and drink to her taste
Country dancing was a favourite evening diversion for the young as well as more mature ladies and gentlemen of the genteel classes
In the early part of this period, up to the early 1810s, the ballroom was dominated by the country dance, the cotillion, and the scotch reel.
In the longways Country Dance, a line of couples perform figures with each other, progressing up and down the line. Regency country dances were often proceeded by a brief March by the couples, then begun by the top lady in the set and her partner, who would dance down the set to the bottom. Each couple in turn as they reached the top would like wise dance down until the entire set had returned to its original positions. This could be a lengthy process, easily taking an hour in a long set. An important social element was the calling of the dance by the leading lady (a position of honor), who would determine the figures, steps, and music to be danced. The rest of the set would listen to the calling dancing master or pick up the dance by observing the leading couple. Austen mentions in her letters instances in which she and her partner called the dance.