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5th Historical Dance Symposium
Burg Rothenfels am Main
15 - 19 June 2022


Scientific committee:

Irene Brandenburg, Salzburg, Austria:

Brandenburg 2019 2Musik- und Tanzwissenschaftlerin, wissenschaftliche Mitarbeiterin (Senior Scientist) an der Abteilung Musik- und Tanzwissenschaft und Kuratorin der Derra de Moroda Dance Archives an der Paris Lodron-Universität Salzburg. Forschungsschwerpunkte: Bühnentanz des 17. bis 19. Jahrhunderts, Ballett und Opera seria, Ballettreform des 18. Jahrhunderts (Angiolini), Musiktheater im 18. Jahrhundert, insbesondere Opern- und Sängerforschung in Zusammenhang mit Gluck, Mozart und Händel, Editionswesen/Musikphilologie sowie Archivforschung.


Anne Daye, Bedford, Great Britain:


Dr. Anne Daye is an experienced teacher and dance leader. Her core research both practical and theoretical concerns the Renaissance dance culture of the Elizabethan and Stuart courts, leading to a doctoral thesis on the Jacobean masque. Her interest in dancing in England then continues with the country dance in the 18th and 19th centuries, with a special focus on the dancing scene of Jane Austen’s world. Anne is Director of Education and Research for the Historical Dance Society.


Marie-Thérèse Mourey, Paris, France:

Mourey 1Emeritierte Professorin für deutsche Literatur- und Kulturgeschichte an der Universität Sorbonne- Lettres, Germanistische Fakultät. Forschungsgebiete : Deutsche Literatur- und Ideengeschichte, Poesie und Poetik, Ästhetik, Kulturtransfers zwischen Frankreich und Deutschland. Kulturgeschichte des Tanzes und des Balletts im europäischen Zusammenhang. Letzte Publikation: Tauberts « Rechtschaffener Tantzmeister (1717): Kontexte- Lektüren- Praktiken, hg. Hanna Walsdorf, M.Th. Mourey & Tilden Russell, Frank & Timme, Berlin 2019 (Reihe « Cadences », Bd. 2).


Carol G. Marsh, Washington DC, USA:

Marsh 1Carol G. Marsh is Professor Emerita at the UNCG School of Music, where she taught music history and viola da gamba and was director of the Collegium Musicum. She has been on the faculty at a number of early music workshops in North America and Europe, teaching both viol, historical dance and Renaissance notation. An internationally recognized authority on Baroque dance and dance notation, she has published extensively in this field and has lectured and given dance workshops at numerous universities in the US and abroad.


Markus Lehner, Herrsching, Germany:

Lehner 4aMarkus Lehner unterrichtet seit 1984 historischen Tanz mit dem Schwerpunkt Renaissance und englischer Country dance. Seine Tätigkeit im Bereich der Tanzforschung führte 1997 zur Veröffentlichung des „Manual of Sixteenth-century Dance Steps in Italy". Seit 2004 organisiert er mit großem Erfolg das Internationale Symposium für Historischen Tanz auf Burg Rothenfels, zuletzt 2016 mit dem Thema „Italien und der Tanz - für Barbara Sparti".




Markus Lehner, Herrsching, Germany:  see above.

Uwe Schlottermüller, Freiburg, Germany:

Schlottermueller bearb2Uwe Schlottermüller studierte nach der Ausbildung zum Holzblasinstrumentenmacher Musikwissenschaft und Volkskunde. Seit 1979 besuchte er Tanzkurse für historischen Tanz, danach forschte er intensiv im Bereich Musik und Tanz. Durch seine Forschungen wurden u.a. drei wichtige Traktate aufgefunden und später herausgegeben: Lutio Compassos Ballo della Gagliarda, Paschs Anleitung, sich bei hohen Herrn und Höfen beliebt zu machen und die anonyme Instruction pour dancer. 1994 rief er ein eigenes Ensemble für Musik und Historischen Tanz, piedi ne(g)ri, in Freiburg ins Leben.



Lieven Baert, Ghent, Belgium:

Baert bearbLieven Baert is a professional choreographer, dance teacher, performer and theatre director. He studied with Barbara Sparti and Angene Feves, Francine Lancelot, Beatrice Massin, Anne-Marie Gardette, Elizabeth Aldrich, Sandra Hammond. Since 1987 he assisted Barbara Sparti in Italy as dancer, co-teacher and continues her/his work in this field at the FIMA Summer School and Festival in Urbino since 2002.
He has been dancing, teaching, choreographing, and directing productions all over the world. As director of the Historical dance institute in Ghent, Belgium he organized two important symposia in 1985 and 2000 and developed special programs to introduce “Early Dance in relation to music” to music students all over Europe. As a producer at historical festivals, he specializes in reconstructions of repertoire from the medieval to the early modern period.
Since 1997 he is appointed choreographer for the Landshuter Hochzeit (D), a worldwide acclaimed reconstruction of a mediaeval royal wedding in 1475. He is stage director and choreographer since 2000 for the Brussels Operetta theater and staged 22 operetta’s taking charge of stage direction and choreography (mostly 19th century dancing). He is choreographer in residence for the Baroque Orchestra “La Cetra d’Orfeo “ in Belgium and realized projects as “ The English Dancing Master (2019) . Ay Amor (2015), Dances at the court of Albrecht and Isabella (2016) Chi passa per la Strada (2018).


Giles Bennett, München, Germany:

Bennett neu orgGiles Bennett, Historiker, wissenschaftlicher Mitarbeiter am Zentrum für Holocaust-Studien am Institut für Zeitgeschichte München, Tänzer im Ensemble La Danza München (Leitung: Jadwiga Nowaczek), Mitherausgeber des Bandes „Barocktanz im Zeichen französisch-deutschen Kulturtransfers. Quellen zur Tanzkultur um 1700“ Hildesheim 2008, diverse Aufsätze zum Tanz im 17. und 18. Jahrhundert.


Tanzkompanie Chorea Basileae, Basel, Switzerland:

Chorea Basilea 1Die Schweizer Tanzkompanie wurde im Jahr 2016 von Mojca Gal in Basel gegründet. Unter wichtigsten Produktionen gehören: «Das Dornröschen, ein historisches Ballett» (2016), «Von Königen, Göttern und Dämonen» (Co-Produktion mit FAMB Basel, 2018), Händels «Terpsicore» und eine Ballett-Pantomime «Die neunte Muse», (Co-Produktion mit dem Zürcher Barockorchester/Ensemble Ad Fontes sowie Postdamer Festspiele Sanssouci), 2019). Die Kompanie arbeitet regelmässig mit Philipp Grässle (Bühnenbild) und Gerrit Berenike Heiter (Regie und Pantomime) zusammen.


Anne Daye, Bedford, Great Britain: see above.


Maria Derkach, Moskau, Russia:

Derkach 1Graduated from Kaluga Dance College in 1998, Maria Derkach began to study historical dances in 2005. Now Maria is one of the leaders of the "Golden Forests" early dance school and teaches classes of different levels on various topics from Baroque to XIX century social dancing. She gave classes all over Russia as well as in Ukraine and Belarus. Currently Maria's main interest is German and Russian dancing culture in the first third of the XIX century.


Eugenia Eremina-Solenikova, St. Petersburg, Russia:

Solenikova 1

PhD student in the Vaganova Ballet Academy, member of the scientific committee of the annual dance reconstruction conference at the Vaganova Ballet Academy, scientific editor of the proceedings of the conference.


Matilda Ertz, Louisville, Kentucky, USA:

Ertz 1

Dr. Matilda Ann Butkas Ertz is a musicologist who specializes in music and dance studies, particularly ballet music from the nineteenth and twentieth centuries, and Italian ballets of the nineteenth century. She has a PhD in Musicology from the University of Oregon preceded by degrees in piano performance, pedagogy, and education. She is a piano instructor at the Youth Performing Arts School and lecturer in music history at the University of Louisville School of Music where she also teaches piano and harpsichord.


Irène Feste, Arcueil, France:

Irne Feste aus1

Irène Feste is a choreographer, dancer and teacher of classical ballet and historical dance, from the Renaissance to the late 19th century.

After a diploma of master engineer in telecommunications and networks and state diploma of teacher in classical dance, she joined, in 2005, the company the L’Éclat des Muses, directed by Christine Bayle and together with P.-F. Dollé went on to found the company Fantaisies Baroques. In 2020, she found the company Danses au (Pas)sé. She performs with companies such as Les Corps Eloquents, Divertimenty, Le Baroque Nomade, La Tempesta, Doulce Mémoire and has been awarded several research grants from the Centre national de la Danse. Her current research interests focus on French 19th century ballroom and theatre dance (Jean-Henri Gourdoux-Daux, Michel Saint-Léon, Jean-Etienne Despréaux).


Dmitry Filimonov, Moskau, Russia:

Filimonov 2

Dmitry Filimonov started his dancing career in 1993 as a competitive dancer and came to early dances in 2002. He teaches historical dance in the “Golden Forests” dance studio (a co-leader of the studio). He is head of the historical dance research seminar in Moscow. Dmitry gave lectures at many international conferences and has published several articles on early dance topics from 16th to 19th century.


Carola Finkel, Frankfurt am Main, Germany:

Finkel 1

Dr. Carola Finkel ist Dozentin für Musikwissenschaft und seit Januar 2017 Wissenschaftliche Mitarbeiterin im DFG-Projekt „Verzeichnis der Werke Giovanni Pierluigi da Palestrinas“ an der Hochschule für Musik und Darstellende Kunst Frankfurt am Main. In August/September 2017 Stipendiatin der Herzog August Bibliothek Wolfenbüttel (Thema: Jaymes Recüeil de Contre Dances). Forschungsschwerpunkte: Tanz und Hofkultur im 17. und 18. Jahrhundert sowie Nordische Musik des 19. und 20. Jahrhunderts.


Mojca Gal, Basel, Switzerland:

Gal 2Mojca Gal fing in den jungen Jahren mit der tänzerischen Bildung an. In Slowenien lernte sie vorerst Vaganova klassisches Ballett Methode und Aegyptischen traditionellen Tanz. Später spezialisierte sie sich aus dem Tanz des 18. Jahrhundert (CAS an der Schola Cantorum Basiliensis sowie diverse Meisterkurse), und bildete sich bei ISTD aus der Cecchetti Klassiches Ballett Methode. Sie wurde von diversen Ensembles engagiert (Freitagsakademie, Festival Radovljica, Ensemble Odyssée) und von der Tanzkompanie Corpo Barocco. Mit der eigenen Tanzkompanie Chorea Basileae stellte sie einige eigene Kreationen auf die Bühne (Dornröschen (2016), Von Königen, Göttern und Dämonen (2018, Kooperation mit FAMB Basel), Terpsicore (2019, Kooperation mit ZBO Zürich) und Die neunte Muse (2019, Potsdamer Festspiele Sanssouci). Seit 2020 arbeitet sie mit dem kanadischen Choreographen und Tanzhistoriker Edmund Fairfax auf der Rekonstruktion des Bühnentanzes des 18. Jahrhunderts.


Susan de Guardiola, New Haven, CT, USA:

Guardiola 1Susan de Guardiola (BA, Yale; MSEd, University of New Haven) is an independent scholar in social dance history, an American resident in Russia. She has presented her work at conferences including the Dolmetsch Historical Dance Society Conference, the International Congress for Medieval Studies, and Stanford University Historical Dance Week. In 2013-2014 she conducted research at Harvard University as a New England Regional Fellow. Research interests include improvisation in social dance, the evolution of the ballroom repertoire over the course of the nineteenth century, and the development of American social dance from its European origins. Her teaching focuses on exploring and recreating both the skill sets and mindsets of the social dancers of the past. She publishes brief dance reconstructions and research excerpts online at Capering & Kickery (http://


Rebecca Harris-Warrick, Ithaca, NY, USA:

Harris Warrick 1

Rebecca Harris-Warrick served as professor of music history at Cornell University (USA) until her retirement in 2021. Having been introduced to early dance as a graduate student at Stanford University, she gradually began including dance topics within her musicological research. Her book with Carol Marsh about Le Mariage de la grosse Cathos, the only complete theatrical work from the 17th or 18th century to survive with its music and choreography intact (Musical Theatre at the Court of Louis XIV, CUP, 1994) led her to investigate the way dance functions inside of French operas (Dance and Drama in French Baroque Opera, CUP, 2016). This book includes an online appendix providing contextual information about all 47 of the choreographies by Pécour said in their titles to have been danced at the Paris Opéra. She has also prepared critical editions of ballets by Jean-Baptiste Lully and of an opera by Gaetano Donizetti.


Hubert Hazebroucq, Paris, France:

Hazebroucq 1

Hubert Hazebroucq is a choreographer, dancer, teacher and independant researcher specialized in Renaissance and Baroque dance since 1998. With his company Les Corps Eloquents, founded in 2008, he is invited in many international festivals (Utrecht) and he performs with famous early music ensembles like Doulce Mémoire. He is a board member of the association of searchers ACRAS17-18, and holds a Master degree on ballroom dancing around 1660. He works principally on the technique and poetics in dance from the 15th to the 18th century.


Birte Hoffmann-Cabenda, Hamburg, Germany:

Hoffmann Cabenda farbe 1

Birte Hoffmann-Cabenda studierte Mathematik, Betriebswirtschaftslehre und Informatik an der Universität Hamburg. 1975 kam sie erstmalig mit historischem Tanz in Berührung und besuchte seither zahllose Kurse und Konferenzen in dem Bereich. 1980 erhielt sie ein „teaching certificate“ der DHDS und begann 1981, selbst zu unterrichten. Daneben erforscht sie das Leben und Werk verschiedener Tanzlehrer aus Norddeutschland im 19. Jahrhundert. Inzwischen blickt sie auf eine langjährige Rekonstruktions-, Vortrags- und Lehrtätigkeit im Bereich Historischer Tanz zurück.


Guillaume Jablonka, Asnieres sur Seine, France:

Jablonka 1

Guillaume Jablonka trained as a ballet dancer in Strasbourg and discovered baroque dance while working for L'Eventail (M.G. Masse). He then performed for Ana Yepes, Sigrid T'Hooft, Deda Cristina Colonna or Hubert Hazebroucq. In 2006 he founded Divertimenty and choreographed several shows. His research focuses mainly on the reconstruction of the divertissements and pantomime ballets notated in 1782 by Auguste Ferrere. Paris Sorbonne University invited him to teach baroque dance to students interested in HIP.


Alan Jones, Paris, France:

Jones 1Alan Jones is an American dance historian based in Paris. After performing as a Baroque dancer in the United States and Europe, he is presently working on a book concerning ballet and pantomime in the United States from 1785 to 1812. His first book, Dictionnaire du désir de la bonne chère (Honoré Champion, 2011), concerned culinary history in the eighteenth century.


LA DANZA MÜNCHEN, München, Germany:

Werther Ballszene 1

Das Ensemble LA DANZA MÜNCHEN wurde 1999 von Jadwiga Nowaczek gegründet und bringt historische Tänze des 15. bis 19. Jahrhunderts zur Aufführung. Der Schwerpunkt der Arbeit liegt auf dem Barocktanz. Ziel ist, mit höchstmöglicher Genauigkeit und Authentizität die historischen Choreographien darzustellen. Viele Auftritte im In- und Ausland, u. a. bei den Tanztagen in Bad Ischl (2007-2015) mit jährlich wechselnden abendfüllenden Programmen, beim Taubert-Festival in Leipzig 2017 sowie Mitwirkung in Barockopern, zuletzt in Diana amante von Giuseppe Bernabei Kaufbeuren und Ingolstadt 2018.


Barbara Menard-Pugliese, Medford, Massachusetts, USA:

Menard Pugliese 1Barbara Pugliese has been co-director of the Commonwealth Vintage Dancers since 2007. Founded in 1983, CVD specializes in reconstructing, teaching, and performing American ballroom dances of the Nineteenth and early Twentieth Centuries. The dance company sponsored an international dance week in Newport, Rhode Island for 25 years, and are currently hosting seven formal balls a year as well as performing for museums and festivals. Barbara researches ballroom dances from 1770 to 1929, and is an expert in material culture and women's studies of the same time period. She has a Masters in Library and Information Science and has worked as an administrator for human rights charities and academic institutions.


Michaela Mettel, Saarbrücken, Germany:

Mettel farb 1Michaela Mettel ist Promovendin mit dem Schwerpunkt auf Geschlechterrollen in den Tanztraktaten der italienischen Renaissance. Weitere Forschungsinteressen liegen in den Bereichen Körpergeschichte, Militärgeschichte (mit Schwerpunkt auf Fechttraktaten der italienischen Renaissance), Living History, geisteswissenschaftliche Methodologie und Theorie sowie historisch-performative Konzepte in der Kulturellen Bildung. Sie arbeitet als freie Referendarin für Renaissancetanz, Darstellende Geschichte, Geschichts- und Kulturvermittlung, Kulturelle Bildungsprojekte sowie als Lehrbeauftragte an der Universität des Saarlandes.


Nona Monahin, Amherst MA, USA:

Monahin 1

Nona Monahin teaches Renaissance and Baroque dance in the Five College Early Music Program at Mount Holyoke College, Massachusetts, USA. She studied early dance with Ingrid Brainard, Julia Sutton, and Barbara Sparti, and holds a PhD in Musicology (with a focus on the dance manuals of Caroso and Negri) from Monash University, Melbourne, Australia. Nona has presented lectures and workshops at conferences in Australia, Europe, and North America, and has published with Medieval Institute Publications, University of Georgia, and Oxford University Press. She has directed dance ensembles and created choreographies for many Shakespeare plays and other theater productions. In addition to historical dance, Nona’s background includes ballet, modern, Duncan, English country, folk, and character dance. Her current research explores relationships between music and dance in 20th and 21st-century choreography, and she also enjoys choreographing dances in a free (non-historical) style.


Dmitry Nikitin, Vladimir, Russia.

Dmitry Nikitin 100 100Dmitry NikitinI began to study historical social dance in 1975 at the age of 16 under the guidance of the choreographer-methodist of the Ministry of Culture of the USSR Golden O. D. For a long time he taught various types of dance. In 2011 he organized the Club of historical and social dance in the city of Vladimir. Currently, he is it's head and teacher. Areas of his activities are the reconstruction of dances of the 19th century and the modern era, dance theory, theory and practice of dance pedagogy, organization of historical events. He pulished several articles on dance reconstruction and lectures at conferences. he holds a PhD in Integrated Automated Systems at the Moscow Aviation Institute in 1989. For a long time he worked in the system of higher and special education.


Jadwiga Nowaczek, Ismaning, Germany:

Nowaczek 1

Klassische Tanzausbildung, Studium der Schulmusik, Rhythmik und Musikwissenschaft. Seit 1980 Rekonstruktion von historischen Tänzen des 15.-19. Jahrhunderts nach den Primärquellen. Choreographie mehrerer Ballette, u. a. von Dido und Aeneas (Purcell), Orfeo y Euridice (Leopold I) und Pygmalion (Mouret). Operninszenierungen: Purcell, Dido und Aeneas (2007) und Lapier, Felix in Fide Costanzia (2018). Lehrauftrag für Historischen Tanz an der Musikhochschule München. Leiterin von La Danza München.


Antonin Pinget, Ollon, Schweiz:

Pinget aus1Antonin Pinget (zeitgenössischer und historischer Tanz) ließ sich bereits in jungen Jahren für Gesellschafts-, Volks- und Stepptanz begeistern. Seine Ausbildung schloss er in Dance Area Jeune Ballet in Genf ab, und zwar aus dem klassischen Ballett, Afro und Modern. Er arbeitet mit diversen Kompanien des historischenTanzes (Renaissance, Barock und 19. Jahrhundert). Unter bisherigen Engagements sind Outre-mesure und Corpo Barocco besonderszu erwähnen. Er unterrichtet Pilates und historischen Tanz an Haute Ecole de Musique de Genève. Seit 2020 ist er Mitglied der Tanzkompanie Hallet Eghayan in Lyon. In seiner eigenen choreographischen und tänzerischen Aktivitäten sucht er diverse Tanzstile miteinander zu verbinden.


Antonia Pugliese, Woburn, Massachusetts, USA:

Pugliese 1Dr. Antonia Pugliese has been co-director of the Commonwealth Vintage Dancers since 2012. She researches and reconstructs dancing and social events of the years 1770 to 1929. Her teaching style, which is exacting but tempered with kindness and humor, is popular with young people. She loves curating fairytale experiences for dancers, and recently taught the Charleston to a crowd of over 800 people at the Great Gatsby Ball in Boston. Antonia recently received her PhD in Molecular Microbiology from Tufts University.


Angela Rannow, Dresden, Deutschland:

Rannow 1Seit 2003 wissenschaftliche Mitarbeiterin der Palucca Hochschule für Tanz Dresden, tanzwissenschaftliche Lehre in allen Studiengängen (BA Tanz/BA Dance, BA/MA Tanzpädagogik, Master Dance Teaching, MA Choreografie, Elevenprogramm), Mentorenschaften für theoretische und tanzpraktische Projekte, Veröffentlichungen und Herausgeberschaft im Bereich Tanz, u.a. zum Modernen Tanz (Mary Wigman, Palucca), zu Improvisation und Älterer Tanzgeschichte.


Dr Alena Shmakova, Edinburgh, Great Britain:

HDS Shmakova cropedDr Alena Shmakova is a dance historian based in Edinburgh, Scotland. She teaches and performs historical dance as part of Les Danses Antiques since 2013 focusing on social dances from the XVII – XIX centuries. Her research interests include Russian influences in the British dance repertoire of 18th and 19th centuries and Scottish dance scene during the Enlightment period. The later project she is doing as a research volunteer at the National Trust for Scotland. Alena is a board member of the Early Dance Circle.


Daria Sundukova, Moskau, Russia:

Sundukova 1

Graduated at the Moscow State University (Department of History), currently doing her research in the history of urban dancing culture in Russia in the late 18th – early 19th century, studies early dance since 2005 (Golden Forests club, Moscow).


Bill Tuck, London, Great Britain:

Tuck 1

Bill Tuck is the current Chairman of the Early Dance Circle. He performs in theatre with the Chalemie company where his interests are in commedia dell’arte and its connections with historical dance. He has worked as accompanist on pipe & tabor for many renaissance dance groups and plays sackbut in a number of early music ensembles. He holds a PhD in mathematics from Sydney University and before his retirement was a Senior Research Fellow at University College London.