The Redowa

(Redowa Waltz, Redova)



Contemporary Description

An undulating dance that flies around the dance floor, the Redowa is a perennial favorite.


The Position

Waltz position throughout.


The Footwork

1: The Lead leaps back 90° clockwise around the Follow with his left foot across LOD while she leaps with her right foot between his feet. This is a very short step, almost in place, not a traveling leap. At the end of count 1, he is facing straight back against LOD, and she is facing straight forward along LOD.

2: The Lead extends his right foot straight back along LOD as far as it can reach, as the Follow extends her left foot straight forward along LOD as far as it can reach, taking weight on these feet. They keep their extended legs perfectly straight, so that the extended legs are parallel, hers below his, reaching straight back along LOD. Sink lower on this step, in order to reach farther.

3: The Lead closes his left foot to his right with weight, turning 90° clockwise to face the center of the hall, as the Follow closes her right foot to her left with weight, turning 90° clockwise to face out of the hall. Note: The closing foot can optionally cut under the foot it is closing to, taking its place, rather than closing up next to it.

4-5-6: The Lead does exactly what the Follow did, and vice-versa.


Variations

In early sources, the Redowa was described as consisting of three steps:

  1. The Promenade: a pas de basque forward, holding inside hands.
  2. The Redowa Waltz: a turning pas de basque, as described above.
  3. The Pursuit: the Lead does a pas de basque forward as the Follow does a pas de basque backward, in waltz position.
Like most 19th century waltz steps, the Redowa can be reversed. The Pursuit serves as a transition.



The Redowa can also be performed in Polka time, quick-quick-slow.


The Music

Here is a selection of 19th century music for the Redowa:

For tempo:


Here are a few of our favorite 21st century Redowa tunes, arranged by tempo.


© 2013-2016 Nick Enge


(Click to expand)

Historical Descriptions


La Redowa (Cellarius, Redowa, No. 1, Valse Bohemenne, 1846, p. 1):


La Redowa (F. Burgmuller, La Redowa, Valse Bohemienne, 1846, p. 1):


La Redowa (Jules Martin, The Redowa Waltz, c. 1847, p. 1):


La Redowa (Cellarius, La Danse Des Salons, 1847, p. 95):







La Redowa (Cellarius, Fashionable Dancing, 1847, p. 76):







The Redowa (Cellarius, The Drawing-Room Dances, 1847, p. 75):








The Redowa (Willis P. Hazard, The Ball-Room Companion, A Hand-Book For The Ball-Room And Evening Parties, 1849, p. 56):


La Redowa (Cellarius, La Danse Des Salons, 1849, p. 95):








The Redowa (Thomas Hillgrove, The Scholar's Companion & Ball-Room Vade-Mecum, 1857, p. 95):


The Redowa (Thomas Hillgrove, Hillgrove's Scholar's Companion And Ball-Room Guide, 1858, p. 101):


The Redowa (Thomas Hillgrove, A Complete And Practical Guide To The Art Of Dancing, 1863, p. 178):




The Redowa (Henry Bland, The Ball Room Companion, c. 1868, p. 17):




The Redowa (Redova) (Routledge (pub.), The Ball-Room Companion, c. 1868, p. 17):




Redowa Waltz (D. Spencer, Spencer's Terpsichorean Monitor, 1869, p. 53):


Redowa (Tousey & Small (pub.), How to Dance, 1878, p. 21):


The Redowa (J. Daniel & Sons (pub.), Ball-Room Guide, Or Dancing Taught without a Master, 1879, p. 15):




Redowa Waltz (M. B. Gilbert, Round Dancing, 1890, p. 93):

The Redowa (M. B. Gilbert, Round Dancing, 1890, p. 141):



The Redowa (T. Erp. Sichore, A Treatise on the Elements of Dancing, 1891, p. 61):


The Redowa (Grant, How To Become Successful Teachers, 1893, p. 20):



Redowa (J. Lagus, Reglas Para Los Bailes De Salon, 1895, p. 28):



Redowa (P. Gavina, Il Ballo, Storia Della Danza, 1898, p. 187):


La Redowa (Valse) (Washington Lopp, La Danse, 1903, p. 83):


Redowa (Albert W. Newman, A Complete Practical Guide To Modern Society Dancing, 1903, p. 21):


For more, including descriptions of 25 different waltzes and hundreds of variations thereof, see Waltzing: A Manual for Dancing and Living a book by Richard Powers and Nick Enge.


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