The Flair of the Era
Preparation for the Balls of the Rococo
I. The Helmhalle in the Altes Eichamt
Our historical stage
II. A Hall with a View
Architecture & Character
III. The Place of Preparation
Ideal conditions for the dance
IV. The Art of Dancing
From the Nuremberg Funnel to Grace
V. The Whence and Why
Understanding historical depth
VI. A True Sense of Tact
The courage for genuine encounter
I. The Helmhalle in the Altes Eichamt
Once erected to bring order to weights and measures throughout the kingdom, the Altes Eichamt (Old Weights and Measures Office) at Fürth's Helmplatz today serves a far more artistic purpose. The prestigious, three-storey sandstone building was designed in 1907 by the architect Otto Holzer in an elegant, pared-down historicist idiom. With its striking hipped roof and delicate relief ornamentation, the edifice remains a proud component of Fürth's historic old town ensemble to this day.
II. A Hall with a View and Character
High above, on the second floor of this building steeped in history, the magnificent Helmhalle opens its doors for our weekend. Here, architecture and natural idyll join hands in an enchanting manner, for the house rests picturesquely directly on the banks of the River Pegnitz. Those who step to the window during the intervals between dances are rewarded with a splendid, unobstructed view across the rooftops of Fürth and the expansive, verdant Pegnitz meadows.
The interior of the spacious hall exudes an irresistible charm all of its own. Splendid old, exposed roof beams support the room, lending it not only a warm, inviting atmosphere, but also excellent acoustics for our musical accompaniment. The walls are adorned with original Belle Époque roughcast stucco, which subtly bears witness to the artisanal mastery and elegance of bygone days. At the same time, the large window frontages flood the parquet with daylight, creating an exceedingly pleasant, bright, and focused learning environment.
III. The Perfect Place for Our Preparation
Where the neighbouring Heinrich Schliemann Grammar School provides space for physical activity today, we find the ideal conditions to prepare ourselves for the Grand Ball. Far removed from the urban bustle and surrounded by the historical flair of the early twentieth century, the Helmhalle offers us the undisturbed setting we require to rehearse the spirited contredanses, the graceful cotillions, and the refined etiquette of the Regency era together and with great pleasure.
IV. The Art of Dancing:
From the Nuremberg Funnel to Grace
When it comes to imparting the historical dances, I quite gladly avail myself – with a gentle wink – of the time-honoured "Nuremberg teaching method". Entirely in the spirit of the legendary "Nuremberg Funnel", knowledge in our lessons is positively poured into the minds of the participants until it practically brims over. Yet this intensive, at times demanding work serves an exceedingly sound purpose: only those who have mastered the figures, spatial paths, and steps as second nature can conjure onto the parquet on the evening of the grand ball that effortless lightness and carefree elegance which our era demands.
V. Understanding the Whence and Why
In doing so, it by no means suffices for me merely to dictate a bare sequence of steps to you. It is my deep desire in our lessons always to fathom the whence and the why. We derive the movements directly from the fascinating history of dance and illuminate the complex social contexts of the period.
Around 1800, every contredanse, every subtle gesture, and every symmetrical formation was far more than a mere diverting pastime; it was an exact mirror of social etiquette, a silent yet exceedingly eloquent conversation, and the most refined instrument of gallant courtship. Whoever understands and internalises this historical background does not simply execute steps – they breathe history.
VI. A True Sense of Tact and the Courage to Connect
Another irrefutable pillar of my philosophy is a sense of tact – in the most wonderful, dual meaning of the German word Taktgefühl, denoting both musical time and social grace. On the one hand, I expect and foster an unconditional respect for the music, precise listening, and a rhythmic empathy with the masterful melodies that carry us. On the other hand, tact to me necessarily signifies an attentive, courteous, and considerate interaction within the dance set.
A historical dance is never an isolated solo, but always a shared, fleeting moment of companionship and community. Therefore, I attach the utmost importance to our consciously opening up to one another once more upon the parquet. It is essential to lift one's concentrated gaze from the floor, to look one's partner truly in the eyes, and to bestow a sincere smile. Only when we permit this genuine contact with one another and cast aside our reserve does the true flair of the Regency era awaken to full, vibrant life.