Let me transport you, in turn, to two quite different early dance events. My purpose is to examine the dress codes appropriate to each. Dress codes are of fundamental importance to the UK early dance world, for they are infallible signifiers of politeness, authenticity and status.

First, let us go to a Georgian ball. What will you see? ‘Georgian’ is a capacious term, covering the 18^th century and the Regency period – and much more besides. Frock opportunities are almost overwhelming in their variety. Let me begin at the end, with the Regency period. You will see tasteful little numbers in colours and fabrics that were unknown to Jane Austen and her contemporaries, but all the shades will be authentically pastel. Hair will be scraped back historically into buns with little corkscrew curls (achieved with much application of curlers and hair gel) bouncing around the face. At the top, there will be tiaras, feathers and flowers. At the bottom, Greek sandals, ballet slippers and other footwear. From head to toe, everything will be entirely authentically becoming.

Far more eye-catching are the 18^th-century gowns. These will have huge panniers and their wearers will be topped with enormous hair. There will be lots of frills and furbelows. Lots of lace and ribbons and lots of damask furnishing fabric. There should also be lots of face paint, but of course the UK early dance aficionados know that nobody before the modern period ever wore make up. Shoes range from Greek sandals, through glamorous trainers, to expensive stiletto heels – all carefully selected for their authenticity.  The effect of all this splendour, when the ladies come to dance, rather resembles an attempt at formation dancing by sofas on wheels.

One word of warning – if you do venture to attend a Georgian ball, you are likely to be frightened by any number of Madame de Pompadours in sacque-back dresses. I advise you to wear a mask to hide your discomfiture (and the fact that you are an outsider).

As for the men, look out for their entirely authentic ribbed wool socks and equally authentic walking shoes or trainers. Such footwear is completely authentic to the walking style required for English country dances.

Now, let us go to a more serious event – a UK historical dance festival, where the academic meets the practical head on. My focus here is on the academic. Serious early dance researchers do not have time to worry about their clothes. The research process is arduous and time-consuming. It will obviously be undermined by smart clothing (whatever the period). At a UK early dance festival you must expect to be welcomed (with properly authentic disdain) by the most serious academics of all – members of the organising committee. They will be wearing comfortable, serious and academically authentic clothing – tracksuits, crimplene skirts or trousers with elastic waistbands and trainers or other wide and comfortable shoes. Woe betide you if you commit the solecism of turning up to such an event fashionably dressed, with the mistaken idea that you are honouring the style and taste of the past. You will not be asked to leave, but your gaffe will be made all too clear to you. It is a fallacious idea that dancers of the past were lively and glamorous. Early dance academics know better – they, like librarians and archivists, have a highly authentic dress-dowdy code. Ignore it at your peril.

With this post, I must conclude my examination of the UK early dance world. You should now be fully equipped to be as polite and authentic as the best of them. Good luck and miserable dancing!