Editing Baroque dance (section)

== Modern reconstructions ==
[[File:Historical dancing baroque at time travellers ball earthly delights dance group.JPG|thumb|Young ladies enjoying a Time Travelers' Ball – dances from the 15th to early 20th century including Baroque]]
The revival of baroque music in the 1960s and '70s sparked renewed interest in 17th and 18th century dance styles. While some 300 of these dances had been preserved in [[Beauchamp–Feuillet notation]], it wasn't until the mid-20th century that serious scholarship commenced in deciphering the notation and reconstructing the dances.

Perhaps best known among these pioneers was Britain's Melusine Wood, who published several books on historical dancing in the 1950s.<ref>Wood, Melusine, ''More Historical Dances'', (Imperial Soc. Dancing, 1956) {{ISBN|0-900484-12-8}}</ref> Wood passed her research on to her student Belinda Quirey, and also to Pavlova Company ballerina and choreographer Mary Skeaping (1902–1984). The latter became well known for her reconstructions of baroque ballets for London's "Ballet for All" company in the 1960s.

The leading figures of the second generation of historical dance research include Shirley Wynne and her Baroque Dance Ensemble which was founded at Ohio State University in the early 1970s and Wendy Hilton (1931–2002), a student of Belinda Quirey  who supplemented the work of Melusine Wood with her own research into original sources.<ref>Hilton, Wendy, ''Dance of Court and Theater: The French Noble Style 1690-1725'' (Princeton Book Company, 1981) {{ISBN|0-916622-09-6}}</ref>
A native of Britain, Hilton arrived in the U.S. in 1969 joining the faculty of the [[Juilliard School]] in 1972 and establishing her own baroque dance workshop at [[Stanford University]] in 1974 which endured for more than 25 years.

Catherine Turocy (b. circa 1950) began her studies in Baroque dance in 1971 as a student of dance historian Shirley Wynne. She founded [[The New York Baroque Dance Company]] in 1976 with Ann Jacoby, and the company has since toured internationally. In 1982/83 as part of the French national celebration of Jean Philippe Rameau's 300th birthday, Turocy choreographed the first production of [[Jean-Philippe Rameau]]'s ''Les Boréades'' - it was never performed during the composer's lifetime.  This French supported production with John Eliot Gardiner, conductor, and his orchestra was directed by Jean Louis Martinoty. Turocy has been decorated as Chevalier in the [[Ordre des Arts et des Lettres]] by the French government.

In 1973, French dance historian [[Francine Lancelot]] (1929–2003) began her formal studies in ethnomusicology which later led her to research French traditional dance forms and eventually Renaissance and Baroque dances. In 1980, at the invitation of the French Minister of Culture, she founded the baroque dance company "Ris et Danceries". Her work in choreographing the landmark 1986 production of [[Jean-Baptiste Lully|Lully]]'s 1676 tragedie-lyrique ''[[Atys (Lully)|Atys]]'' was part of the national celebration of the 300th anniversary of Lully's death.  This production propelled the career of [[William Christie (musician)|William Christie]] and his ensemble [[Les Arts Florissants (ensemble)|Les Arts Florissants]]. Since the Ris et Danseries company was disbanded circa 1993, choreographers from the company have continued with their own work. [[Béatrice Massin]] with her "Compagnie Fetes Galantes", along with Marie-Geneviève Massé and her company "L'Eventail" are among the most prominent. In 1995 Francine Lancelot's [[catalogue raisonné]] of baroque dance, entitled ''La Belle Dance'', was published.