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Photo of Celallrius and partner
The Cellarius dance history origin title      The Cellarius or better known as the Waltz Mazurka was created by dance master and author Henri Cellarius in Paris, France in 1842 and was introduced by Eugene Coulon and Mrs. Henderson at the Polish Ball in 1844.

    Coulon states that he noticed the Waltz and Mazurka steps could be combined and was very useful with small groups of dancers or in a cotillion. so Cellarius did combine them and in 1860 his dance caught on with the public, but over time was changed so many times that it eventually didn't resemble the original. His students named the dance after him. The tempo is that of the Valse à Trois Temps , but the more slowly the music is played the more graceful is the dancers result.

    Below is Henri Cellarius's passage on this dance from his book: (using original spelling)
I shall conclude what I have to say of the mazurka by giving the explanation of a waltze that I composed at a time when the taste for this dance was beginning to spread in France. It appeared to me that the step of the mazurka was adapted also to the waltze, and that by mingling other steps with it, but always in the character of the dance, it would be possible to compose a waltze of a perfectly novel kind, which might be executed at times, when the company was not numerous enough to form a complete Mazurka .

    This Waltze might also be advantageously introduced amongst the cotillions, when the approach of the conclusion renders a more animated movement almost indispensable to the dancers. My pupils would have this waltze called after me, and have named it the Cellarius. I had no choice but with all humility to accept this honour; to have declined it would, I think, have been on my part much more an affectation than an act of modesty. But it may be supposed that I am not going to discuss the more or less merit of the Cellarius, nor to dwell upon the flattering reception it has met with in France and England.

    By a double reason of propriety, I feel myself bound here more than ever to strictly limit myself to a simple notice of the step and character of this waltze. The mazurka-waltze consists of three distinct parts, which are executed at discretion. To the first I have given the name of simple waltze ; to the second that of coup de talon; and to the third that of the double waltze.

    The dancer faces his partner as for the ordinary waltze. The beginning is made with the left foot by a sliding step, and by sliding to the second position. You then pirouette (turn), springing on the left foot, and raising the right to recommence with this leg. This is for the first part. The second part is performed by means of the beat of the heel, which I have already explained in the article on the mazurka. You then lengthen a side step without turning to recommence with the other leg. This step is made four times with one foot, and four times with the other. For the third part, you execute the two pas de deport, that I have pointed out in the first.

    After the second step, when the left leg is in air, and you are on the extreme end of the foot, you give at the conclusion of the bar a coup de talon, short and well marked in chassant the right leg to the side, to recommence with the same. The first part of this waltz is executed to the right, to the left, in advance and backwards, the same as with the polka. The waltzer must necessarily possess all the capabilities required by the Mazurka -- suppleness of body, flexibility of movement, and limbs pliant, yet endowed with a certain vigor.

    The mazurka-waltze may be danced to all the airs of the mazurka, only the orchestra must take a more animated movement, and well emphasize the attack of every bar. *The dance concludes with a valse en glissade strongly marked. Maelzel's Metronome, 208

 

Birth Place

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Paris, France 1842 Henri Cellarius Ballroom
       
 

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1844 - Polish Ball (Paris) n/a n/a
                 
                 
 

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Other Related Dances of the time...

Mazurka Waltz Redowa Galop Polka
Valse à Trois Temps Waltz - Mazurka Cotillion German Valse
         
 

Dancers, Choreographers etc.

Political

Eugene Coulon Mrs. Henderson n/a
Henri Cellarius Madame Le Comte  
     
 

Books, Magazine Articles on the dance...

Title Author Date Publisher
La Danse des Salons Cellarius, Henri 1847 London
Coulon's Handbook Coulon, Eugene 1860 n/a
The dancer's guide and ball-room companion No Author 1875 Frank M. Reed
 

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Misc. Research Words that may be related ... to help your searches

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Other... Basic Steps as recounted by Coulon in 1860

  • The premier pas or step consists of two movements:

  • 1st, of a temps levé, which occupies two-thirds of a bar, and of a sissonne, which should be well marked; the cavalier begins with his left foot forward, and the lady with her right forward.
  • The second pas or step consists of three movements:
  • the 1st, by tapping together the heels, while off the ground;
  • 2nd, sliding one foot aside;
  • 3rd, a jeté de coté, at the same time tapping the heels together.  This step is done two or four times in square of the room. The third pas or step consists of four movements:

  • 1st, of one temps levé;
  • 2nd, a sissonne;
  • 3rd, a temps levé;
  • 4th, a jeté de cóté, at the same time tapping the heels.
  • Coulon Note:
    The first step may be executed by turning à rebour, and in moving backwards. There is no fixed rule in dancing the different figures of this valse; the cavalier who knows how to vary them the oftenest will render the valse the most agreeable and the prettiest. The gentleman keeps his right arm round the lady's waist, as in the waltz, holding her right hand in his left.