{"id":2540,"date":"2026-06-07T10:50:56","date_gmt":"2026-06-07T09:50:56","guid":{"rendered":"https:\/\/www.histoiredebal.com\/?p=2540"},"modified":"2026-06-07T10:50:58","modified_gmt":"2026-06-07T09:50:58","slug":"laeronette-une-valse-virevoltante-partie-1","status":"publish","type":"post","link":"https:\/\/www.histoiredebal.com\/en\/2026\/06\/07\/laeronette-une-valse-virevoltante-partie-1\/","title":{"rendered":"A\u00e9ronette, a whirling waltz! – Part 1"},"content":{"rendered":"\n

Introduction<\/h2>\n\n\n\n

The A\u00e9ronette, a novelty dance from 1909, inspired mixed feelings to the ones who saw it danced. For example this lovely poem:<\/p>\n\n\n\n

\n
\n
\n
\n

La danse nouvelle, <\/em><\/p>\n\n\n\n

Mademoiselle, <\/em><\/p>\n\n\n\n

La danse qui vous aguiche, <\/em><\/p>\n\n\n\n

Ce n\u2019est plus la matchiche : <\/em><\/p>\n\n\n\n

C\u2019est l\u2019a\u00e9ronette <\/em>!<\/p>\n\u00ab L\u2019a\u00e9ronette \u00bb, par Ascanio, L\u2019Appel au Peuple de la Charente : organe de la R\u00e9publique pl\u00e9biscitaire, 10 octobre 1909, p.1<\/em>.<\/cite><\/blockquote>\n<\/blockquote>\n<\/div>\n\n\n\n

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The new dance,<\/p>\n\n\n\n

Yound lady,<\/p>\n\n\n\n

The dance that appeals you,<\/p>\n\n\n\n

It is not the Maxixe anymore,<\/p>\n\n\n\n

It’s the A\u00e9ronette!<\/p>\n<\/div>\n<\/div>\n\n\n\n

The news regularly inspired social dancing. So, Boizot created the Quadrille de la Paix<\/a><\/em> honouring the French-Sardinian alliance (1859). The high society is also an inspirationi for the choreograph: see the many coronation waltzes<\/a><\/em> commemorating the crowning of British monarchs.<\/p>\n\n\n\n

This time, it is a piec of sport news (should I say scientific? mechanical?) that inspires a “boston march\u00e9<\/em>” (walking boston): A\u00e9ronette<\/em>. This dance benefits from a media hype during its launching, in 1909.<\/p>\n\n\n\n

This article is dedicated to my friends from Normandy, Sandra and Jean-Pierre.<\/em><\/p>\n\n\n\n

Many thanks to Birte Hoffmann-Cabenda<\/a> for locating some exciting German source!<\/em><\/p>\n\n\n\n

The success of A\u00e9ronette<\/h2>\n\n\n\n

The topic<\/h3>\n\n\n\n

How did the choreographer Lefort and composer Bosc to give a maximal visibility (and thus success) to their creation?<\/p>\n\n\n

\n
\"Auguste
Auguste Bosc (1868-1945), composer.<\/figcaption><\/figure>\n<\/div>\n\n\n

Let’s first note that Auguste Bosc is not unknown. The composer from Montpellier (1868-1945) created the famous \u00ab Marche des petits pierrots \u00bb. Bosc began as the leader of the orchestra at Moulin de la Galette<\/em>. He then founded his own ballroom, Bal Tabarin<\/em>, in 1904.<\/p>\n\n\n\n

Bosc and Lefort chose a burning topic in the 1909 news: aeronautics.<\/p>\n\n\n\n

Indeed, since the late 19th century, there has been a veritable race for innovation in the field of aeronautics: need I mention Otto Lilienthal, Orville and Wilbur Wright, Cl\u00e9ment Ader, and so on?<\/p>\n\n\n\n

Depuis la fin du XIXe si\u00e8cle, on assiste \u00e0 une v\u00e9ritable course \u00e0 l\u2019innovation dans le domaine de l\u2019a\u00e9ronautique : dois-je citer Otto Lilienthal, Orville et Wilbur Wright, Cl\u00e9ment Ader, etc.<\/p>\n\n\n\n

But in 1909, aviation events came thick and fast.<\/p>\n\n\n\n

On 25 July, Louis Bl\u00e9riot crossed the English Channel in his Bl\u00e9riot XI. The following month, the city of Reims hosted the very first air show. It was also in 1909 that Bl\u00e9riot and the Wright brothers opened their respective flying schools.<\/p>\n\n\n\n

Aviation was therefore a promising theme for a new ballroom dance, Lefort and Bosc reasoned.<\/p>\n\n\n\n

Their idea was widely emulated: numerous dances were published on this theme, both in France and abroad. Notable examples include two A\u00e9roplanettes<\/em> (S\u00e9r\u00e9ni, Follitt, both from 1910), the Pas des Aviateurs<\/em> (Giraudet and Jouve, 1911), the Aeroplane Glide<\/em> (Sheafe, 1913), and three Aeroplane Waltzes <\/em>(Newman, Clendenen, Swayer, all three from 1914).<\/p>\n\n\n

\n
\"Ragtime
Alice Martin (dance) et Mamie R. Appler (music), The Aeroplane Waltz<\/em>, ed. Alice Martin, St-Louis, 1911.<\/figcaption><\/figure>\n<\/div>\n\n\n

And when it is not a full stand-alone choreography, it is a variation of One-step, Maxixe or Tango that honours the aeronautics.<\/p>\n\n\n\n

The dance masters’ convention<\/h3>\n\n\n\n

Choreographer Charles-Paul Lefort presented his A\u00e9ronette<\/em> during the dance master’s convention of Paris in 1909. The convention approved it with enthusiasm, say several articles. It is not just any convention: it is organized by the Acad\u00e9mie des ma\u00eetres de danse de Paris<\/em> (aka ADMP).<\/p>\n\n\n\n

Approval of a whole convention, that is a token of quality… right?<\/p>\n\n\n\n

Attention, it’s time for a good dose of criticism. Let’s debunk that!<\/p>\n\n\n\n

ADMP was created in 1904 by: Charles-Paul Lefort… The same man that proposed the A\u00e9ronette <\/em>to the congress 5 years later!<\/p>\n\n\n\n

Lefort was indeed the president of the ADMP in 1904, and kept this position until his death, in Verdun, November 27, 1917. Then his widow G.-C. took over. She published several dance books, such as \u00ab Les danses \u00e0 la mode. Th\u00e9ories illustr\u00e9es, Edition nouvelle, Paris, 1922 \u00bb, \u00ab L\u2019art de la danse \u00bb et \u00ab La danse de la valse au fox-trot \u00bb.<\/p>\n\n\n\n

But let’s go back to Charles-Paul, the president of ADMP. He also got other creations approved by the congress, i.e. the Five-Step <\/em>and the Chanteclerette<\/em>. <\/p>\n\n\n\n

It was easy for the president of the association to get his dances approved by his own congress.<\/p>\n\n\n\n

Media coverag of the A\u00e9ronette<\/h3>\n\n\n\n

Fair or not, the strategy is winning. During Fall 1909, dozens of articles announced the nomination A\u00e9ronette <\/em>by the congress. It seems that the newspapers received a description of the dance, reproduced verbatim for publication. The press release is sometimes accompanied by the journalist\u2019s comments, which are by turns enthusiastic and mocking. But as they say, there\u2019s no such thing as bad publicity.<\/p>\n\n\n

\n
\"Edwardian
M.R., “La danse du jour: l’A\u00e9ronette”, dans Le Rire: journal humoristique<\/em>, 23 octobre 1909.<\/figcaption><\/figure>\n<\/div>\n\n\n
\n

La valse, dit-on, rapproche les couples du ciel, sans qu\u2019ils quittent la terre\u2026 L\u2019 \u00ab A\u00e9ronette \u00bb aussi, et c\u2019est, peut-\u00eatre, un avantage qu\u2019elle a sur l\u2019a\u00e9roplane ?<\/em> <\/p>\n\n\n\n

They say that the waltz brings couples closer to the heavens without them ever leaving the ground\u2026 The \u2018A\u00e9ronette\u2019 does the same, and perhaps that is an advantage it has over the aeroplane?<\/em><\/p>\nLe Matin<\/em>, Nov. 19, 1909, p.2 \u00ab L\u2019 \u2018A\u00e9ronette\u2019 \u00bb by J.L.<\/cite><\/blockquote>\n\n\n\n

One article in particular caught my attention, as it combines a description, the musical score and illustrative engravings. It is \u2018Une Danse Nouvelle: l\u2019a\u00e9ronette<\/a>\u2019, in the Annales politiques et litt\u00e9raires<\/em>, Nov. 7, 1909, no. 1376, p. 435. It is a sort of abridged version of the score.<\/p>\n\n\n\n

The press release made its way beyond the Parisian press. Articles can be found in the French regional press (Saintes, Brest, Pau) and even the colonial press (Oran). L\u2019A\u00e9ronette<\/em> defies borders: it is talked about in Belgium, and as far afield as the United States! The dance master Rudolph Knoll, from Hamburg, even published a German translation of the dance, under the charming name of Flugzeug-Walzer<\/em> (Airplane Waltz).<\/p>\n\n\n\n

L\u2019A\u00e9ronette<\/em> even made it to the cinema, in a newsreel.<\/p>\n\n\n\n

Sources for A\u00e9ronette<\/h2>\n\n\n\n

For once, there are plenty of sources for the A\u00e9ronette<\/em>.<\/p>\n\n\n\n

The score<\/h3>\n\n\n\n

Starting, of course, with the score. This isn\u2019t available online, but I was able to access it thanks to the BNF\u2019s digitisation services. For a small fee, and after a few weeks\u2019 wait, the digitised version of the score landed in my inbox.<\/p>\n\n\n\n

Imagine how eager I was to scroll through the pages on my screen!<\/p>\n\n\n

\n
\"Music
A very “graphic” cover.
C. Lefort (danse) et A. Bosc (musique), L’A\u00e9ronette. Boston march\u00e9 (…)<\/em>, \u00e9d. A. Bosc, Paris, 1909.<\/figcaption><\/figure>\n<\/div>\n\n\n

Imagine my disappointment when I discovered that there was no description of the dance accompanying the score. This was despite the reference to \u2018th\u00e9orie de C. Lefort\u2019 on the cover.<\/p>\n\n\n\n

I felt so disheartened that I stopped writing altogether for several days. When I finally returned to this score, I decided to make the best of it.<\/p>\n\n\n\n

Granted, there is no description. But the cover features some interesting illustrations: five drawings depicting the five figures of the dance. Thanks to the score, I also know the number of bars allocated to each of these figures.<\/p>\n\n\n\n

Finally, an intriguing note states that \u2018for the cinema\u2019, the last 16 bars of the \u2018on plane\u2019 figure are to be cut. I\u2019ll come back to that.<\/p>\n\n\n\n

Time for the article\u2019s funny but pointless remark. The score is dedicated to the choreographer\u2019s wife: \u2018To Madame C. Lefort. A warm tribute from the Composer\u2019. Not very romantic, this Lefort!<\/p>\n\n\n\n

Articles in the newspapers<\/h3>\n\n\n\n

As the score doesn’t mention the dance steps, I rely on the press. As the text is almost identical in all newspapers, I’ll assume that this is the original set of instructions written by Lefort.<\/p>\n\n\n\n

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1\u00b0 Le d\u00e9part. Les danseurs se tiennent comme pour toutes les danses tournantes et font, sur deux mesures tr\u00e8s accentu\u00e9es, des temps de galop en avant imitant ainsi le roulement de l\u2019a\u00e9roplane.<\/em><\/p>\n\n\n\n

2\u00b0 On est parti. \u00ab L\u2019a\u00e9roplane se met en vol \u00bb. Les danseurs \u00e0 ce moment ont un mouvement des bras de bas en haut imitant ainsi le vol d\u2019un oiseau, ils font ensuite quelques petits pas march\u00e9s.<\/em><\/p>\n\n\n\n

3\u00b0 On vole et 4\u00b0 On plane. \u00ab L\u2019a\u00e9roplane est en l\u2019air \u00bb : pas tr\u00e8s gliss\u00e9s en balan\u00e7ant l\u00e9g\u00e8rement les bras, imitant ainsi l\u2019a\u00e9roplane cherchant \u00e0 trouver son aplomb, ce mouvement se continue plusieurs fois.<\/em><\/p>\n\n\n\n

5\u00b0 On atterrit. Pour terminer, \u00ab descente de l\u2019a\u00e9roplane \u00bb, imit\u00e9e par les danseurs se jetant vivement d\u2019un pied sur l\u2019autre, en inclinant la t\u00eate l\u00e9g\u00e8rement en avant.<\/em><\/p>\n<\/div>\n\n\n\n

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1\u00b0 The departure. The dancers hold each other as for all the turning dances, and do, on two very accentuated measures, some galop time, forward, imitating the taxiing of the plane.<\/p>\n\n\n\n

2\u00b0 We’re gone. “The plane takes off.” The dancers at that moment make a move with the arms from bottom to top imitating the flight of a bird, they then do some little walking steps.<\/p>\n\n\n\n

3\u00b0 We’re flying and 4\u00b0 We’re gliding. “The plane is up in the air”: very sliding steps lightly swinging the arms, imitating the plane pitching to level off, that move is continued several times.<\/p>\n\n\n\n

5\u00b0 We’re landing. To finish, “descending of the place”, imitated by the dancers shifting from one foot to the other, tilting the head slightly forward.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Press pictures<\/h3>\n\n\n\n

I must add something to the drawings on the music score cover: four pictures, published in L\u2019Afrique du Nord illustr\u00e9e<\/em>, Dec 4, 1909, p.11.<\/p>\n\n\n

\n
\"Dancing
“La Danse Nouvelle l’ “A\u00e9ronette””, dans L\u2019Afrique du Nord illustr\u00e9e<\/em>, le 4 d\u00e9cembre 1909, p.11.<\/figcaption><\/figure>\n<\/div>\n\n\n

The first one, titled \u00ab\u00a0en avant\u00a0\u00bb (‘Let’s go’), matches the drawing \u00ab\u00a0le d\u00e9part \u00bb. Then comes \u00ab\u00a0on s\u2019enl\u00e8ve\u00a0\u00bb (‘We’re taking off’), similar to the drawing \u00ab\u00a0on est parti \u00bb. The next two pictures are entitled \u00ab\u00a0L\u2019 \u2018A\u00e9ronette\u2019 du maestro Bosc est aussi gracieuse qu\u2019\u00e9l\u00e9gante\u00a0\u00bb (‘Maestro Bosc’s Aeronette is as graceful as elegant’).<\/p>\n\n\n

\n
\"boston,
“La Danse Nouvelle l’ “A\u00e9ronette””, in L\u2019Afrique du Nord illustr\u00e9e<\/em>, Dec 4, 1909, p.11.<\/figcaption><\/figure>\n<\/div>\n\n\n

The fourth picture illustrate “on vole”. Like the others, it looks a lot like the drawings on the music score. The third one show a never-before-seen position. Dancers stand side by side, arms stretched to the sides, quite low. They are bending the knees and are maybe leaning forward. I identify this figure as “on atterrit”.<\/p>\n\n\n\n

Cin\u00e9ma<\/h3>\n\n\n\n

Last but not least, our last source is audiovisual <\/a>(click to watch on Youtube). This a newsreel, selected in Paris mil neuf cent<\/em> : chronique de 1900 \u00e0 1914<\/a> by Nicole Vedr\u00e8s. This documentary released in 1947 features excerpts from over 700 movies.<\/p>\n\n\n\n

That clip shows a club or a dancing caf\u00e9. A couple is dancing A\u00e9ronette. The woman wears a headpiece reminiscing of the wings of a plane. This headpiece is similar to the one we see on the music score. The dancers could well be the Lefort, if we believe that picture<\/a>.<\/p>\n\n\n\n

I don’t know the exact source of that document.<\/p>\n\n\n\n

Conclusions and reconstructions of A\u00e9ronette<\/h2>\n\n\n\n

For once, the dance historian has a lot of sources under the hand. So we can expect a precise and detailed reconstruction.<\/p>\n\n\n\n

But, that article is already very (too) long. So I will expose my reconstruction proposal in the next articles. See you soon then, to analyse the sources, and to reconstruct the dance.<\/p>\n\n\n\n

Until then, take care, and dance!<\/p>\n","protected":false},"excerpt":{"rendered":"

L’A\u00e9ronette, une valse de la Belle Epoque d\u00e9di\u00e9e \u00e0 l’avion. Cr\u00e9\u00e9e en 1909 par C.-P.Lefort et A. Bosc, elle fait sensation en cette ann\u00e9e sp\u00e9ciale pour l’aviation.<\/p>\n","protected":false},"author":4,"featured_media":2269,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_locale":"en_US","_original_post":"https:\/\/www.histoiredebal.com\/?p=1151","footnotes":""},"categories":[38,45],"tags":[],"class_list":["post-2540","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-belle-epoque","category-danses-de-couple","en-US"],"yoast_head":"\nA\u00e9ronette, a whirling waltz! - Part 1 - Histoire de bal<\/title>\n<meta name=\"description\" content=\"L'A\u00e9ronette, une valse Belle Epoque d\u00e9di\u00e9e \u00e0 l'avion. Cr\u00e9\u00e9e en 1909 par C.-P.Lefort et A. 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