Patricia H. Ballantyne is an Honorary Research Associate with the University of Aberdeen at the Elphinstone Institute, the University’s Centre for the study of Ethnology, Folklore and Ethnomusicology.

• PART I Historical context 1 Introduction 2 Francis Peacock: just a provincial eighteenth-century dancing master? 3 Francis Peacock: the significance of the music and dance of the Highlanders 4 How did they dance in the early nineteenth century? 5 Charlatans and simplifications 6 A successful provincial ‘Professor’: the early career of Adam ‘Cosmo’ Mitchell 7 Professionalising the professors: the later career of Adam ‘Cosmo’ Mitchell, and the transition from dancing master to dance teacher 8 From the Imperial Society of Dance Teachers to the Scottish Official Board of Highland Dancing: how dancing developed in Scotland between 1900 and 1955PART II Contemporary context 9 Rules and regulations: effects of standardisation on Highland dancing and piping in the late twentieth century 10 Bringing it full circle? Some reactions to regulation Appendix of tables

Scottish Dance beyond 1805 provides the reader with a glimpse into Scottish society and culture over a 200-year period through the lens of Scottish dance. The richness of the book lies in its detail and its intensive research and documentation of the history of dancing in this one region, the North-East of Scotland. It makes an important contribution to Scottish dance studies and to ethnomusicological and ethnochoreological research. It will be of interest to scholars and others in these fields and related areas, but also to Scottish dancers who may wish to understand the history of the dances that they learn, teach, and perform. Catherine E. Foley, University of Limerick - Folk Music Journal Ballantyne's book is a wealth of research and food for thought. Mara Shea - Ethnomusicology Forum

Patricia H. Ballantyne is an Honorary Research Associate with the University of Aberdeen at the Elphinstone Institute, the University’s Centre for the study of Ethnology, Folklore and Ethnomusicology.

• PART I Historical context 1 Introduction 2 Francis Peacock: just a provincial eighteenth-century dancing master? 3 Francis Peacock: the significance of the music and dance of the Highlanders 4 How did they dance in the early nineteenth century? 5 Charlatans and simplifications 6 A successful provincial ‘Professor’: the early career of Adam ‘Cosmo’ Mitchell 7 Professionalising the professors: the later career of Adam ‘Cosmo’ Mitchell, and the transition from dancing master to dance teacher 8 From the Imperial Society of Dance Teachers to the Scottish Official Board of Highland Dancing: how dancing developed in Scotland between 1900 and 1955PART II Contemporary context 9 Rules and regulations: effects of standardisation on Highland dancing and piping in the late twentieth century 10 Bringing it full circle? Some reactions to regulation Appendix of tables

Scottish Dance beyond 1805 provides the reader with a glimpse into Scottish society and culture over a 200-year period through the lens of Scottish dance. The richness of the book lies in its detail and its intensive research and documentation of the history of dancing in this one region, the North-East of Scotland. It makes an important contribution to Scottish dance studies and to ethnomusicological and ethnochoreological research. It will be of interest to scholars and others in these fields and related areas, but also to Scottish dancers who may wish to understand the history of the dances that they learn, teach, and perform. Catherine E. Foley, University of Limerick - Folk Music Journal Ballantyne's book is a wealth of research and food for thought. Mara Shea - Ethnomusicology Forum

Patricia H. Ballantyne is an Honorary Research Associate with the University of Aberdeen at the Elphinstone Institute, the University’s Centre for the study of Ethnology, Folklore and Ethnomusicology.

• PART I Historical context 1 Introduction 2 Francis Peacock: just a provincial eighteenth-century dancing master? 3 Francis Peacock: the significance of the music and dance of the Highlanders 4 How did they dance in the early nineteenth century? 5 Charlatans and simplifications 6 A successful provincial ‘Professor’: the early career of Adam ‘Cosmo’ Mitchell 7 Professionalising the professors: the later career of Adam ‘Cosmo’ Mitchell, and the transition from dancing master to dance teacher 8 From the Imperial Society of Dance Teachers to the Scottish Official Board of Highland Dancing: how dancing developed in Scotland between 1900 and 1955PART II Contemporary context 9 Rules and regulations: effects of standardisation on Highland dancing and piping in the late twentieth century 10 Bringing it full circle? Some reactions to regulation Appendix of tables

Scottish Dance beyond 1805 provides the reader with a glimpse into Scottish society and culture over a 200-year period through the lens of Scottish dance. The richness of the book lies in its detail and its intensive research and documentation of the history of dancing in this one region, the North-East of Scotland. It makes an important contribution to Scottish dance studies and to ethnomusicological and ethnochoreological research. It will be of interest to scholars and others in these fields and related areas, but also to Scottish dancers who may wish to understand the history of the dances that they learn, teach, and perform. Catherine E. Foley, University of Limerick - Folk Music Journal Ballantyne's book is a wealth of research and food for thought. Mara Shea - Ethnomusicology Forum