Purger and Purgerica
A School of Dance and Etiquette in Zagreb
We explore what social life was like in the past, when balls were the main form of social gathering. They were places where people presented themselves, met one another, and socialized. Unlike today’s social events, these occasions were far more complex. Everything had its purpose and its proper place.
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In the 19th and early 20th centuries, dance balls in Zagreb were key social events. Newspapers devoted lengthy articles to them, and dance was both a fashion and an essential social skill. Balls were organized to mark important celebrations or cultural events, and the dance school served as a place where young ladies and gentlemen prepared to appear at balls with polished dancing skills and refined manners.
The First Dance School in Zagreb
The first dance school in Zagreb was founded by the Italian ballet artist Pietro Coronelli. He arrived in Zagreb in 1859 at the invitation of Count Ambroz Vranyczany, in order to teach dance to his daughter Clotilda. Soon after his arrival, Coronelli established a permanent dance school that offered instruction in both dance and etiquette for the city’s citizens. The first advertised announcement of his school appeared in the newspapers in 1860.
The first private school of dance and etiquette in Zagreb began operating in the palace of Ambroz Vranyczany at 2 Jelačić Square. The school later moved to the old shooting range at Tuškanac, and its last known location was at 2 King Tomislav Square. In addition to these venues, 19th-century Zagreb had various spaces for dancing, ranging from private palaces and social salons to large public halls such as Stanković’s Theatre (today the seat of the Zagreb City Assembly) and the Narodni dom at 18 Opatička Street.
What Did One Have to Learn?
The classical dances that were taught and performed most often included the Viennese waltz, the English waltz, the polka, and the mazurka. These dances formed part of the standard repertoire of dance education and social events, symbolizing elegance and refinement.
In addition to dance, one also had to learn proper etiquette. This encompassed everything that enabled a person to move, communicate, and dance in public with dignity, self-control, and social acceptance. Correct posture was essential, as were the manner of walking through a salon, entering a ballroom, and moving among guests. One learned how to sit, stand, and turn—always without sudden or improper movements. Everything was precisely prescribed: how a gentleman invited a lady to dance, how an invitation was accepted or declined, the order of dances and respect for the dance card, conversation during the dance, and the avoidance of excessive closeness, leaning in, or loud laughter. In short, everything was meant to be discreet, calm, and measured.
Zagreb and Viennese balls
If we compare Viennese and Zagreb balls of that era, we can say that traditional Viennese balls are known for their highly formal etiquette, marathon waltzing, and ceremonial openings with strictly synchronized choreography, often held in grand halls. Zagreb balls, by contrast, were social events shaped by local customs, closely tied to the city’s cultural and civic life, and not necessarily as formal or as grandiose as their Viennese counterparts.
In essence, the Zagreb ball was a place for social networking, a ritual of young people’s entry into society, and a marker of belonging to European bourgeois culture.
After Coronelli’s death in 1902, the dance school continued to operate under the leadership of his daughters, Elvira and Bianca, until around 1970.