Almain
Also known as: Alman, Allemande, German Dance
History & Cultural Context
The Almain takes its name from the French for "German," though its history is more the story of a label for German-associated dance characteristics than a single line of descent from Germany. A dance titled "La Allemande" appears in Robert Coplande's 1521 treatise, and printed allemandes in duple meter circulated in mid-16th-century French collections (Gervaise, Phalese, Susato). Thoinot Arbeau's Orchesographie (1588/89) gives the first full choreography: a simple processional dance for couples built on repeated walking steps, which he calls sedate, known to the Germans, and one of the oldest dances in France. More elaborate choreographed almains using singles and doubles survive in English Inns of Court sources of the late 16th and early 17th centuries. Unlike the leaping galliard, the Almain emphasized controlled, measured movement. By the mid-17th century the allemande had disappeared as a dance — Mersenne wrote in 1636 that it was no longer danced in France — while lending its name and musical character to the instrumental allemande of the Baroque suite.
Cultural Significance
The Almain represented German influence on Renaissance court dancing. Its calm elegance contrasted with the dramatic galliard, allowing dancers to showcase controlled technique. The dance's popularity across European courts reflected increasing cultural exchange and the importance of dance in diplomacy.
Peak Popularity
Signature Figures
- Double
- Single
- Reverence
- Turn
Notable Codifiers
- Thoinot Arbeau
- Fabrizio Caroso
Dance Lineage
Almain Playlists
Curated collections on the LODance YouTube channel — performances to watch, lessons to learn from, and the right music to practice with. Tap a collection to play.
▶ Lessons · Open on YouTube →
What to Wear
Attire guidance for Almain and other Historic Renaissance Court dances. Each card below is sized to the moment — class, practice, social, or competition — because the wardrobe shifts as the stakes do.
Reading the cards
In Class
Comfortable shoes with low heels, regular practice wear. Some instructors encourage long skirts for women to practice managing fabric.
Social Dancing
Renaissance faires and historical dance balls: period costume expected (gowns, doublets). Academic reconstruction groups range from full costume to smart casual.
Competition
Performance-only; full Renaissance period costume for staged demonstrations.
Shoes
Flat or low-heeled soft shoes. Renaissance dance shoes were essentially soft leather slippers. Modern equivalent: jazz shoes or soft ballet shoes with leather soles.
In Practice
Long skirt practice teaches fabric management; many groups keep one practice skirt available even for participants who normally wear pants.
Price Range
- Budget: Soft ballet shoes or jazz shoes $30–80; long practice skirt $40–100.
- Mid: Reproduction Renaissance footwear $120–250; commissioned period gowns $300–1,000.
- Premium: Hand-stitched reproduction costume $1,500–6,000+.
Quick Tips
- •Suede-soled shoes allow controlled sliding and pivoting — essential for most partner dances.
- •Avoid rubber soles on dance floors; they grip too much and can cause knee injuries.
- •Bring a separate pair of clean shoes for the dance floor to keep it in good condition.
Sources & Further Reading
Cultural & Historical Context
Almain emerged from Germany/France during the 1520s—1620s. Understanding the cultural roots, musical traditions, and social circumstances of this era enriches appreciation for the dance's characteristics and significance.
Formative Influences
Codifiers & Standardizers:
Thoinot Arbeau, Fabrizio Caroso
Signature Movement Vocabulary:
Double, Single, Reverence, Turn
Primary Source Documents
The Library of Dance contains public-domain primary sources for dance history. Copyrighted modern syllabi are indexed with purchase links to their respective copyright owners. Search by dance name or codifier to discover primary source documents.
Last reviewed: August 2026 — This dance profile synthesizes historical research, cultural documentation, and contemporary practice knowledge to provide authoritative context.
Related Dances
More in Historic Renaissance Court
Pavane
The Pavane was a slow, stately processional dance of the Renaissance courts, featuring symmetrical figures and noble bearing. Paired with the galliard in the pavane-galliard suite, it dominated aristocratic dancing from the 1520s through the 17th century.
Galliard
The Galliard was a fast, athletic Renaissance dance featuring high kicks, jumps, and intricate footwork. Typically paired with the Pavane, it provided exciting contrast and showcased individual skill and virtuosity.
Branle
The Branle was a French group dance featuring side-to-side stepping in formations, often performed as a processional or chain. It became a versatile social dance popular across all social classes.
Volta
The Volta was a late-16th-century couple dance, related to the galliard, whose defining figure is a turn in which the leader assists the follower's lift. It was documented at the French and English courts and described by Arbeau (1588), Caroso (1581/1600), and Negri (1602).
Allemande
A grave duple-time couple dance in which a file of couples travels up and down the hall, built on a plain pattern of three steps and a lift, usually with a quicker section at the end. It is one of the simplest social dances of the period, which is precisely why it was danced by everyone in the room rather than only by the trained.
Basse Danse
The stately couple dance of fifteenth-century court life, danced with the feet kept close to the floor, which is what low means here and what distinguished it from the leaping dances that usually followed it. It is the earliest European social dance whose step sequences were recorded in a form that can still be read, so it marks the beginning of the documentary record for social dance.
What did dancers wear?
Almain belongs to the Renaissance Courts (1400s–1600s) era. See how attire shaped the choreography — and the other way around.
Explore Renaissance Courts attire →Almain in art
Browse the gallery →Public-domain works our catalogue identifies as depicting almain.

Dancing Couple
Unknown artist

Dancing Couple
Unknown artist · 2015

Caroso — Dance Plate (plate 7)
Fabritio Caroso da Sermoneta

Caroso — Dance Plate (plate 11)
Fabritio Caroso da Sermoneta

Caroso Nobiltà — Dance Plate (plate 14)
Fabritio Caroso da Sermoneta

Caroso Nobiltà — Dance Plate (plate 20)
Fabritio Caroso da Sermoneta

Caroso Nobiltà — Dance Plate (plate 37)
Fabritio Caroso da Sermoneta

Negri — Dance Plate (plate 17)
Cesare Negri (il Trombone)

Ballroom Scene at a Court in Brussels label QS:Lnl,"Bal aan een Brussels hof"label QS:Len,"Ballroom Scene at a Court in Brussels"
Frans Francken the Younger / Paul Vredeman de Vries

Ornament with Dance of the Lovers
Israhel van Meckenem (German, c. 1440–1503)

The Ball
Master M.Z. German, active 1500-1550
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