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The role of ambassadors as cultural bridge figures has been recognized for a long time. Especially during the peace conferences of the seventeenth & eighteenth centuries, they are known to have enabled theatre and dance performances. It is not until the second half of the eighteenth century that Ambassadors more or less continuously resided at the same courts even during periods of peace, instead of occasionally passing by after a conflict to solve the outstanding issues. The reason for their more continuous stay probably lies in the prolonged period of war after the French Revolution and during the Napoleonic reign, This was followed by the teething problems of the new European Concert after the Congress in Vienna folded up. A congress, which, among other things, also defined new rules for embassies that would go on to shape international law and how it was negotiated, established and sanctioned. My research indicates that some members of the diplomatic profession still got deeply involved in court life wherever they resided. Even to the point that they helped stage some dance events that carried specific political messaging for the courts where they stayed, even performing as dancers in some occasions. This proposal wants to compare different European courts and to investigate how the changed role of the ambassador during this period defined new ways in which dance events were staged and how they acquired new meaning. 

Cornelis Vanistendael graduated as a master in East-European Languages & Cultures (UGENT 1990 – 1995). After obtaining his degree, Cornelis worked for 8 years as a HR Consultant. Leaving his position at Deloitte behind, he pursued his career in heritage previously having been active as a free-lance archival researcher covering various topics. His first professional contract was to research an entire new musical museum in Antwerp for a period of two years (Vleeshuis Museum, Sound of the City). Afterwards he moved to Erfgoed Noorderkempen (Heritage Centre Northern Campina, Belgium) for 13 years. From September 2016 he received a grant for one year to complete this PhD in dance history which he had been working on in his spare time since 2011. He defended his PhD. the 27th of may 2020. Since then, he continues his research in his spare time and remains connected to his research group Theatre History and Musicology at Ghent University as a volunteering Post Doctoral Researcher. His current research project is called The Embodiment of Power during the Restoration of Monarchy between 1814 and 1830. A comparative approach Brussels/The Hague – Vienna– Paris - Berlin & London. Professionally, Cornelis is specialised in heritage databases, collection management and digitization of heritage collections. He is currently working as the principal archivist of the city of Vilvoorde, near Brussels.