Thanks to a renewed interest in historical preservation and Western culture, Texas’s most iconic establishments are thriving once again
By Laurel Miller | Article photos by Erich Schegel
In the early years of Texas statehood, immigrants- notably of German and Czech heritage- flooded to the state, attracted by cheap land prices, or to escape political and religious persecution. These pioneers found themselves in a foreign land with an often-inhospitable climate and landscape, and thus forging community and retaining their cultural traditions became paramount in helping them adapt.
Under the oaks, the lore of Luckenbach has brought music lovers and musicians together for decades.
The dance hall, that most Texan of establishments, was thus borne of isolation and homesickness. While their primary function was to serve as a gathering place to engage in the dance and music of their respective immigrant communities and pass these traditions on to younger generations, dancehalls also had numerous social functions.
“They were the place to celebrate birthdays, funerals, weddings, and so much more,” says Michael Miller, general manager of Albert Dance Hall in Albert-Stonewall.
In rural areas, “dance halls were the original community centers, and still function that way today,” adds Stephanie McDougal, co-founder of Texas Dance Hall Preservation (TDHP), a non-profit dedicated to preserving and promoting the state’s historic halls. “For many communities, dancehalls are where you go to vote, attend prom, fundraisers, baby showers, and take shelter in emergencies. The big problem is that our population is increasingly concentrated in urban areas, and if communities lose their dancehalls, they lose part of what binds them.”
“These halls are so much more than a dance floor. They represent our history as Texans.”
Michael Miller, general manager of Albert Dance Hall
McDougal says that while there were roughly 1,000 dancehalls in Texas at their peak, it’s unknown how many still exist. “We’re still doing the research to identify halls and where and why they were located. In the late 19th to early 20th century, nearly every community had a dance hall or dance platform.” The structures varied in architectural style and building materials, but they shared a common goal: bringing people together.
While the German and Czech venues of Central Texas have garnered the most attention, dance halls were found throughout the state. McDougal notes that they were less common in East Texas, which was heavily Baptist and thus forbade drinking and dancing. Black-owned halls also existed, including the recently restored Eldorado Ballroom, which opened in Houston’s Third Ward in 1939.
South Texas was home to many Mexican halls, also known as ballrooms or salones, including Victoria’s 97-year-old Club Westerner, currently owned and operated by James Villafranca and his five siblings. While the original owner was not of Mexican descent, Villafranca’s father, John, started leasing the hall in 1956 to put on Sunday dances for the Hispanic community.
In 1965, John purchased the business and young James, and his siblings grew up working at Club Westerner. “It’s in our blood, and our love of live music is embedded in our spirit,” says Villafranca. “While most of our functions now are private parties, we still have about six public dances a year.”
Like Club Westerner, Blanco’s Twin Sisters Dance Hall generates most of its revenue as an event space, but its public dances, held the first Saturday of every month, make it a destination as well as one of the oldest continuously operating dance halls in Texas.
Built in 1879 by German immigrant Max Krueger, Twin Sisters is now owned and operated by a 501 C3 volunteer board of directors and members. Blanco native and board president Jo Nell Haas, learned to dance at Twin Sisters and even met her husband there. “We took our children there- they slept on a pallet under the table,” says Haas. “Two of our girls and their families now volunteer at the hall, as well.”
In her role as president, Haas has also experienced hardships familiar to those who own and manage dancehalls. In 2021, the Texas Department of Transportation (TXDOT) proposed widening SH 281, which would have necessitated relocating the hall. “I told them, ‘Over my dead body,’” says Haas. “There were days we nearly closed the doors, but TDHP was a big help, offering encouragement and help with resources (insurance, attorneys, restoration specialists), grants, and public relations among other things.”
Ultimately, Twin Sisters and much of the surrounding area was declared a Rural Historic Landscape, which protects the hall from being moved or torn down.
Gruene Hall in Gruene, Texas bills itself as “the oldest continually run dance hall in Texas.” Built in 1878 by Heinrich Gruene, the iconic music venue features mainly country music and singer songwriter performers.
While some halls have been relocated or recreated in more contemporary structures, Haas believes that they’re impossible to replicate. “You lose the total history of a place when a hall closes. You can’t replace those 1800s boards; if those walls could only talk.”
Albert Dance Hall, near Fredericksburg, opened in 1922. While the town of Albert, a former stage stop, no longer exists, Miller agrees that historic dancehalls need to simultaneously hold on to their heritage while finding new ways to generate revenue.
“Dance hall culture has had to evolve drastically over the past century,” he says. “It’s been commercialized in many ways, bringing in people from outside of the respective community to experience something new and exciting. It’s a tough balance to maintain, because (halls) are central pillars to the surrounding community, but they also need to grow and prosper in a growing, ever-changing society.”
Two Tons of Steel play Two Ton Tuesdays at Gruene Hall every summer.
The decline of the dance hall and a new era
After World War II, returning veterans sought community and camaraderie through membership in fraternal organizations, many of which owned lodge halls. But “the population of Texas has been shifting from rural areas to cities since the end of the war, and declining and aging rural populations leave fewer people to manage and support dance halls,” says McDougal. Those demographics and changing tastes in music led these venues to wane in popularity by the 1970s.
Interest in cultural heritage and dancing has once again revived the interest in dance halls. McDougal attributes some of this to the rise of social media, which enabled halls to build audiences beyond their local communities, but she also believes that younger generations are seeking authentic experiences, “and there’s nothing more authentically Texan than a dance hall.”
Today, many halls are thriving, like Austin’s family-owned and -operated Broken Spoke, established in 1964. While it’s now surrounded by urban development, the hall has managed to maintain its heritage, as have other historic venues still in operation, like The Sons of Hermann halls in Dallas and San Antonio, SPJST 88 in Houston and Moravian Hall in Corpus Christi.
Formerly vacant rural halls have also been restored, like Hye Hall in Blanco County and Schneider Hall near Columbus, which has been continuously owned by the same family and now operates as a successful wedding venue.
While dance halls still face considerable hurdles, the current level of public support will hopefully help them stay open and operating for many years to come. “They represent a different time and places,” says Miller. “A love letter to past and future generations.”
Waltz across Texas
Dance halls have influenced various musical genres like Texas swing, honky tonk, conjunto, and Tejano, which are the cross-cultural hybrids of early influences like polka and hillbilly music. The venues also served to launch the careers of iconic artists like Willie Nelson, Townes Van Zandt, and George Strait.
Even today, playing iconic venues like Luckenbach or Gruene Hall are considered a badge of honor by musicians. “Dance halls are where Texas music is nurtured and allowed to grow,” says McDougal. “It gives musicians a good training ground to hone their craft, and they support bands that do the dance hall circuit.”
“Texas music and dance halls are, culturally, just as important as cowboy hats and horses. We’ve performed all over the world, and nothing compares to being onstage in an old Texas dance hall.”
Kevin Geil, Front Man of San Antonio’s Two Tons of Steel.
Many dance halls also offer dance lessons, to help maintain heritage and culture and hopefully gain new patrons. Dancing isn’t required, however; the beauty of the modern dance hall is its ability to bring a diverse crowd together for a good time. “Texas music and dance halls are, culturally, just as important as cowboy hats and horses,” says Kevin Geil, front man of San Antonio’s Two Tons of Steel. “We’ve performed all over the world, and nothing compares to being onstage in an old Texas dance hall.”
Preserving the past
Today, some dancehalls are owned and operated by cities or non-profits who rent the space for events. “Part of our job at TDHP is doing feasibility analysis and making people aware of what the possibilities are,” says McDougal. “We need to speak a lot of languages, because we work with architects, engineers, builders, and public city officials.”
The organization also serves as a cheerleader, encouraging owners and providing assistance in the form of seed grants for hall preservation, or facilitating architecture partnerships. During the pandemic, TDHP was able to provide a relief fund to 32 halls, by paying utilities and building insurance for six months.
“Owning a hall is very hard, and maintaining a historic building is very isolating. It’s a lot of work and a lot of these places are family-owned,” says McDougal. “But the future looks brighter. We’re in a strong period for dance halls and the community support is strong- it’s in a Texan’s DNA.”
