Antes dos tempos do Ballet

Antes do ballet, havia Chorales, Spectacles, Masques e Danas Mouriscas. A Dana Coral (Chorales) quando executada como uma Dana de Corte, visando entreter, se transformava em um ballet. O Spectacle, que era um tipo de Ballet, (legado dos Romanos - "Fabul Atellan,") foi oferecido por Charles V da Frana (1364-1380) ao Imperador alemo Charles IV (1316-1378) em 1377. Executada nos intervalos de outros espetculos, as Danas Masques, se constituram como os primeiros trabalhos coreogrficos do perodo pr-Ballet. Entretanto, o Moorish ou Dana Mourisca, tambm exerceu um importante papel nos primrdios do desenvolvimento do ballet. O evento artstico que hoje conhecido como a montagem mais prxima do que ns conhecemos como Ballet, foi um 'Spectacle' produzido em 1448 por Bergonzio di Botta deTorton, como homenagem ao milans Duque de Galcazzo, na ocasio do seu casamento com Isabel de Aragon. O 'Spectacle' continha uma festa ou Festilina (Dana Banquete ou Bacchus),que foi motivo de comentrios por toda a Europa por meses e meses, sendo que, mesmo nos padres atuais, ainda considerado espetacular. Pinturas, esculturas e cenrios mveis, foram usados como acessrios. Este 'Spectacle' foi copiado muitas vezes e por ser produzido noite, rapidamente tornou-se o principal divertimento das Cortes Europias, em suas principais ocasies festivas. Este evento realmente foi o incio do que hoje conhecemos como Ballet. A palavra Ballet tem origem no vocbulo italiano Ballare (significando em Latin: danar), passando por outro vocbulo, tambm italiano "balletto" e geralmente creditada, como criao vocabular, a Baitazarini di Beigioioso de Tortona (Bergonzio di Botta) e no antigo idioma grego, a palavra "ballizo" () significa "danar sozinho." Henrick Isaak (1450-1517), um compositor alemo, comps na Itlia, alguns "Carnival Songs", assim como um "Ballo" (dana) acompanhado de uma trilha musical prpria, aonde os bailarinos tambm atuavam como cantores. A palavra inglesa Ballad tem origem em eventos como estes e literalmente significa "uma cano para ser danada ou se danar.

Por volta de 1530, Aglio, o Conde de Savoy preparou um Ballet Atuado, com os prncipes e princesas de sua Corte. O principal experimento em Ballet veio da Corte da Frana, quando Catherine de Medici (1519-1589) junto com Henry II (1547-1559) trouxe um dance master da Itlia, de nome Baitazarini. No dia 11 de outubro de 1581, Catherine realizou um Spectacle denominado "Ballet Comique de la Reine" para o casamento do Duc de Joyeux, e hoje reconhecido por muitos como a primeira encenao de um ballet. Um violinista chamado Beujoyeux, que posteriormente se tornou Valet De Chambre desta Corte (como dance master), criou o ballet. O Ballet de Comique de la Reine proveu de ingredientes essenciais, os caminhos que moldaram o Ballet nos anos seguintes. Jean Antoine de Baf introduziu na Corte da Frana os Ballets Alegricos, Morais e Ridculos. O Ballet da Corte na Frana foi criado neste perodo de tempo, caindo rapidamente nas graas dos reis Henry III e Louis XIV. Louis XIV ajudou a tornar o Ballet, uma das maiores sensaes no mundo de ento, alm dele prprio ter atuado em muitos ballets. Louis fundou a Academia da Arte da Dana em Paris, no ano de 1661, bem como outras instituies de arte. Em 1588, Thoinot Arbeau, dancing master francs, escreveu um tratado de dana entitulado "Orchesographi" considerado hoje uma obra que retrata o Ballet e sua msica, neste perodo. Este tratado se tornou a ferramenta com a qual a Frana estabeleceu uma posio de destaque em relao a Itlia, no desenvolvimento do Ballet. Nele esto descritas as danas presentes nos Ballets, como a Volte, Gavotte, Courante Allemande, Moresque, e Branle's, todas escritas no notation system, bem como tcnicas usadas como "Turned out feet", as "Five Absolute Foot positions" no Ballet, formuladas posteriormente por Pierre Beauchamps (1635-1709). O francs Charles Louis Didelot (1767-1837) considerado Pai do Ballet Russo, porm, o Ballet como entretenimento da Corte, foi introduzido na Rssia pelo Tzar Alexis Mikhailovich (1629-1676- reinou desde 1645), por ocasio de seu casamento. Posteriormente, Peter the Great (Peter I, reinou por volta de1682/3) adotou para a sua Corte e para uso pessoal, a arte da dana em geral, mas especialmente, as danas ocidentais.

A Imperatriz Anne a Tsarina (Anne I-1693-1740 - reinou 1730), tambm apreciava a Arte das Danas e mantinha em sua Corte, jovens danarinos treinados no Ballet por Jean Baptiste Lande, na Escola Imperial de Cadetes. Posteriormente, Lande tambm ensinou Dana no Palcio de Inverno em St. Petersburg, no ano de 1738. O primeiro ballet Russo de caractersticas Hericas foi criado por Domenico Angiolini (1731-1803- danarino italiano importado pela Imperatriz russa Catarina a Grande -1729-1796), para St. Petersburg, no ano de1765. Danarinos que ajudaram a moldar o Ballet na Rssia foram muitos como Marius Petipa (1818-1910,) Jules Perrot, e Christhian Johansson (1817-1903), cujo trabalho pedaggico cunhou um estilo caracterstico nos bailarinos do Kirov. As primeiras performances femininas no Ballet, aconteceram por intermdio do dancing master francs Jean Baptist Lully (1632-1687), quando este apresentou o ballet "Le Triomphe de l'Amour" em 1668, incluindo ineditamente em seu cast, quatro danarinas. Anteriormente, rapazes travestidos de personagens femininos, atuavam de maneira exclusiva nos ballets. Maximilien Gardel (1741-1787) foi um dos primeiros a descartar as mscaras em seus ballets, pelos anos de 1772. Ele o fez em suas atuaes de palco, objetivando permitir ao pblico, no confundi-lo com o danarino Gaetan Vestris (Vestris o antecipou durante o ballet Medea & Jason1770). No incio, o Ballet consistia das muitas danas sociais da poca, tais como a Gavotte, Pavane, Allemande , entre outras. bailarina Marie Carmago (1710-1770) creditado a diversificao dos passos nas danas mencionadas. Jean Georges Noverre (1727-1809) incluiu inmeras mudanas no Ballet, que ainda so utilizadas. Ballerinas alcanaram as pontas dos ps, em pose denominada sur les pointes Esta nova condio tcnica permitiu que as heronas no ballet se tornassem etreas criaturas habitantes do ar, como se no mantivessem nenhum contato fsico com a terra. Sylphides, Naiads, Fadas, e outros espcimes encantados, viajavam pelo ar e habitavam grande parte dos ballets da poca.

Este efeito etreo foi o que conduziu as Ballerinas a danarem nas pontas. Fanny Bias em 1821 e Marie Taglioni (1804-1884) em "la Sylphides" em 1832 danaram nas pontas. Mquinas foram desenvolvidas para proverem um suporte mecnico aos efeitos etreos das bailarinas, j em 1796, por Charles Ludwig Didelot (1767-1837). O primeiro ballet visto em New York City, foi "O caador de pssaros-Bird Catcher," apresentado em 1792 por Alexander Placide (1750, Frana / 1812, New York City), danarino, mmico, acrobata, empresrio e produtor de ballets, pantomimas, dramas, desfiles patriticos, lutas de esgrimas e imitaes de pssaros), assim como por John Durang, primeiro danarino profissional americano a se destacar nacionalmente. O "Turn out - en dehors-" nos ps dos bailarinos ascendeu como regra, a partir de 1588 e provou ser insubstituvel ao longo do tempo. Marie Taglioni introduziu o uso do Tutu (que hoje em dia aceito como figurino padro) no ballet "La Sylphides." Quando o Ballet na Europa ocidental (Frana e Itlia) comeou a declinar em prestgio, a Rssia se transforma no principal mercado de trabalho para os bailarinos. Hollywood posteriormente captou a essncia do Ballet atravs dos bailarinos e coregrafos Agnes de Mille e Ballanchine, liderando os caminhos da dana na cinematografia. Bailarinos como Pavlova, Mordkin, Taglioni, Camargo, Essler, Baryshnikov, Ted Shawn, Fonteyn, Toumanova, ajudaram a difundir o amor pelo Ballet. Os estilos e formas de dana dos perodos renascentista e barroco, eram conhecidos sob a seguinte classificao: 1) A primeira graduao, a mais elementar, era conhecida por "Grotesque", a qual qualificava os ballets cujos movimentos fossem imponentes, com muitos deslocamentos e que valorizassem habilidades atlticas, ao invez da graciosidade. 2) A segunda graduao era a "Comic", geralmente com menos deslocamentos do que o primeiro, representando os costumes, passatempos ou romances das classes mais baixas 3) A terceira graduao era a "Demi-charactre", que exemplificava casos da vida das pessoas comuns como estrias de amor com enredos bem populares. 4) A quarta graduao era a "Serious dance", freqentemente encontradas em encenaes trgicas, que representavam o mais alto grau de habilidades e elegncia.

5) A quinta graduao era a "Pantomimic ou Ballet", que cobriam todo um ato inteiro com dana, sem dilogos.

Algumas danas de Corte

Court Dances basicamente se refere s danas das classes sociais mais altas como reis, rainhas, duques e duquesas entre outras. Eram muitas e distintas entre si e tambm conhecidas como 'Stately Dances ou Society Dances'. No princpio, a Pantomime desempenhava o mais importante papel entre estas danas, mas em meados de 1550, ela j estava completamente esquecida.

As Basses Dances

Basse danse (bah-seh-doncse) ou La Danse Basse (tambm conhecida como "Dance Nobles" - dana das classes altas"Upper Classes") e as Danas Altas Italianas do sculo quinze (Italy-Bassedanza, Hoftanz-German), foram grupos de Danas Participativas. Os primeiros escritos da Basse dance so de um poema espanhol chamado "La Danza de la Muerte" (O Rei declina do convite da Morte para uma dana) os anos 1400. A basse dance era executada pela Corte francesa no Festival de Nance, em 1445 e posteriormente por Charles IX. Basse dances foram populares entre os sculos XIV e XVI.

O francs tornou-se um apreciador desta dana nos anos de 1500. As Basses dances eram solenes com pequenos passos deslizantes , bows (reverencias), e danada nas pontas dos ps, muito lentamente, diferente das vibrantes danas da Balli court dances. A basse danse era comumente danada por casais dispostos em fila, de mos dadas, em uma dana suave, sem a rudeza da dana Volta, por exemplo. Originalmente, as Basse dances eram executadas em procisso, consistindo de um "large" (incio), exigindo uma reverncia e um "small" (final), sem reverncias. Basse Dances consistia de trs partes e somente cinco passos: 1- A Danse Basse adequada 2- O Retour 3- O Tourdion Oitenta tempos no total, trinta e dois para o comeo, dezesseis para o retorno e trinta e dois para a concluso, normalmente em tempo de 3/4. Das cinco etapas, o componentes mais bsicos eram single steps e double steps, estes eram walking steps para frente e para trs. - O single step (pas simple) consistia de um passo e transferncia de peso; - O double (pas double) era composto de trs passos e cada passo era marcado por uma ligeira subida e descida do corpo. - O branle (bransle) era um passo lateral, executado com um ligeiro balanar do corpo. - A reprise (ou dmarche), era um passo regredindo, com alternncia de peso para frente e para trs. - E rvrence (Cong) era a formal reverncia. As Basse Dances eram seguidas por uma Branle (finne par branle) ou uma Saltarello. No meado do sculo dezesseis, as basse dances perderam seus atrativos para outras danas mais vvidas da poca, como as Hautes dances. As Hautes dances eram mais alegres e espirituais e tinham numerosas figures coreogrficas nas quais se danava. Uma Hautes dance chamada "Gaillarde" era uma vvida dana de saltinhos. A Rainha Elizabeth (1558-1603) adorava danar Gaillarde. Com o passar do tempo, as Basse Dances e a Galliarde se misturaram tanto que hoje em dia so quase iguais. As Basse Dances ou Court Dances, foram se transformando ao longo do tempo at o presente, nas "Society Dances".

Dizem que o Minuet descendente das Basse dance. Pelos anos de 1650, a Basse Dance desaparece da Itlia e Frana, sendo gradualmente substitudas pela Pavane.

A Dana espanhola

A histria da dana espanhola e de sua documentao, remonta ao perodo helenstico (550 aC), com provvel origem na cidade de Andalucia. Quando Roma cronstruia seu imprio europeu, as "dancing girls from Cdiz" (Gadez, Spain) j eram reconhecidas como autoridades. - Spanish dance ou Sarabande (palavra rabe que significa rudo) eram de origem espanhola. Seu nome herana da espanhola Zarabanda. A Sarabande era uma dana mourisca (Moorish), do perodo em que os mouros invadiram a espanha. Sob o reinado de Ferdinand (1452-1516) e Isabella (1451-1504) nasceu o Drama Espanhol que inclua dana e teatro. Como coreografia, encontrou seu caminho para a igreja incluindo a Pavane, Sarabande, e Pasacalle assim como outras danas de corte deste perodo. Hoje em dia, a espanhola Sevillida reconhecida como Dana Espanhola Nacional, com origem na Seguidilla Manchegras. Originalmente era danada com sinos e castanholas, maneirismos selvagens e somente pelas mulheres.

Os franceses suavizaram-na e a transpuseram para solos masculino ou feminino, com trs estilos distintos: sulista, nortista e flamenco. A Espanha possui 47 provincias, possuidoras de estilos prprios de dana e dentre estas, destacam-se: 1 - Basque Dances (thirty) 2 - Bolero - 1700s (par ou pares de dana folclrica couple or couples folk dance, could be done like Quadrille, 5 patterns [passo, final]), performed to a Sequidilla (dance or Song.) Bolero viejo ou parado: A style derived from the Seguidilla. The Valldemosa bolero (Majorca, Spain) is the most popular in the Balearic Islands. The name Parado (stopped) comes from the abrupt end of the dance. 3 - Cachucha (Spanish solo dance, better done by a lady than a male which is danced to the Andalusan national Anthem. Fanny Elssler made this dance popular at the time. The word Cachucha means a term of endearment or a kind of cap. Castanets are also used in this dance.) 4 - Cascaron (Mexican) - (Egg dance, filled with cologne, powder etc.) 5 - Chacona - exotic - (Guatemala) about 1560s 6 - Dansas hablados - (Pantomimic chants) 7 - Danse aux petits grelots - (Bell/Ring dance) 8 - Danse de espadas - (Sword type dance, clothed in white). 9 - Danza Prima (from Asturias) 10 - El Zapateado - (3/8, same as Guaracha, steps are struck, making noise. Similar to Anglaise & Sabottiere'...aka Heel Taps). 11 - El Zorango - (named after a head dress or hair ribbon.) which in Spain is composed of ribbons, mingled with the hair. Its steps are simple, following a very sprightly movement, and are practiced backwards and forwards; while sometimes the hands are clapped to the time. 12 - Folia - (north of the Pyrenees around 1565)

13 - Fandango - (basically a Chica Dance, usually a solo male or preferably female dance.) Also Malaguena 14 - Flamenco (originated with the Gypsies of southern Spain, some say India.) 15 - Jaleo de Jerez - (a passionate female only impromptu dance.) 16 - Jota - National dance of Aragon. Also a Valencia version. (Quick Spanish dance in 3/8 time). 17 - Guaracha - (3/8, one person dance, accompanied by guitar, Movement grows progressively quicker.) 18 - Gittana - A Spanish Dance 19 - Malaguena - (school dance from Valencia.) 20 - Milote (Mexican) - Danced in May, animated mask type dance. 21 - Minuet Afandangado - (Minuet & Fandango mix.) 22 - Minuet Allmandado - (Minuet & Allemande mix.) 23 - Morris Dances 24 - Pasacalle (around 1560s) 25 - Pie De Jibao - (Spanish couples Court dance of 1560, maybe from Jibado [hunchback]) 26 - Sarabande - 1100s - (3/4) - (Main Spanish dance - erotic, gliding steps - Around 1560s.) 27 - Sardana - (from Cataluna) 28 - Seguidilla - (Spanish dance having many varieties in all provinces and country Hispanic. a.k.a.: Paso de Vasco, Sevillana) from Castile. 29 - Seguidillas Boleras - (Paseo, Estribillo). When singing to a Bolero dancing to a guitar. 30 - Seguidillas Taleadas - (part Bolero part Cachucha.) 31 - Seguidillas Manchegras - Moriscan - (Spawned the Sevillanas) from La Moncha 32 - Sevillana - Spanish dance with many varieties, known as Coplas, closely related to the Seguidilla (the Seguidilla is often called... the Sevillana in Andalusia.) 33 - Tango (originally from Andalucia, later modified in Buenos Aires.)

34 - Zambra is a Spanish Flamenco dance with direct Moorish origin, done entirely by women. 35 - Zapateado, El - (form of Flamenco,) This is the same sort of movement as the Guaracha, and is in the time of 3/8. There is in this dance a considerable noise made by the feet. Its steps are struck, as it were, similar to the Anglaise and the Sabottire. 36 - Zarandeo - a Lascivious movement of the hips, dancing in ecstasy, sexual power. The Agitanado is heel work used in non-flamenco type Spanish dances, while Taconeo is Gypsy. The Castanets is Spanish but not Flamenco. Good Castanets are tuned to the left being 1/3 higher in tone than the right. In the Ballet "El Amour Brujo," one of the routines called " Fritual Fire Dance ", is a favorite, among Spanish Dancers. The Cachucha , danced either by a man or a woman alone, though better suited to the latter, is admirably calculated to accompany the medley of music peculiar to this dance; which is sometimes sprightly, and sometimes impassioned. It seems expressly designed to display the elegance's of ones posture and attitude. The Danzas There were many and varied danzas. Most Danza's were executed only by the men: 1-Danzas de espadas: in which the dancers clothed in white cloth and armed with a sword, flutter to the sound of instruments. 2-Danses aux petits grelots: rings adorned with little round bells, which the dancers carry on hamstrings. 3-Shoe Danzas: The dancers mark the measure by striking their shoes with their hand. 4-Danzas habladas: Expressive dances, kind of pantomimes intermingled with dances and recited chants. 5-The Folies d'Espagne: Was almost universally practiced by the Spaniards. It was first sung, then played on instruments, and finally danced. Any kind of step was adapted to it, every one forming for himself a measure, according to his own peculiar taste and style.

6-The Guaracha: The music of which is in 3/8 time, is danced by one person, accompanied by the guitar. Its movement, which should grow progressively quick, renders it rather difficult. It is now but seldom danced, and never except at the Theaters.

7-The Menuet Afandangado: Is partly composed of the Minuet and Fandango. 8-The Menuet Allmandado: is intermixed with steps from the Minuet and Allemande. 9-TheSarabande - is said to be originally from Asia, then Spain. It is sometimes spelt Zarabanda or Sarabanda, a graceful dance traced to the twelfth century, which, according to Padre Mariana, received its name at Seville from a devil in a woman's form. These dances gave great scandal, and in 1621 they were modified. The name Zarabanda means noise, and is of Arabic-Moorish origin. It may well have been a survival of the licentious Greek Cordax. It is danced to alternating 3/4 and 3/8 time, using castanets and tambourines. Among other theatrical dances of the sixteenth and seventeenth centuries were the Chaconne and the Escarraman; these, together with the Zorongo, are similar to the Zarabanda, which Miguel de Cervantes (1547-1616) denouncement of the dance spread throughout Europe and would be suppressed at the end of the reign of Philip II (15561598.) The Gallarda, a merry dance with five steps -hence Cinque-Pas- and the Pasacalle, were of the same type. 10-The S'a llarga y S'a curta: These are the two most typical dances from the island of Ibiza, Spain. Depending on the beat of the music "S a llarga" stands for long and "S a Curta" for short. The woman dances slowly, barely moving while the man dances vigorously trying to prove his manhood and strength. The S'escandalari is another dance from Ibiza and is a peasant dance celebrating planting and harvesting. 11-The Seguidillas Boleras is a name which was given when the Boleros were sung, and accompanied by a guitar.

The great difficulty of this dance consists in resuming the part called the Paseo, which is immediately after the first part of the tune in the prelude of the accompaniment, which precedes the Estribillo. The Estribillo is that part of the couplet, not indeed where the moral is found, but which contains the epigrammatic point or turn.

12- The Seguidillas Manchegras which are danced by four, six, eight, or nine persons, are far more rapid in their movements, beginning without the Paseo. The traversias of it is shorter, and its bien parado is without gesture. This dance is very sprightly in its motions, and a great favorite with the lower orders, who give themselves up to it with a peculiar zest. It is of Moriscan origin. 13- The Seguidillas Taleadas is a species of the Bolero, mingled with some measures of the Cachucha. 14- The Tripili Trapola is nearly similar to the Zorongo, excepting that it finishes with three demi-tours or half turns. 15- The Zorongo has given name to a headdress for women, which in Spain is composed of ribbons mingled with the hair. Its steps are simple, following a very sprightly movement, and are practiced backward and forward; while sometimes the hands are clapped to the time. 16- The Zapateado is the same sort of movement as the Guaracha , and is in the time of 3/8. There is in this dance a considerable noise made by the feet. Its steps are struck, as it were, similar to the Anglaise and the Sabottire. 17- Portuguese Dance - Portugal is closely allied to Spain by its geographical position and by the common origin of the race, so expect in some respects to find the two countries resembling each other in their dances. But as North Spain differs from South Spain, so does Portugal differ from her sister country; and, moreover, Portugal was not one province, but a group of provinces, each one of which has to some extent dances and dance-music peculiar to itself (like the FofaorFado dance). In this southwestern corner of Europe we find many remains of old Moorish civilization, and the traces of Saracen culture are greater in Portugal than even in

Southern Spain; it is stated that the Saracens taught the Portuguese Cymons "all the sweet civilities of life," and among these the dance were prominent. These dances were said not to be specially graceful; they were slow in movement, and similar to Oriental dances, similar to the East because they consisted mostly of movements of the body and arms, and because they had no steps worth mentioning. They were simple and expressive, and were often performed as a rest after labor; the threshing-floor was generally the scene of the dance, and its season is mostly that of harvest or vintage. The dances are generally innocent and decorous; they resembled Quadrilles, with hops and skips, but without much spirit, and the faces of the performers maintained a solemn gravity. Castanets were seldom used in Portugal, and the dance is accompanied by the guitar, or by songs, the theme of which is usually the bright-eyed maids or the brave sons of Lusitania. The name of the principal dance of a Romaria is the Fofa. Portugal is famous for its Ballets ambulatories, which are religious processions with dances, in imitation of the Tuscan pomp, and such as we meet with all over Italy. The canonization of Cardinal C. Borrome (c.1700s) was celebrated by a ballet of this kind. There is also a well-known dance called the Fado. Portugal really consists of two distinct parts : the north is Celtic in character, while the south is Arab. In contemporary Spain the word Danza implies a dance performance at public festivals, and ordinary dances are called Bailes.

The Volta
The Volta (Vuel-ta) is known as a "Renaissance dance" (a period in time) which came from Italy (some say Provence, France) as a peasant dance in the early 16th century and later into Switzerland, then to France (Volte ) and ending in Germany . The name Volta means "turning." It is said that the Italian Volta was first introduced by the "Count of Sault" to the Paris court in 1556. Later, around 1581,Catherine De Medici (1518-1589) introduced the Volta to the French court of Versailles .

The Volta is said to be the first of the Waltzes or the forerunner of the Waltz when combined with other round dances. The Girls of Provence danced the Volta in the Great feast of Bayonne in 1565. The Tordion (Galliarde ) was used for a few measures to start the Volta. During the Volta, the man faces his partner instead of standing alongside or opposite each other (which was very scandalous), and held her very close. The leader turns his partner around several times and then helps her take a high Saute Majer (Leap) into the air (with the skirts shamelessly flying high), as well as he, at times leaping with her (or just after her.) The Volta was usually taken with two single steps and a double step with a hop on the 5th. (5 counts) and was done in 3/4 time. The name "Volta" means turning or to turn. With the right foot raised high in the air, the dancers hopped on the left and turned at a ninety degree angle, then took a long stride, and another quarter turn then sprang high in the air again making another quarter turn, each pattern consisted of three quarter turns and a leap. This dance was claimed shameful and indecent and the entire dance being filthy. It was reported that "the Volta brought forth many murders and miscarriages" (not true) and "should be heavily looked into by local police. Madame de Valentinois, in the time of Francis the First, was very fond of this dance, and while dancing it sang the psalms translated by Clement Marot .

Galliarde
The Galliard or Galliarde (French) was originally known as 'Cinq-Pas' (five steps describes the basic steps) in France as well as the Gagliarde or gagliarda in Italy. The earliest writings of the gagliarda were in 1480 by Bojardo (1441-1494) in Lombardy (N. Italy) which was probably the original name. The Galliard's name was changed to the "Romanesca" which was supposedly created by dance master R. Omanesca in 1588, in the Roman Campagna, it became part of the lively Hautes dances. The Galliard or Romanesque dance (romantic) was popular from the 1500's to 1650. The Galliard was very similar to the Saltarelli (Saltarello), and is very similar to the Tordion.

The Galliard is a sprightly dance done in triple time, which has been referred to as "the dance with uncontrollable zest" as well as a courting dance, (competitive teasing). The Galliard is a pantomimic dance and was said to replace the Saltarello in popularity around 1546. People watching the dance would egg the dancers on calling out to the dancers to try to make them perform or tease harder (like a modern jam.) At one time it only had five steps and was mainly composed of leg thrusts and leaps (done on the fifth eight count, was also done in 3/4 meter-arbeau). The Galliard was danced forward, backward, sideways, and diagonally. It was also the only dance to be done "Bare headed", or with the hat in hand. (The dance has been described as a type of "Cockfight") The Hautes dances were much livelier and spirited than the Basse dances and eventually had numerous figures in which to dance. The "Gaillarde" was a lively skipping dance and as time went on the Basse Dance and the Galliard merged, which today, they are almost one in the same. The Galliard was an 'after dance' (means happening after another) and was done in 3/4 or (6/8) time and in Spain-duple time. The Tordion was a lively and smoother 16th century court dance and was done in Black Face Minstrel shows which was derived from the livelier Galliard. The Minuet and Galliard followed the Pavane in dance order. (It used the Pavane as its introductory dance). The Galliard was also known as the: Cinq-Pas - (France), Gagliarda - (Italy), Gagliarde - (Rome), Gaillard - (England), [Means: "Strapping Man"] Queen Elizabeth was a big fan of the Galliard. Gallarda - (Spain), Gaillarde - (French) [Means: "Strapping Woman"] Romanesque - (French) [means: 'Romantic"] Roamine - (Italy?)

The Gavotte

The oldest description of the gavotte is in Arbeau's Book, "Orchesgraphie" written in 1588. The gavotte was originated by the French, after the Gavot (Peasants) in the "Pays de Gap" (Gapencais district), region of the Dauphine (1403-1461) or the Alps, French Province. King Louis XIII (1601-1643) of France was said to have created the music for the traditional gavotte which reached the highest mark during the Renaissance. The gavotte became known as "La danse Classique." It became popular in the 17th Century and was danced with as much enthusiasm as the Minuet. The dance was a very spacious dance and had an interesting benefit. After the group danced for a while, the lead couple would dance in the middle of the room, when the male lead would end the passage, he would kiss his partner (Kewl!) then he would kiss all the rest of the ladies in the room, the lady follower would do the same. (I can see why this dance became so popular!) Dance Master Vestris created many of the rules for this dance. The dance was performed to a medium to fast tempo music (4/4); however it was slower than the Bouree. The gavotte remained popular till the French Revolution (18th. century.) Marie Antoinette (1755-1793) was a great admirer of this dance.

Usually the Minuet would follow a Gavotte. Step descriptions are the same as those of the ballet. In 1910 the Dance Masters of America held conference and decided to honor President Rosevelt with a new dance called the Rosevelt Gavotte, however after much debate they decided to call it the Credo Waltz, which was a gliding, Stately Waltz. Prof. Oskar Duenweg of Terra Haute created the dance. A farmer, Rocco, is plagued by bad luck and so his superstitious brother sends to him Bettina, a country girl, as a mascotte who he hopes will cure this ill fortune. The farmer's shepherd, Pippo, falls for the virgin Bettina, who is later encouraged by Prince Laurent to live at his nearby castle. Bettina thus was sent to the court of the Grand Duke of Laurent and became a countess. When Bettina became a countess, Pippo was forbidden to see her and Bettina became very sad in heart. To try to lift her spirts, a troop of Italian dancers, whose leader was named Salterello (aka Pippo), would try to supposititiously amuse her. Pippo helps Bettina escape from the castle when it seems she is about to be married to the Prince. The lonely Prince now receives a bout of bad luck when war breaks out and he is rejected by his subjects. Pippo marries Bettina in the hope that her powers (imaginary?) will be hereditarily bestowed on their children. The prince became reconciled with the promise that he should be allowed to adopt her first child. Therefore a Saltarello is an assumed covert to bring about a forbidden marriage and hoodwink those who forbade it. La Mascotte (1880), by Edmond Audran (1840-1901) goes something like this:

The Saltarello

The Saltarello or Salterelle was a lively Italian fast, leaping Court Dance which was originally a form of the Galliarde and in Spain was originally called the Alta Danza (or High Dance because of the leap) which used a skipping step at the beginning of each measure. The name came from the Italian word Saltare (To Leap). The French called it the Pas de Brabant (or breban). The Saltarello was a popular court dance of the middle ages. The Saltarelle is so named from the very quick, high steps which are peculiar to it. In Italy it was danced by Courtesans dressed as men in Masquerades. In Rome, the dance was very popular and was danced as a couples dance. Women held there apron and danced opposite the man, with manly gardeners and vintners enjoying the dance. This dance was very popular in Rome and Venice. It consisted of two steps, a reprise with a beat in between with an occasional little leap (later, allowed only to the good dancers) and occasionally insert three little changing steps (shuffle). The first time-stroke of each measure is strongly marked, although commencing with a brve. The Saltarelle represents the eternal drama of love, the wooing, the resistance, the triumph; the entire is accompanied by gestures, by the mandolin, the guitar, or the tambourine, in the light measure of the Tarentelle.

At the beginning a single couple performs the Saltarelle, but very soon the entire audience is carried away by the enthusiasm of the music and the pleasure of the dance. The Saltarello is also known as the Alta Danza (Spain), Passo Brabante (Italy), and pas de Brabant or breban (France) and Quadernaria (German). The Italians called the Quadernaria, the Saltarello Tedesco, which fused together by the 16th century. The Italian balli mostly started with a salterello or piva section in multiples of four. Around 1546 the Galliarde replaced the Saltarello in popularity. The Saltarello originally followed the Galliarde in dance order and later changed to follow the Basse Danse. The Tarentella and Sicilian were very close in design. It was done in 3/4 time and later in 3/8 & 6/8.

The Minuet

Seventeenth century brought one of the most celebrated dances in our history... the Minuet (aka Menuet). The minuet was originally derived from the Branle of Poitou, France and was to capture every King and Queen and their court for over 150 years. The Minuet was the successor to the Courante. The name Minuet comes from the small steps (menu=small) that are taken during the dance. Most dances of the time had exaggerated steps and movements, the Minuet had very small steps and the movement was more on the graceful side.

When the pupil knew the steps of the Courante well, when he could turn his feet properly and control his movements, he was initiated into the mysteries of the graceful and ceremonious Minuet, which said "took three months to learn," and of which there were endless varieties. In its originality the minuet was a lively, spirited dance, (done in moderate triple rhythm) done around the room in the shape of an S, Later refined to a Z, and even later enlarged and followed up by the Gavotte until it was presented to Paris in 1650. After, it developed into a slow and stately dance, very, very elegant and enjoyed a simplicity that most other dances did not share and became the known as the "Walking Dance". Kissing was a big enjoyment of the dance as dancers were encouraged to kiss, which made the Minuet somewhat seductive (For that period of time). During the time of then King Louis XIV (1638-1715), State balls became very elegant affairs with the Minuet being termed the "Queen of dances". The "Menuet de la cour" was first danced by Louis XIV, at Poitou France, in 1653. In 1662 Louis founded the: Royal Academy of Dancing, with dance master "Pierre Beauchamp" (1635-1705) in charge, Beauchamp did very little to excel this dance and it took a dancer by the name of Louis Pcourt (1655-1729) to make it the first dance of court in France, from there on it was the Big Cheese! The Minuet was more of an attitude and mixer than a real dance, but a dance it was. Proper dress and courtesy was highly encouraged. After a while the dance became so dull, it was seen as merely a way to show off your courtesy and etiquette skills. Women as well as men would eagerly ask the other for dances. Men would dance with swords attached to the waist and danced in their awkward boots. Brawls and duels were frequent and the heavy clanking of armor on the dance floor was annoying. Women would sometimes wear riding habits, but the "Master of Ceremonies" Beau Nash (1674-1761) at Bath (an English Resort) would change all this and add what is known as the "Code of Etiquette at Bath" (rules for conduct). Included in these codes would be the banishment of all swords, along with the banishment of the exuberant country dances, while the French dances would become the only known dances in these "Polite Society's" programs. These rules were the start of proper dance etiquette we still use somewhat today.

The music is in a 3/4 Waltz-March time signature, and the tempo rather slow (56 m.m.). It was customary to make four step movements coincide with six syllables (beats) and for teaching six syllables. The music is very "Majestic" in manner. The dance terms for the dance are the same as what is used in ballet (Jete', Pas, en avant etc). The Minuet is an "Open position Couples" dance. Originally there were only four Minuets, 1) The Queen's Minuet or Le Minuet de la Reine 2) Le Minuet de Dauphin 3) Le Minuet d'Exaudet 4) Le Minuet de la Cour - (still popular today in certain circles). In some of the old examples of the Galician Sarao dance, a king or queen was selected from among the dancers; this dignitary opened the ball and led the figures. Afterwards a Bastonero, (literally a staff-bearer) was the master of the ceremonies, who was appointed to regulate the ball, choose the couples, and so on. Every Sarao opened and closed with a minuet. The Sarao is a Carnival game/dance, dating from the sixteenth century and is a lengthy dance, resembling the Cotillion in so far as it includes a number of figures, and may last a whole evening. It was given after a banquet, generally to amuse the Court. The Minuet has been spelled differently at different times as well as different parts of the world, this happened with most dances of the time. The English called it -- The Minuet; The Italians--il Minuetto; and the Germans--die Menuett. The Quadrille usually followed the Minuet. George Washington's (1732-1799) favorite dance was the Minuet, Washington would dance with Betsy Hamilton (wife of the secretary of treasury) who was said to be his favorite dance partner.

Tarantella

Originally, the Tarantella (Pronounced As: trntel) was a legitimate Italian folk dance of lower to middle classes. The Tarantella has gone by many odd spellings such as Tarentule, Tarantel, Tarantella, and Tarentella. The name essentially means in English "Tarantula Spider (pronounced tranchl.") In Buzabatt, (near Kashan, Persia), it was reported that a Tarantella dance existed just as in Sicily. If the spider specified as "Stellis" had poisoned anyone, they were advised to dance to the sound of music. It was considered severely unlucky to dance the Tarantella alone, so it was danced as a couple or by two females (Goethe says three,) which was probably due to the boredom of dancing alone. Love and pleasure are apparent throughout this dance. Each motion, each gesture, is made with the most voluptuous gracefulness. Animated by the accompanying mandolins, tambourines and castanets, the woman tries, by her rapidity and liveliness, to excite the love of her partner, who, in his turn, endeavors to charm her with his agility, elegance, and demonstrations of tenderness. The two dancers would unite, separate, return, fly into each other's arms, again bound away, and in their unlike gestures alternately express love, coquetry and inconstancy. How long has it been around, I don't really know, but the earliest writings I can find mention the St. Vitus dance in 1374 and nothing until Jean Coaralli, who in 1839 produced the ballet called "La Tarentule."Madame Michau (c.1840s) introduced the dance to the dancing public in 1844 (this version was often used in ballets.)

However, it was said that: "to dance the Tarantella in ballroom circles, as they danced it at Naples would be impossible" and going on to say. Therefore, when Madame Michau introduced it in London in 1844, she made a selection of only about eight steps or figures, that had great mastery among the higher classes there." There are three sources for the origination of this dance. 1- One is the bite of the Tarantula, Arania or Apulian Spider ( Lycosa Tarantula) or Wolf Spider (Tarantula being most popular.) The dance was used apparently to cure the bite of the spider (a cure if you will.) The bite of the spider was presumed to make one hallucinate. The town's folk will play music while the afflicted person would dance nonstop, to ward off the spider's venom. 2- Others say when bitten, the Tarantula spiders venom, would make the person uncontrollably move about as if dancing. In 1374 (other reports say 1021), an "Outbreak of Dancing in the Middle Ages " referred to as the St. Vitus Dance that went unexplained until the realization that these dancers had been bitten by the Tarantula spider. (1374 - Aachen, Germany-dancing madness, lasting hours, believed due to the bite of the Tarantula Spider, also considered to be first dance marathon in history.) 3) The Third story is of the town's named Toranto and Tarentum, its supposed origin. Women working in the fields, who would be bit by the Tarantula spider, would dance off the venom. It is said that having been found that profuse perspiration, which seemed to force the poison out through the pores of the body, was the only remedy for the bite of this venomous spider, and as exercise was their chief means of inducing perspiration. (Many believed back then that the this Spider's bite to be deadly, and during those times, there was no anti venom available.) St. Vitus Dance... The Religious story says (Nuremberg Chronicles-1493); "young people of Saxony were dancing in the churchyard of St. Magnus. There were fifteen youths and four maidens and they danced so much and sang so loudly that they disturbed the priest, who was saying mass. He left the chapel and came out to them, asking them to desist; but, heedless of his injunction, they continued their sport.

The priest then prayed to God and to St. Magnus to make them dance for a whole year as a punishment. The writer says that a girl's arm came off in the hand of her partner, but she danced on; that they felt neither rain, nor cold, nor heat, nor hunger, thirst, or fatigue; their shoes and their clothes wore out, but they danced on. They trod down the ground to such an extent that they made a deep hole in it, but they danced on; and only at the end of a year did their release come. The rage became endemic, and in 1374, the number of sufferers from the St. Vitus dance became enormous. In France, it was called "Danse de St. Guy," and in Germany, it took the name of "Veith ". In Lorraine, it was called "La Danse de St. Jean" as well as being named others such as Choromania, Tanplage and Dance of St. Modesti. Tarantismus... The new American Encyclopedia (1870) gives the most reasonable version, which in conformity to truth. Quote: "It (the disease) was long supposed to be caused by the bite of a large spider called the "Arania Tarantula." Nevertheless, just as scarcely, any of those afflicted with it, had any consciousness of having been bitten by a spider or any other insect. As it had been in every instance propagated mainly by physical contagion, like Chorea, Demonomania, and other kindred affections. There was every reason to believe its origin from a similar cause. Whatever its origin however, all authors agree that music and dancing was the established and almost universal in remedy. Carlo Blasis writes in the 1860s: "Claritio and Serrao, two Neapolitan physicians, have proved by various experiments all that has been said with regard to the bite of the Tarantella spider, is false. The terrible accounts given of it arise from ignorance and prejudice, and are propagated by quackery. Experimenting discovered that music was the only incentive sufficient to stimulate the unhappy sufferers to action.

The music employed on these occasions was of the liveliest and electrifying character of the violin, guitar, or dulcimer, (the castagnette is mentioned) and had the effect to cause them to dance and leap about until the profusion of perspiration drained the poison from their system. The Furlana or Fourlane of Venice was very similar to the Tarantella, except it is executed "more ragged and irregular" and was much in vogue among the gondoliers. It is very lively, and its music is 6/8 time, played in a molto-allegretto style. It is called Fourlane because of its having been first danced in the Frioul. This dance is very similar to the Tarantella, but not quite so diversified. The Saltarello, which was danced very much in Rome and Venice, and which is not unlike the Tarantella." Goethe describes the dance as follows (paraphrased): "Three girls, one with a tambourine (with bells on it) and castanets are used by the other two. The two girls with the castanets execute the steps. The girls steps are not distinctive or even graceful, basically they step in time and spin around in place using the castanets, when one tires, she trades places with the tambourine Girl" (They do this for fun for hours, 20-40 hours at times.) Sachs describes the couples' version as follows (paraphrased): "The dancer kneels in adoration of his female partner. As she dances for him, he, as though sated, speedily forsakes her again; how with a thousand turns and tricks he now holds aloof and now rushes upon her. His gambols and capers are grotesque (sloppy) and yet charming, light and tender. His bearing is yet proud and resolute, now querulous and elaborate. Legs and arms, even the fingers, strumming the tambourine (hers), and above all the "glance", ardent, languishing, suddenly bold and shameless, reinforce the expression of the posture. The girl comes out of her corner, now wayward, now willing. Her smile is eloquent, her eyes are drunken. She swings her skirt; she picks up the corner as if to gather things in it; or she raises the arm so that the hand hangs down loosely over her head as though from a hook, while the other hand presses against her heart.

Now she is the axis in which the male rotates."

The Tordion (aka: Tourdion

The Tordion (aka: Tourdion) is a lively 16th century court dance that was performed by the French and was an after dance to the Basse danse. The Tordion was merely a variation of the Galliard using the same steps and 6/8 rhythm and later it was used in Black-Face Minstrel shows. The foot that rises is done slightly and the dance was glided, with the leap being only moderate. The Tourdion consists of some five steps (cinq pas), and was danced to a psalm tune at the Court of Charles IX (1550-1611), it occupied eighty bars of the music and is a danse parterre. The Basse dance had a restraining influence on the Tordion and was less cheerful than the Galliard. There was no turning movement in the dance as the name suggests. However, the Tourdion is the same as the Gaillarde, only that the latter is danced with jumping steps, while theTourdion is glided. These dances have five steps, hence also called cinque-pas . In the Tourdion the lady was always led by the hand, while in the Gaillarde everyone danced alone. Both dances had the curious and complicated old French steps. The Tourdion was occasionally a grotesque dance, in which a man appeared, often in the midst of a banquet, with blackened face, yellow scarf on his head, and bells on his legs, going through clownish antics. The Tordion was used for a few measures to start the Volta. In Italy it was very similar to the Saltarelli (Saltarello ) and by the 17th century the Sarabande and the Tordion (tirdion) was danced together as a Spanish Court Comedy dance around 1618. The Portugese called the Tordion the Esturdia. The Tordion usually followed the Branle dance.

The Sarabanade

The Sarabanda, made historic by its performance by French Cardinal Richelieu (15851642) to please "Queen of France ", Anne of Austria" (1601-1666,) in 1635 and mother to Louis XIV. The Sarabande (meaning noise) was of Moorish origin and came from Spain in the 12th Century, but did not originate in that country (some say Arabia). The Spanish name La Zarabandasounds much like the Persian "Sar-Band" (headdress wreath), but is not linked to this. The Sarabande was named after the native Zarabanda (a beaked flute instrument) of Guatemalain 1583 and was introduced into Portugal in 1586 and finally France in 1750. It was said that it got its start by a beautiful Spanish girl who danced it while singing a tune of a very grave character, and accompanying herself only by the sound of the castanets. The music has been said to have either delighted or annoyed people which shows with Philippe II of Spain prohibiting the dance in 1583 due to it's demonic sound. Before 1650 the music was some what faster than the later slower more noble and stately French versions due to Louis XIV weight and size. By 1750 the dance had lost its popularity but resurfaced again around the 20th century. The dance was a group dance mainly done by women and was considered wild in manner and a highly sexual pantomime in nature, with undulations of the body, massive hip movements, flirtations, indecent song lyrics and women using castanets. When it was introduced to France, the dance included men who would dance it as well plus they would occasionally use the tambourine, which was considered effeminate in those days. People who even sang it were arrested, lashed, and exiled in its younger days.

Originally it was only done by women, later in France it was done as a solo dance by men or women. The Chacona, Sarabanda, Jacara, Rastro and the Tarraga, are fundamentally all the same as the Sarabande. The Sarabande and the Tordion (tirdion) were danced together as a Spanish Court Comedy Dance, around 1618. It seems that the Sarabande was last danced at Duke of Burgandy's Wedding Ball in 1697 in Versailles, as a social or society dance, however it continued on in theater and ballet. The Sarabande gained great favor with Louis XIV. The steps have not been documented to well over time and the only ones that are go like this ( time): The chief step consisted of a quick shift from toe-out to toe-in while the rest were slow glides. The Dance starts with a coupe', Chasse's and follows with a pas, tombes, sison and boure. The remaining part of the Sarabande was up to the dancer to interpret as they saw fit (the time signature varied as well.) The dance was considered a highly sensual, wild and exotic dance (but not as much as it's sister dance the Chacona) in nature. Among other theatrical dances of the sixteenth and seventeenth centuries were the Chaconne and the Escarraman. These, together with the Zorongo, are similar to the Zarabanda, which Cervantes' praise spread throughout Europe. The Gallarda, a merry dance with five steps -hence cinque-pas - and the Pasacalle, were of the same type. The original dance could not be dropped all together, it was turned into the Tonadillas, and deprived of the objectionable features which worked more harm. Note: the Saraband, it was said to have received its name atSeville from a fiend in the form of a woman.

The Chacona (a.k.a. Passacaglia )

The Chacona (a.k.a. Passacaglia ), is considered a Spanish Folk dance but originally came from Italy, created by F. Alfonso Ciacone (1540-1599), a blind Italian composer from about 1560. From there, it went on to Guatemala, Mexico via Simon Agudo, which was then introduced to the public in Tampico, Mexico in 1599 at the wedding for the King of Spain Phillip III (1578-1621). A few years later it became very popular in Barcelona, Spain and by 1618 it arrived by mail from the West Indies to Seville. In the nineteenth century it was still being danced in Corpus Christi and Friela as the "uma dansa mourisca," which they called the Chacona. France improved on it, boasting of an air with variations like the Chacone, and it was often given as the finale to a ball. A courtly dance, in slow triple measure (3/4), the bars continually repeating themselves. When society was tired of it, it found a place upon the stage, being often introduced in the ballet. The music of the sixteenth century owed much to dancing, and, vice versa, the rhythmic movement of the dance inspired many fine compositions. Miguel de Cervantes despised it, declaring in "Don Quixote" that it was a mulatto dance for negroes and negresses, imported from the time of Philip II, but at the French Court, both in the days of Louis XIII, and XIV, it was a ceremonial dance. Marie de Medicis, in 1600, was responsible for much of its success when she married Henry IV, and the music caused variations in the steps according to its rhythm.

The Chacona, Chaconne and Ciacone are basically the same word. Originally the Chaconne or Passacaille basic step was composed of only three movements, however there were many more. 1- A Bound on first beat, Clockwise 1/2 turn to right, leg extended. 2- A Hop on second beat, another 1/2 turn. 3- A Bound or Balone, These steps were most usually started from third Position. The steps to the Chacona by the 19th Century, introduced a four beat step known as the "pas de Chacone". The dance was considered a highly sensual, wild and exotic dance (even more so than its sister dance the Sarabanda ) in nature, with undulations of the body, massive hip movements, flirtations, and at the time "indecent song lyrics" with women using castanets and men using tambourines (sounds gypsy). Costume gowns consisted of white overdresses with revers and gold trimming on neck, sleeves, and puffs, gold girdles about the hips. The Chaconne (1600's) that French was said to be invented by Jean Baptiste Lully (1632-1687) and again may have come from Italy or Spain. If from Italy, the Chaconne probably came from the Ciaccono dance. The dance is in slow triple time, 3/4, in which two or three people can participate, of a stately character, light and graceful. The time is strongly marked and it can be danced to Purcell's music (1658-1695). From the "Fairy Queen" it has six variations. Bach and Handel and other famous composers have written well-known Chacones. The Danse de Seis in the Seville Cathedral, was said to be a form of the Chaconne. The Chacona 3/4 (1560), Chaconne, Passacaille ,Sarabanda, Jacara, Rastro, and Tarraga dances, are reported as fundamentally all the same. A musical form and dance called the Passacaglia, is closely related to the Chacona (This music suppressed by Jewish composers during the period of 1938-1945 in Germany).

The Branle (Brahn-le)

The Branle is a French Renaissance dance that was well documented in the Festival of Nance in 1445. However, it was called the Conje (End) and was also performed on the Field of the Cloth of Gold in 1520 and was a very gay and quick dance (generally danced outdoors) by a group, either in line or circle. It was considered a Court Dance and sometimes being referred to as a carole. The name comes from Branler (Shake) and Brander (Brandish). The English called the Branle "the Brawl" and described it as "a winging step and anterior kick and swing, the lifting of the leg, the twisting of the feet and the side fling of the foot are frills of past dances". The dance was said to be based on the Kick of a Cow ("r de vache"). Every French province had its own Branle; the Bretons called theirs Passepied or 'Trihoris'. The Branle du Haut Barrois was especially reserved for attendants and waiting-maids, but was indulged in by the gentry when they disguised themselves as shepherds and shepherdesses as a pastime. There were also Branles mims, such as the Branle des lavandires, where the movement of washing clothes was imitated by hand gestures, and the Branle des eremites, for which monks attire was donned. The ronde and game 'sur le Pont d'Avignon ' is a survival of this dance, which was given in two files, the performers crossing their hands over the chest, and bowing in cadence. The Branle of the Torch was said to have been danced admirably by Marguerite de Valois and the Duc d'Franois Alenon. Also, the Branle des Brandens was danced on the first Sunday in Lent with a lighted torch in the dancer's hand. Probably this was a remnant of an old superstitious practice of the ancient Gauls. During the month of February, which was the last of the solar year, the ancient inhabitants of France ran about the forests at night with lighted torches and danced a rite which was supposed to be one of purification, and also a ceremony which was meant to bring rest to their departed relatives and friends. This custom was founded in a utilitarian spirit by the Druidic priests, who knew that to run about with lights in the woods would free the trees from caterpillars, which generally emerge from their eggs in Spring.

The Charleston dance is said to have had its roots in the Branle as well as the Bourre d'Auvergne origin in the Branle of the Sabots. The Tourdion, with which the branles concluded, was of livelier rhythm. The Tourdion is the same as the Gaillarde, only that the latter is danced with jumping steps, while the Tourdion is glided. The Branle usually followed the Basse Dance.

Passepied
This Baroque dance called the Passepied (Fr:ps-peyay.; Eng:Paspy) meaning literally to 'pass the feet' which was a form of the Branle, which came to France from Brittany in the early fifteen hundreds and some believe that it can be traced back to an earlier date. It has been said that it originated by the sailors of the Basse-Bretagne. It was basically a Minuet, only much faster and done with a quick step which was sometimes called the 'Fast Minuet'. It was also known by the name of Rigaudon (same as the Rigadoon). It was also described of as a sort of Bransle. This dance was charming. It was divided into eight figures, all of which were very graceful. Madame de Sevigne (1626-1696 mother) and Madame de Grignan (Comtesse Daughter) was greatly admired in dancing it. The historical "Girls of Breton" were very well known for this dance. This beautiful dance was very much in vogue from the 16th to 18th Centuries (Paris late 16th) with its introduction at the French courts of Louis XIV (1638-1715) & Louis XV (1710-1774). It had all but disappeared by the end of the 19th century. Costume was large red bibbed apron, the other with a green check, showing darker skirts below, trimmed with flowered galon; large white lace-edged caps, and white sleevelets and tuckers.

The Rigaudon
The Rigaudon or Rigadon came from Provence, thru song and the tambourine. It was said to be the creation of the Marseilles dance master Rigaud in 1485. Later disapearing during the French Revolution. There was a great interchange of dancing and singing in those old days, and the popular dances were adjusted to song tunes. Starting among the peasantry, it began as a very lively measure; but when dancing was considered a fine art, and the great dancing masters of the day threw themselves into the subject with much enthusiasm, they greatly modified it, and it found its way to Court, where it met with favour at the hands of Louis XIII, and in Italy. In time it came over to England, and in good Queen Anne's reign it was danced with much appreciation. Isaac, a fashionable dancing master, arranged a Rigaudon on the occasion of the Queen's birthday. The step of the Rigaudon is done without either advancing forward or moving backwards or to the side. The best description of it can be thought of as a great non contact traveling dance.

The Torch

The Torch or Torchlight dance was related to the old Sword dances and is considered a German dance but it hails from Scotland and was refined in France, then finally Germany.

It was introduced in 1463 at the Court of Burgandy. Often the tapers carried by the noblemen were many-colored, this was specially usual at weddings. A 'royal dance of torches' was revived and held at Berlin in 1821. Wax torches were used, and the Prince and Princess walked round the room, followed by councilors and ministers, marching according to rank. According to the Portuguese, King Dom Pedro de Alcntara I (1798-1834) of Brazil, mad with sorrow at the loss of his beloved wife Inez de Castro, sleepless with gnawing pains of his bereavement would in the middle of the night, order a troop of soldiers to form a hedge from his palace and hold lighted torches, so that in the moonlight he might dance between them, and thus give bodily expression to the vehemence of his grief. The 'Branle of the Torch' was said to have been danced admirably by Marguerite de Valois (1553-1615) and the 'Alenon', 'Franois' duc d'. Also, the 'Branle des Brandens', was danced on the first Sunday in Lent, with a lighted torch in the dancer's hand. Probably this was a remnant of an old superstitious practice of the ancient Gauls. During the month of February, which was the last of the solar year, the ancient inhabitants of France, ran about the forests at night with lighted torches and danced a rite which was supposed to be one of purification, and also a ceremony which was meant to bring rest to their departed relatives and friends. This custom was founded in a utilitarian spirit by the Druidic priests, who knew that to run about with lights in the woods would free the trees from caterpillars, which generally emerge from their eggs in spring. Many Countires had various torch dances such as a the Samoans who also had Torch and Fire dances as well. When a neighboring village would arrive at a Feast (The poula), the Samoan Dancers would pass the Torch to them. Another Samoan Torch dance was done by Samoan Tatto Artists. The Fckeltanz is music for the German Torch dance done by two rows of ministers at Royal weddings while the bride and groom paraded with the wedding party. Another Torch dance in the Jewish faith is called the 'Simchat Bet Hasho evah' held during the 'Feast of Sukkot', took place in the Court of the Women in ancient times. Another dance from Portugal known as "Fogueiras de S. Joo" was however a type of Fire Dance where as the dancers would jump through fire rather than use torches.

The Cotillion or French dances

The Cotillion or French dances were a French Folk or Square dance done in the early eighteenth century, and is claimed by to have been in vogue before the Quadrilles. The Cotillion was originated in the West Indies in the early 1700s, but was refined in France in the 1750's and thus essentially became a French dance, finally arriving in England in the 1760s (via the French). About 1844, the Cotillion would be known by many as "the German" (der kotillion). Augustus Lumley (London) is reported to have been a major influence in the cotillion and offered many variations and some are still used today. Dodsworth states that: "This (German) dance was introduced in New York about the year 1844. At that time the quadrille was the fashionable dance, but was known as the cotillion. To make a distinction between that and this dance, which was known in Europe by the same name, this was called the "German-Cotillion;" gradually the word cotillion was dropped, the dance becoming simply "The German." The word Cotte was a short petticoat worn by the lower class (peasants) and the dance was so called because the ladies raised their dresses while dancing the lively figures, and thus exposed to view their feet and white petticoats (like the Can-Can). The name is said to have been derived from a song at the time: "Ma Commere, quand je danse, Mon Cotillion va-t-il bien." The Cotillion became popular during the reign of Charles X of France (1757-1836), and was very common in England and Scotland at the end of the prior and the beginning twentieth Century. It was danced by eight persons, and nearly all the figures were lively, and required the entire set to take part at once.

Many different dances would be performed as well as rounds. However, these original cotillions, made fools of men. At some Cotillions of olde it was customary for a lady to hold a lighted candle "Le Cavalier de la Triste-Figure!"(The leader of the said figure,) and when the lady was approached to dance by other than one gentleman, the loser of the two must hold the candle till the lady had finished her dance with whom she accepted. That's where the saying "He's holding a candle for you "came from (see above Pic). Also a man who appeared to possess ordinary faculties, who was not endowed with a light sense of the ridiculous, and who still stood before a lady in a line with five or six other dancers? In one Cotillion charade, the lady would throw aprons, which these men, (who calling themselves reasonable,) picked up, unfolded, and quickly tied over their coats, because he who finishes this operation the most quickly dances with the one who has thrown the aprons, which must be worn during a Waltz. In the Coquette in the 1840's, the lady after dancing is escorted back to her seat, and when a gentleman is presented to her to dance, if she declines, the gentleman must stand behind her chair, and another is presented, if she declines, he as well stands behind her chair, this repeats over and over until she accepts a dance, then the men standing may return to whatever they were doing. If one would see such persons indulge in such childish sport, one asks if their brains have not become suddenly deranged. (These dance charades had to be invented by a women... by today's standards, sounds ridiculous!!!). Some Original Pattern names of the Cotillion are (there were hundreds): Presentation, Rounds Of Three, Serpent, The Trap, The Bridge, Hungarian Change, Double Windmill, The Graces, Star and Circle, Eccentric Columns, Thread The Needle, Gliding Line, The Oracle, Marlbrouk, The Candle, The Fan, The Turning Hat, Le gteau des rois (pretty), Les drapeaux, les bouquets, les rubans, la bergre des Alpes, le parapline, la pche la ligne, les grosses ttes, and l'ecueil. The Dance was introduced to England and became very popular there along with the Contre dances. Cotillions are still danced to this day, but mainly by younger folks whose parents have enrolled them for a Debutante's Ball, Charity dance etc, which teaches young adults social manners, etiquette etc. Today's Cotillion consists of today's ballroom dances (Jive, Fox-trot, Waltz, Mambo etc.) These Cotillion's teach social manners and etiquette to the young though dance, (Thank God, the Humiliation of the boys/men were dropped as well.)

The Cotillions were later replaced by the Quadrilles in popularity. When the Quadrilles started to take over, the Contredanse Francaise, Quadrilles, Lancers, Hornpipes, Gigues, Reels and the Cotillion etc. would all merge to form a new dance style called 'Barn Dancing', in the late 19th Century and in more modern terms be called 'Square dancing'. However, Cotillions still exist today, and more in the original 'Ballroom form' (no jigs, reels hornpipes etc) than the Square dance form of today.by three, and some by four etc. while generally performed by eight dancers in a square (four couples), with figures being done by one or two couples at a time alternating with figures for the entire set (known as "changes".) Later with the introduction of the Quadrille, the number of dancers would grow. The cotillion would also add "dance favors" to the dance, which were basically gifts, prizes etc. (some folks considered this an insult ... as some gifts were intended to embarrass). After the first round of fancing dinner was usually served, after dinner the men would offer bouquets of artificial daisies and violets, cascades of blossoms and ribbons to the ladies, then the ladies usually presented boutonnieres to their partners, and the dancing would resume. The figures d' ensemble were the most loved, since all the couples take part in them (I bet they were, no males were made fools of.)

The Waltz

The Dances of Court and earlier were usually procession type dances that were very stately, solemn, and dignified types of dances, (French dances were much more vivacious) done in a separated position to show a breeding and nobility superior to that of the peasants.

The prime contribution of the waltz historically is that it would be done in a closed position rather than an open or separated dance position. This positioning of the dancers was determined very scandalous (lewd) for the woman at the time by all whom seen it danced. Touching each other in public under the masquerade of dancing was frowned upon. It would take centuries to triumph over. The waltz has a lengthy line of history that slightly goes back to the 13th Century with the Westphalia from Province. The 1520s approximately brought the Dreher or Walzer (turning) from Germany. In the medial 1500s, the Volta (two steps and a leap) appeared and consisted of waltz type behavior with high leaps in the air by the follower, assisted by the leader. Vienna came onto the scene with the Weller in 1580 and around the 1590 the Nizzarda from France had waltz similarities. These dances were frequently preempted with another dance (usually 2/4 time) and at the conclusion, the music would shift to time (known as NachTanz or After Dance.) The dancers would clasp their partners around neck and waist and would break out into one of these dances. The Volta of 1556 is weighed by many to be the first actual waltz (some say Lndler in view of the glide) and was the first dance, done in actual closed position (not on the side or open position as some of the others.) It was done to the song titled "La Fallada." The word Walzen means strolchen (tramping), but can also suggest Schleifen (sliding or gliding.) Waltz literally means "to turn forward from one place or to advance by turning." Most round dances come from this "Turning" or waltzing around the floor. The waltz is considered the "Queen of all the dances." The first tangible waltz tune appeared in 1670 in a popular song, "O du lieber Augustin." Vienna was the first to reveal the Viennese waltz (Valse) in the Opera "Una Cosa Rara" in 1776. However, it did not become popular until 1788, when it was introduced on the Viennese stage, in an opera called "The Cosarara," by Vincent Martin.

The waltz was said to be introduced to England in 1790 by Baron Newman (some say 1812). Later it was introduced into France from Germany by the triumphal soldiers of Napoleon I (1769-1821,) after his return from Germany, following his grand encounter at Austerlitz in which three of the greatest armies of Europe, each commanded by an Emperor, were signally defeated on December 2nd, 1805. The waltz as we know it today, was the first unquestionable closed couple dance done in aristocracy with all the other dances before being open dances (no embrace.) The waltz was considered very "scandalous," for the dancers did an embrace and held each other so close that their bodies and even faces touched while they danced. The women were thrown around exuberantly (Adagio type) which at the time was "Immoral and Sinful." When the waltz finally became accepted by society, all dances that followed were variations of the waltz. The Polka was the second closed position couple dance to come along and rivaled the waltz. The Ladies were always in "pursuit," or better known today as dancing forwards (otherwise the gowns they wore would get stepped on and tear apart or they would trip and fall etc.) Waltzes went by other names in other countries and provinces: Volta, La Volte, Fuhrung / Weller, Lndler, Drekkar, Salta, Volta, Boston, Hop Waltz, Glide Waltz, Hesitation, Viennese, Mazy, Merry Widow Waltz etc. The Valse was another way of saying waltz. Many of the other dances would amalgamate with the waltz and become the PolkaWaltz, Mazurka-Waltz, Menuet-Waltz etc. (see Half- &-Half) Many groups (including the U.S.) protested the dance and critics became outraged with some forbidding the waltz to be danced. Swabia and Switzerland forbade the waltz. Wilhelm II prohibited the waltz in court balls in Germany and England did not appreciate it until 1812! In 1815, while being danced at Almacks by then Emperor Alexander (Russia,) Princess Esterhazy, and finally Lord Palmertson, it became known as the "Imperial Waltz" and was there to stay.

Decrees were issued forbidding "all gliding and turning", posting public ordinances, which read: 1- "Both men and women must be dressed decently for the waltz." 2- "No man might dance in breeches and doublet without a coat." 3- "Women and girls must not be thrown about." Dancing was forbidden under Puritan decree (and others) among the settlers. As an instance, the Bishops of Wurzburg and Fulda forbade the waltz and prohibited it being danced in 1760. Noblemen ultimately started building private ballrooms in their houses to circumvent the demoralized situation, they had sequestered balls with only nobility and the best dancers attending, thus adding to its zeal. Even up to the early 1900's, the dance was scrutinized, In Zorn's book (1905) he explains the waltz hold, "Never place your arm around the ladies waist and do not raise his left arm so high as it causes her arm to go around him." The music makers (composers) were to help make the change from scandalous to beauty. The beautiful waltz music would be embraced by all. Thus as time went on, the leaps were taken out, the wild steps became smaller and much more graceful, making it a socially acceptable, lovely dance (sometimes called the Glide Waltz). Ordinarily, Waltz music is written in 3/4 time (three quarter notes per each measure) or one down beat and two up beats. However, just like our Jazz era, musicians played with the dance and music, as some were written in 6/8 and supposedly 2/4 time. Johann Strauss started a Merry Widow craze with his song of the same name. Everything became Merry Widow "insert name here." There was even a song called: "I'd like to find the Man who wrote the Merry Widow Waltz" (guess he did not like it). The Waltz started to decline about 1825. The step of the La Valse deux temps (three steps, not two) was the same as that of the Gallop of the time, the difference only being in the accentuation, as it is danced to waltz music. This waltz made its debut at the Court of Vienna in the 1830s. It became very popular about 1850s.

The Glide Waltz held popularity because of its smoother movement until the advent of the Hesitation Waltz . The Hesitation did not endure long as the dance became too complex to do, as it inventively had many backbreaking and leg-breaking contortions added to it. As many instructors were producing too many figures, (by public demand $$$) and inevitably became too difficult for the typical dancer to do. The Boston Waltz also known as American Waltz was introduced in Boston, MA. In1834, by dancing Master Lorenzo Papatino (partner N/A) when Mrs Otis Beacon Hill employed Papatino to give a dance presentation at her mansion. The Boston waned in popularity in the early 1900's, but stimulated the English Waltz alternatively, "International Style Waltz" now called "Standard" by Olympic dance sport. Five Step Waltz (n/a) - Slide the foot forward (count one). Bring up the right, springing and raising the left pointing the toe to the floor (count two). Spring again on the right; bring the left back close to the right (count three). Slide the left forward again (count four); then bring the right foot in front of the left (count five). Recommence the same with the right foot. Turn and reverse, as in other dances. The Hop Waltz (2/4) which is also known as La Sauteuse or Waltz trois temps differs from the other waltzes described and became popular in the 1820s and later had a resurgence around 1856. It was a subdued Redowa by those who failed in those days, finding the Redowa beyond their powers of proficiency. The Redowa was modified with the waltz and became the Hop-waltz with the first and fourth steps being leaped instead of glided, except that the first step must be jumped, like a jett, or a Fouette and the other two steps being run. The other behaviors are the same as in the basic waltz. Knickerbocker Waltz (n/a) - Waltz step half round, beginning with left foot; waltz step half round, beginning with right foot; waltz step again beginning with left foot; then execute two side movements sidewise with right foot. Repeat the above, beginning with the right foot.

The Hesitation Waltz

The Glide waltz (1870's) held a popularity until the advent of the Hesitation Waltz and Ragtime music. The Hesitation Waltz is a variation of the Boston waltz (a two step count fwd and back waltz) around 1880. The Hesitation Waltz gets its name from the "Pause or Hesitation" in the music. This music along with the Boston or "drop step Boston" formed the Hesitation. Althought he Hesitation originally only had ten variations it did not last long because the dance became too difficult to do as it originally had many backbreaking and leg breaking contortions added to it. Many instructors were creating too many figures (by public demand) and eventually they became to difficult for the average dancer to do. The Hobble Skirt was the dress of choice for the Streetswings Dance History Archives: Hesitation Waltz ladies to dance the Hesitation. The Hesitation Valse (1880s) is a variety of the true Valse that can very easily be performed once the Valse is known. Defined in a nutshell, the "Hesitation" is a halt on one foot (with the other foot suspended in the air or a dragging motion) during the whole "1-2-3" of the beat of the music, or during the "2-3" only of every alternate "1-2-3." The ways of performing the "hesitation" are many and varied, and no way can be said to be more orthodox or correct than any other.

It's popularity soared into the 1910s and by 1913 was one of the main dances done with the exhibition dance teams of the time and rag-dancing. By 1914 it was being replaced by a new dance called the Dream Hesitation which won the contest for new dances of the year. In 1913 Albert Newman created the Hesitation Boston (One Step per Measure) which merged with the Boston, in which he used a pattern he called the "The Stroll" he states: Gracefully walk backward four steps, starting with the left foot one measure, right foot one measure, left foot one measure and right foot one measure. Now walk forward to the left oblique, having the lady in Yale Position four steps (left foot one measure, right foot one measure, left foot one measure, right foot one measure). Second Part.-- Boston Turning to the right four measures". This is also very similar to the stroll of the 1960s. In London, the Boston was also called the Berceuse or Cradle Boston which was the form of Boston most popular at the time and reportedly the most difficult dance for the ballroom on account of the simplicity of its composition. It depended entirely upon each individual to create a most graceful dance, from actually only one step to the measure, and to rotate progressively around the room. After a little practice by the beginner it will be noticed that there was not much progression in this movement, and that it was quite difficult to move as quickly around the room as in the old dance (the Waltz and the Two-step); so it was necessary to add a few other movements which will bring about the desired result, such as the Spanish Boston and the Herring Bone Boston which was taught for several years, closely resembling the Hesitation Waltz which was so popular at the time. The Canter Waltz was basically two steps per measure. One of the leading exponents of the Hesitation in the 1910s was Maurice Mouvet who had a Hesitation Waltz song dedicated to him with the Castles following the way. The hesitation waltz merged with the Boston and today is just a variation of the Waltz and is one popular choice of the traditional 'First Dance' songs used in Weddings. Because of the Hesitation Waltzes popularity many other dances were designed to include Hesitations such as the Hesitation Tango which came shortly after the Hesitation Waltz popularity in the 1910s and the Hesitation Boston, Hesitation One-step and others.

The Landler or Lndler

The Landler or Lndler is a Austrian dance, which has no certain birthdate but evolved as a type of Folk dance known under different names, until it was finally called the 'Landl ob der Enns' which was shortened to Landler, Lndler or Lndl sometime around 1690 and gained popularity around 1720. The word Lndler comes from the word "Land" ("country"), a dance "coming from the country-side" in opposite to dances from the court or city, also signifying the state of Upper Austria (Obersterreich) and the adjoining Styria (Steiermark). At this time dances were often choreographed from dance-masters at royal courts and were then mimicked by the people. Elements of "folk-dances" then were reused by dance-masters, so there was a steady exchange of dances and styles. The Landler was furthermore a dance were closer body-contact between men and women was necessary, in comparison to Menuett (Minuet), Circle-dances, etc. and therefore seen as too erotic and lusty and the authorities and the church tried to restrict or forbid dancing, especially dances like this. People who moved to Vienna brought with them the landler from these regions and developed faster dancing of the Landler-steps, due to the new smoother dance floors and better shoes for dancing (relegation of Hobnailed shoes) which we know nowadays under the title of "Viennes Waltz". Due to emigration Landlers were taken to different areas like Deutsch-Mokra (today Ukraine), or Siebenbuergen (Neppendorfer Landler), which were at this time part of the Austra-Hungarian Monarchy. The overall name of those emigrated people today is "Landler" with many variations to the dance in their respective regions/ provinces. The Lndler was one of the smoothest and fastest dances known at the time but is moderately slow today.

The Landler at one time consisted of much turning and gliding, mime and said but no longer done a kissing of partners. A type of folk dance in which couples were arranged in sets or faced one another in a line and has been written that the couples would break away and the man would dance solo (er, as a couple) later to return together and finish dancing as a group. A typical characteristic for the Landler today is that it is that a couple dance and includes a lot of rather sophisticated "arm-tying" (known as "wickeln") and turning. Also in many Landlers the boys step into the middle of the circle and sing (funny & erotic short songs) and clap ("paschen"). Landler can be very wild and fast (e.g. Untersteirer Landler), but also rather slow (e.g. Stoahauser Landler). The Lndler is said to be a forerunner of the Waltz. It became very popular during the 1790-1800 period. The Landler is also known as the Hospur. In Frankfurt, Germany in 1770, the Parisian Strassburger dance or Strassbourgeoise was very close to the Lndler. Giacomo Cassanova (1725-1798) was said to enjoy dancing the Landler very much.

Galop
The word Galop has the usual significance in the most rapid pace of a horse and the word Gallopade referring to a similar movement in dancing but Gallopade is really the correct term. The term Galop came from the Waltz-like turning of the dance, which also has a version called a "Galop-waltz" (3/4). The origin of the Galop is Hungary (some say Germany). It was often danced after the volte and the country dances as a variant to the slow and solemn dances such as the Mazurka. Around 1815, the Galop began to be recognized socially. It first appeared in Vienna and Berlin about the year 1822, was introduced at the Balls given in France (L.G. Brookes says 1800) by the Duchess de Berri (1798-1870) during the Carnival of 1829 as well as England in that same year. It was rendered famous by its termination of the masked Balls at the French Opera.

The basic Galop has the lead, moving forward and the follow backward, no turning in counter-clockwise fashion around the floor. Most Galops were written in 2/4 time and was basically a "Slide, Change, Slide -- Slide, Change, Slide, etc." But, it is said that the steps resembled a "Valse deux temps" (waltz.) The dance is done in basic ballroom position and travels counter-clockwise (Line-ofdance) around the floor. Basically consists of a Glissade with one foot and a Chasse, then alternate. It has been said that there was no dance more exciting, or easy to learn, it required only a good ear to mark the time of the music. The chief requisite in this dance is to keep on one's feet, for there is great danger if once you fall that you will have those who follow over you really following over you. The Galop was often used in classic Ballet. The Galop is actually the fore runner of the Polka with the Minuet, usually followed a Galop and then a volte in dance order. The Berlin dance was a mix of the Polka and Galop dances.

Mazourka

The Slavic groups that occupied the area of present-day Poland, were first united under the Piast dynasty and Christianized in the tenth century. The royal crown eventually passed to the Jagiello dynasty (13861572), under whom Poland enjoyed its golden age.

The arts and sciences flourished, and a Polish-Lithuanian state, created in 1569, maintained an empire that reached from the Baltic to the Black Sea. The vintage Mazourka (Masovia Women) or Mazurka (English) originated in the province of Mazovie, Poland near Warsaw and became its national dance in Poland's golden age (Sixteenth Century). Originally it was called the Holubiec or Holupca, named after the brass metal heels, which they strike while dancing. The Oberek, Polska and kujawiak are related. The Mazurka is sometimes called the Masur or Masurek by the people of Poland while its name is derived from the tribe called "Masures", who dwell in what was once the Duchy of Masovia (Mazowsze.) From Poland, it went to Russia and formed a Russian Mazurka with the soldiers, then on to England in 1845, by the Duke Of Devonshire (1833-1908) and became nationalized in Paris, France and other countries. However it never gained real attention because it is a very artistic and difficult dance to learn. It was originally performed exclusively as a classic dance, and consisted of numerous figures and steps, all of which it is now divested, except a few of the elementary movements. The music of the Mazourka is in 3/4 or 3/8 measure and Markowsky is credited for composing the first Mazurka. The Mazurka is said to be a interpreted dance, meaning that the basic steps are taught, but it is up to the dancer to interpret it as they see fit. Here is a passage from Henri Celarius book "La Danse des Salons" in 1847 on the Mazurka: "The real dancer of the mazurka not only varies his steps, but more frequently invents them, creating new ones that belong only to himself and which others would be wrong in copying with servility. One of the great advantages of this dance is that it leaves to each his individuality, and prevents those, who practice it, from seeming as if formed upon the same model". The "Melancholy" Mazourka is said to be the most beautiful dance of all time when executed correctly and was hailed as the "Queen of Social Dances." It seems to express sentiments of sweetness and tenderness. It is full of elegance--of an indolent elegance; it is not a vulgar dance; its slowness has something aristocratic about it, even a little haughtiness.

The waltz has more passion, but there is grace also in the undulating and gliding Mazurka. While doing the Mazourka, the movements are always made sideways while the man does not overly exert himself, is very proud in posture and the ladies perform the most perfect grace. Princess Maria Nicolaevna, daughter of Emperor Nicholas I of Russia, who married Maximillian in 1839, is credited with creating the Polka Mazur in 1830 which was basically a waltz. The Polka Mazourka is of Polish origin, and is a very graceful dance. It is a combination of the Polka and Mazourka steps. Slide the left foot forward (count one); bring the right foot up to the left; at the same time raise the left foot, extending it, pointing the foot down (count two); bring the left back close to the right, at the same time springing on the right foot without touching the left on the floor (count three); then execute the Polka Redowa step (count three). Commence the whole with the right foot; the Mazourka part is executed forward without turning; then turn half round with the Polka Redowa step; repeat, and you make the whole round. There became many variations of the Mazurka, some were original and some were mixtures of other dances such as: Mazurka Valse, Mazourka Schottische, etc. The Polacco is a sister dance to the Mazurka, written in 3/4 time and can be graceful and melancholic and other times lively, more animated and its movements vary. The Polska has a similar rhythm to the Mazurka. In Russian courts, the Polonaise dance opened the dance and the Mazurka would finish it. But, in Latin writings, it was referred to as 'Chorea polonica'. The Palantines invented the custom of drinking from the shoe of the dancer after dancing an extravagant Mazurka. The Gedrosian Prince has been noted as drinking champagne from Taglioni's shoe after she danced a Mazourka in a five act Ballet. The Mazurka is not at all like the version most people have seen in the "Adams Family Movie" which made fun of the dance and its name. Some Pattern Names of the Mazourka are: 1-Pas Glisse (basic Mazourka step)

2-Bieg mazurowy (running steps) 3-Pas Ordinaire 4-Pas de Flore 5-Pas Boiteux 6-Pas de Basque 7-Assemblies 8-Phrases 9-Les Pas Battus (heel strikes) 10-Holubiec (Heel strikes) Laterales are names of some of the steps of the Mazurka, plus a whole lot more.

The Polonaise
The Polonaise, also known as Danse aux lumires, properly speaking is really not a dance but rather a promenade or procession. The Polonaise came from the Polish dance melodies of about 1585. Originally the Polonaise was a grand marching dance, done by soldiers. Only eventually becoming a court dance and was cionsidered similar to the livelier Swedish Polska. It was said that the Polonaise was a triumphal march of the old warriors and women did not come into the dance until later, about 1645 and then as separate couples. The Polonaise became the Polish National dance around 1790. Germany became a big, big fan of the Polonaise. Later when the women appeared in the dance (around 1645), its purpose was to offer the lady in whose honor the ball or dance is given, to be able to greet the guests and to invite them to participate in the lively entertainment (like a social mixer).

When Chopin arrived on the scene, his music was much more solemn and the dance took a new turn, becoming much more sedate and eventually became the main style of the dance that he himself composed over 16 Polonaise pieces (see Romantic Period).

In all the aristocratic Courts, and, above all, in those of Northern Europe ... from Vienna to St Petersburgh, the Polonaise was the most stately of the dances and and became the prelude to the balls of the highest sphere of society, as it was to Her Majesty's Bal Costum on the 6th of June, 1844. In this purpose the honored lady makes a tour of the hall (Grande Promenade), accompanied by her partner, saluting each couple in turn. Each couple, after having been greeted, falls in line behind the first couple (Column of twos), who continue their way around the room until all have been greeted and taken their places in the procession. Then they break off (Columns and castings of two and four) into dance positions around the floor. From that point the dancers, led by the first couple, passes arm in arm between the couples, (Passage of the first half column) the group separates and closes as each couple goes thru, repeating till the last couple. Then just the ladies pass thru like above, then just the men pass thru then returning back to the original couples (Columns again) continuing on into "the Half Moon or the Snake" and may at any time turn into a Polka or Waltz , then returning back into a polonaise. The "Grand Circle" ends the precession. The step is a basic triple step in 3/4 time and starts with the right foot. At one time it was customary to exchange ladies at different points in the Polonaise. The polonaise is sometimes executed at the end of the ball, except farewells replace greetings. There are many exquisite figures for a polonaise, way to many to list here. The Circassian Circle or Sarabands, or an ordinary waltz, were well adapted to follow the Polonaise.

The Bourr
There is also, the "Bourre du Berry" which is said (Giraudet) to be older than the Bourre d'Auvergne and also said that it was not danced any longer by the 1870's. The merry and pleasant Bourre d'Auvergne got its birth from the Branle of the Sabots in Auvergne, France. The Bouree is regarded as one of the most characteristic of the popular traditions of Auvergne, which opened many balls of the time.

The name indicates, in prior French, "wool", coming from the shearing and is sometimes called the French Clog Dance. Margurite de Naverre, who was sister to the King of Sweden, Charles IX (1550-1611) introduced this dance into the French Court. It was very popular untill the reign of the King of France Louis XIII (1601-1643). Bach wrote music for this dance as well. The Bourre was very favorable among the beautiful women and the young Lords of the time, as it was a very rapid moving dance as well as very lively. There are two version one of the Lower (plaine = plains) and Higher (montagne = Mountain). The Polka is said to be a descendant of the Bourre. The Bourre is danced partly to a measure of and partly to a measure with 2/4. It is danced by four couples placed in square, as for squares cross (see bottom).

The Polka

The main story of the Polka comes from a story of Bohmia (at the time a part of CZ.) and was supposedly discovered by Joseph Neruba in 1830 who introduced it in 1835 (fewer say Joseph Cellarius did this). It is said that Mr. Neruba saw a little Bohmian peasant girl (some say age 16) by the name of Anna Chadimov-Slezak, born in Elbeteinitz in 1805 (d.1884), who lived in Konotopy (or Kostelec) on the Elbe (Elbeteinitz, Bohmia). (Note: Dates would make her 25-30 years old).

In 1830, Anna was dancing and singing to a tune she liked ("Strycek Nimra Koupil Simla") and invented a little dance which she called "Madera ". Neruba, liking what he saw, asked her to repeat the dance for him and seeing the possibilities of the dance and the possibility of money, took it to Prague in 1835 It was here it was supposedly dubbed the Pulka (meaning a half), and later on went to Vienna in 1839 by a music band from Prague under the leadership of Pergier.

The Redowa
In the language of the Bohmians, the word rejdovat means to "push, to and fro." This term is applied to the "Pursuit" in the round dances such as the Waltz, where the follower is pushed along the line of dance. In Zorns book, he recommends a "figure (pattern) change every four measures." This change of figures was named the Redowa in Southern Germany in 1830. The Polka and Redowa are sometimes confused as the same dance when done in common time, mainly because of the Polka-Redowa, which was much slower than the Polka, the only difference of the dance was the speed, it was still a polka(However the Polka was first.). When the Redowa is done to 3/4 time, it became basically a Waltz. The waltz-Mazurka was very, very similar. Depending on the time and location of many writers, they would list the dance as a Polka or Waltz, so the music (time signature etc.) would be the only difference. Fanny Cerrito and Arthur Saint Lon were avid dancers and performers of the Redowa ( time Polka) and introduced it to the Italians in 1845. Allen Dodsworth said (1880s) that when is first introduced, this dance had the same time of a Polka-Mazourka, the melody usually being smoother and more graceful in style. It consists of the three motions, leap, slide, and change, the same as in the waltz. The accented motion falling upon the unaccented pair of the music, at this slow speed many persons failed in accenting it correctly, gradually falling into the simpler succession of slide, change, leap, as in the polka; after a time this was called PolkaRedowa, and completely displaced the Redowa. The name was, however, retained in the Redowa Waltz, and a distinction as made between that and the ordinary waltz by springing with great energy upon the leap

the"too-too's" (or excessives, aka: dance addicts) of those days not failing to make their disposition known by exaggerating the leap. The beautiful waltz of today (1880s) is a subdued Redowa. Those who failed in those days, finding this Redowa beyond their powers of accomplishment, modified it to the Hop-waltz, as those who fail now modify the waltz to what is called the Boston ." The Redowaczka is basically a Galopade (Galop ) and a music change to 2/4 time. When the polka became the vogue, the Redowa and polka merged to become the Redowa-Polka, that remains till 1880s. Later these mixings would be called the Half and Half. The Redowa is executed by couples, like all the other waltzes, and is composed of three parts distinct from each other: 1st. The pursuit. 2nd. The waltz, called a Redowa. 3rd. The waltz deux temps, executed to a peculiar measure, and which, by a change of the rhythm, assumes a new character. The speed was about 160 bpm. This dance was usually done in the center of the floor, while waltzers would dance along the edges. The Mazurka and Redowa also had a blending, but it was mainly a music style blend that led to the Mazurka-Polka (Polka-Mazur) and is said to have been created by Princess "Marie Nicolaewna " (c.1839) who was the daughter of Russian Emperor Nicholas I. The Redowa is frequently executed under the name of "Tyrolienne " and many compositions have been made up of genuine Tyrolese airs. The melodies (3/4) of the Tyrolese dances and Alpine songs called Yodelers and Landlers, done at weddings and festivals. The leader asks for her hand to dance gently turns her, goes down on one knee and she turns around him and then perhaps lifts her high in the air.

In certain countries like Berlin, the Redowa is known as the "Hunter Schottische or Hunter Polka ", from the "Neuchatel Hunters" (Military) of Berlin. Mr. Coulon is said to have introduced the Redowa to France in 1816 in many dance books of his time.

However Coulon was born in 1808, which makes this highly unlikely (It was in 1846 rather than 1816) by Coulon and Mrs. N. Henderson, at the Almack Rooms, in 1847 and supposedly England during the 1870s. The French Redowa was similar to the waltz, being it was done in 3/4 time and used mazurka waltz patterns, while the basic step was a pas de basque. The Redowa Glissade was accepted by the American Society of Professors of Dancing, New York, in 1879.

The Half and HAlf

The Redowaczka is basically a galopade and a music change to 2/4 time. When the polka became the vogue, the redowa and polka merged to become the Redowa-Polka. The Spanish had their Half and Half' as well. The Menuet Afandangado is partly composed of the Minuet and Fandango. The Menuet Allmandado is intermixed with steps from the Minuet and Allemanda. Other dances as well would merge and later these mixings would be called the Half and Half. The Modern term "Half and Half" dance was named in 1912 by Vernon Castle. It is basically a comedy routine whereas the dancers costume is half male and half female and the dancer would dance by themselves, miming the effect of dancing with oneself.

The Cinquante-Cinquante which was invented by Mae Murray and Jack Mason in 1914 was a variation of the Castle's Half and Half. The costume were generally half a tuxedo (and top hat) sewn together with the other half being a ball or cocktail gown or other costume representing that dance style. The actual "Half and Half" dance was done to Waltz Music, but realistically could be any partner dance or Music. Just a note that people have always been mixing dances together, whether because of lacking in knowledge, such as being weaker in one dance and stronger in another or would mix dances just because it was fun or just plain out of boredom. Plus there was a huge need for the Dance Masters of America to create new dances which helped fuel this form of mixing dances. Music changes can make a dancer go from one dance to another as well. The castles probably noticed this and capitilized on it or just thought they were original, who knows, but the costume idea was an original one.

The Pavane

The Pavane (Pavane / Pavanne - French) or Pavin was a dance of Court (a renaissance dance) and was called the "le grand bal" because it was used on state occasions. In the sixteenth century it was originally believed to be an animal dance from Padua, Spain and was known as the Padovana or the Peacock dance (Pavo) in Italy. It has also been said that Ferdinand Cortez, a Spaniard, invented the dance. However, it was actually a solemn ceremonial dance from Italy, around 1508 (Pavana / Padovana-Italian). The Pavane (said to be from the Basse) along with the Basse and Round dances are of the first "social dances" in Europe. The Passamezzo (passo e mezzo) was a lighter and livelier pavane and around 1546. The Pavane was renamed as the Passamesa in all written works and by 1636 was no longer danced. The Pavane became very common in England around the 1540's. The Pavane was a very solemn couples gliding dance, done with long gliding (walking) steps in procession with many curtsies, retreats and advances. The lady rests her hand on the back of the man's, with ceremonial dignity. Spain's new fashions in dress led the way for the Pavane, and consisted of gentlemen dressed with caps and swords, Princes in their mantles, and ladies in gowns and long trains dancing with a kind of strut-like motion, resembling that of a peacock and the ladies sweeping their trains of their dresses in this dance. The dance was very simple, the dancers only had one group of steps: two single steps and one double step, moving forward or backwards done to 4/4 time. Towards the end of the sixteenth century "skips" (fleurets), were added as well as the dance being performed by a single couple (Pavana Matthei) The upper-class and nobility favored these dances at the time and was most popular in Italy, Spain and France. It has been said the Minuet comes from the Pavane (but the Courante is more correct). The Minuetor Galliard followed the Pavane (after-dance). The Pavane was replaced by the Courante (Louis XIV put the Pavane aside for the Courante). The Pavane was also known as the Pavin, Pauanes (French), or Panicinand Pavin (English).

It is done to a 2/4 time signature. The Pavane is a non-Pantomimic dance. The 16th century had what was called the Moor's Pavane. The Pavane d' Espagne is said to have been invented by Ferdinand Cortez on his return from Mexico and was danced by knights in their coat of mail, and by women draped in their manta. As it was a very solemn dance, it was diversified by many gestures, and thus lost its physiognomy (features) for a time. Later, however, it regained its original character; then again it became full of affectations. It was much danced during the reign of Louis XIV (1638-1715,) and afterwards seems to have disappeared. Costume was of silks, satins, and rich brocade, made up after the style of the Medici days. The men in feathered hats of the Tudor shapes, close habits, puffed breeches, and shoulder capes, with swords at their sides, as the courtiers of Queen Elizabeth's (15531603) Courts. The women would wear velvet or satin trains from the shoulders attached beneath ruffs, over brocaded or satin gowns with the distinct front breadth of lace or jeweled embroidery, hoops, long pointed bodices with jeweled stomachers, and sleeves puffed from shoulder to wrist.

Courant

The truly noble Courant (koo-RAUNT) or Coronto (koo-RAUNT-o) which is considered a French Masque type Baroque & Renaissance dance (popular in 17th century England) as they perfected it. It was first mentioned in 1515 by French poet Clemont Marot (1496-1544). Originally, the Courant came from Italy to France via Catherine de Medici (1518-1589) and was danced in the sixteenth century at the French courts and lasting well into the 1800's. In the Philidor collection are several Courantes danced at the Medici's court, and all men of high degree were expected to dance them well, or their education was deemed incomplete. The Italian corrente was similar to the Courante and was very popular among court dances. The Elizabethan Courante was much quicker than the Courante of Louis XIV (16381715) and Charles II (1661-1700) reigns. Originally it was reported as a Pantomimic wooing dance.

Curt Sachs Writes: "Three young men invited three young ladies, leading them after another to the opposite side of the room, and left them standing there, while they themselves returned. Then one after the other they went back and made themselves agreeable with amorous looks and gestures, dusting and pulling up their shoes, and arranging their shirts. The Ladies, however, refused their hands and turned their backs, and the dancers had to go back again to their places without having achieved their purpose, and in great despair. At the end all three came forward and, on bended knees and wringing their hands, begged for mercy. Forgiven, they danced helter-skelter the Courante". (End Sachs) When the Courante first came in, it was often preceded by a ballet. Arbeau in describing it, tells how three cavaliers chose their three partners, whom they placed in a row at the end of the room, then danced towards them. Much pantomimic gesture denoting love was introduced into the dance, so that when the lady turned her back on her advancing partner, as she did in the course of the measure, it

represented a refusal of his suit, and the cavalier, making deep reverences preceding a quicker measure, meant urging his suit, till on bent knee he was taken back into favour and the dance was finished. The rhythms were left up to the musicians to play and was not set only to one, generally done in 2/4, originally 4/4 or 6/8 time with the tempi being rapid. The steps consisted of alternating two simple steps and then a double (single/single/double) to the left, then repeating the same to the right, with single or double straight steps, described as a skipping to and fro or zigzagging around the floor (sounds like an early Foxtrot :) and it's charm was greatly enhanced by its arm movements. Sach's states that "the Courante was similar to the Branles and Piva dances". In 1650, the French courant had little to do with the original (and danced even faster) except in name. However, some of the Courante was very solemn. The Most lavish of the courant's performed were during the period of the Grand Monarque. About 1650 it became a Court dance, having originally been a pantomime play without words in dual measure, one of the oldest figure dances that have been left to us, and its character is decidedly grave. This was the favorite dance of King Louis XIV (1638-1715,) who is said to have performed it better than anyone else. The movements of the Courante were so important that it was looked upon as absolutely necessary to learn it before any other dance. Madame de Svign (1626-1696) and her daughter were noted for their grace when they danced it at the 'fte des Etats de Bretagne.' It has been compared to the Spanish Seguidilla, and is by some supposed to be the parent of the waltz and the precursor to the Minuet which was a Branles of Poitou, and was thus called because of its small steps and was derived from the Courante. When the pupil knew the steps of the Courante well, when he could turn his feet properly and control his movements, he was initiated into the mysteries of the graceful and ceremonious Minuet, which took three months to learn, and of which there were endless varieties (learning the courant was considered a pre requisite to the Minuet). By 1700, the Courant was no longer danced except as a basis of dance used by the dancing masters and became known as "Doctor Dance" through the use of its teaching techniques applied to other dances.

In the early court dances the Pantomime (above by Sach's) played a major part of these dances and by 1550, the Pantomime part was all but forgotten. The Danse des Canaries was the next closest thing to the courant in as a courtship dance. Musically, the Courante was the second movement (Suites de Danses) of the classical baroque suite, typically following the allemande with the accompaniment in triple time (3/4).

The Sequidilla
The Sequidilla was a Spanish dance which originated in Castille, Spain. This moderately fast Spanish dance done in 3/4 time has many varieties and derivatives in every Hispanic country and province. It is based on the Pas de Basque which means in Spanish 'Paso de Vasco'. The Sequidilla is closely related to the Sevillana Dance, which in Andalusia, the dance Sequidilla is often called Sevillana with the musical arrangement of the Sevillina being the Sequidilla. It has similarities to the Bolero and Fandango. One version is danced by eight performers. The performers range up in two files, with three or four paces interval between them, and commence dancing to the usual accompaniment of castanets, guitar, etc. It is a very exact and definite dance, and the bars of the music counted for each fresh movement. Thus, are on the fourth bar the dancing begins, on the ninth there is a pause, while at intervals, just as in the Bolero, the performers stop in a rigid and immovable pose, this, if good, being especially applauded by the onlookers. 1) - Seguidillas Boleras - (part Paseo part Estribillo). 2) - Seguidillas Taleadas - (part Bolero part Cachucha).

Fandango

The Fandango (Fan-Dang-Go) is a dance native to Spain and Mexico. The Spanish are said to have invented the Fandango (meaning 'Go and Dance') as a courtship dance. However, the primative Fandango may go all the way back to Phoenician soil and Belly Dancers. Originally, the Fandango was always danced by only two persons, who never touched each other with the body or the hand, but face each other. However many may be admitted into it (thus become more of a sequidilia). This courtship dance is one of "The Chase", basically boy sees girl, girl snubs boy, girl chases boy, then runs away. The Fandango may go all the way back to ancient Rome, while Romans called it the Spanish Dance, it was probably the Fandango dance. The Tarentella and Furlana are similar dances, with the main exception of the couple touching each other. The Fandango has been portrayed in many ballets as well. By the 19th century it was said the Fandango was scarely danced and was replaced by the Jota, Sevillana and Bolero. The primitive Fandango could not be executed in a drawing-room of moderate size as the dancers would sometimes make sets (groups). The woman accompanied herself by castanets. The feet stamp the time accents, in the absence of castanets the fingers and thumbs are snapped indicating the measure (slow 6/8) by a graceful movement of the feet, of the heel.

The gentleman tosses a tambourine; (or a tambour de basque, which, however, is now out of use), this he strikes with little bells, seeming, as it were, to invite his companion to accompany him in gesticulation, sometimes he also has only castanets, however this was usually deemed efeminate. At the end of certain measures, the music halts abruptly and the dancers remain froze until it is resumed. This dance requires a costume. The woman adopts the short skirt of bright-colored silk, and adorns it with flounces of black blond lace. The gentleman wore an embroidered, braided waistcoat. The guitar furnishes the orchestra while dancing, both male and female alternately playing the same air, both keep time to its measure. The Fandango is said to be a foundation to all the other Spanish Dances. The progress of the Fandango, a highly boasted dance, is one of the proofs which, backed by the decisions of the Spaniards, establishes the Fandango as the leading dance of Spain, and as the one which stands in the highest estimation. Their other dances are scarcely anything more than imitations of it, and are looked upon as second rate. Some music is of or a mix of 3/8, 3/4, 6/8 time. Some variations are the Malaguea (aka: Flamenco), the Rondena, the Granadina and the Murciana. The Chica dance of Africa is said to be the Fandango, only was a much calmer version. The use of Castanets, Guitars or a Mandolin, the arms and hands play an important role. Many Roman dances are said to be compared to the Fandango. The Plugge-dansen (Holland) was also a kind of fandango. The Menuet Afandango is partly composed of the Minuet and Fandango. The Jaleo de Xeres and the Ol, are somewhat similar to the Fandango, their charm consisting in their rapid combination of gestures and motions, being said to be in high favor among the Andalusians. The former is not unfrequently introduced in stage ballets. El Zapateado (form of Flamenco,) is the same sort of movement as the Guaracha and is in the time of 3/8.

There is in this dance a considerable noise made by the feet. Its steps are struck, as it were, similar to the Anglais and the Sabottire. Carlos Blasis states in his book "The Code of Terpischore" in 1830 states: America is not the only country that has been influenced by Africa in dancing. From the Moors it was that Spain first received that dance now so peculiar to it, the Fandango, which is nothing else than the Chica, under a more decent form, the climate and other circumstances not permitting the performance of this latter with all its native concomitants. The origin of this dance it is very difficult to discover; but every thing in it seems to be the effect of a burning climate, and ardent constitutions. The Fandango is danced by two persons, and accompanied by the castanets, an instrument made of walnut wood, or of ebony. The music is in the time of 3/8, and is a rapid movement. The sound of the castanets, and the movements of the feet, arms, and body, keeps time to it to the greatest nicety. It is all life and action in the Fandango. It was formerly danced much more generally by persons of quality, after the regulations enacted for the theatre, which introduced more dignity, more formality, and unaccompanied by the slightest movement that could give offence to modesty, or shock good taste. The lower orders, amongst whom this dance is in high request, accompany it with attitudes which savour of the vulgarity of the principal performers, and their extravagant movements never slacken, never cease, till they are fairly tired out"... end Blasis. In choreographing the dance the dancers if solo, duette, or quartette, all used castinettes. If corps of eight, or sixteen half castinettes and half used tambourines. If solo, the dancer came on from L. 2d. If for more, half came on from each side of stage. If more than a duette form in column of 2s down center of the stage.

The Bolero

It is said that Sebastian Cerzo (a.k.a. Zerezo), a ballet dancer of court in 1780, used the Spanish folk Bolro as a base for his French ballet. The Bolro is one of the oldest "school dances" known with the name supposedly coming from "Volar" (to fly) because the Manchenga expert had danced the Seguidillas so wonderfully that he seemed to fly (voleras). The Bolro is performed to the guitar and castanets. There are many Bolro compositions written from the 18th century to present time. The Spanish Bolro (Spain's National Dance) was one of love and romance. The Bolro would be accepted all over the world for its lovely rhythms. Mexico was a big producer of Bolro music as well. The Bolero was a dance far more noble, modest, and restrained as well as resembling but being shorter than the Fandango (which the Bolro replaced in popularity), and is executed by two persons (originally a single female). The Bolro was danced by a lady and gentleman or by several couples if one so desired. It was also arranged as a Quadrille at times, and used in the Ballet as well as danced at the opening of a ball. The Bolro is composed of five parts, namely: 1) The paseo, or promenade (around the ballroom,) which was kind of introduction. 2) The traversa (traversias) is a crossing, to alter the position of the places of the dancers, which is done both before and after the differencias, (a measure in which a change of steps takes place).

3) The differencias, or changes of steps, the dancers balancing themselves, execute their steps in place. 4) The finales, in which they go, they come and they pass by, which is succeeded by... 5) The bien parado, a graceful attitude, or grouping of the couple who are dancing, in which the gentleman and his lady assume graceful attitudes, and remain facing each other, holding their partner's hand and raising it. Then each one rests a hand upon the waist of the other, but this movement is followed by a profound salute from the gentleman a salut prostern, and a deep courtesy from the lady. The Original Spanish Bolro was performed to a seguidilla (dance air, in triple time or a national song, etc.), with a peculiar rhythm, in the manor method. The guitar, or the pizzicato, is the instrument demanded by this dance. It is being set to the time of 3/4. The music is extremely varied, and full of cadences. The air or melody of this dance may be changed, but its peculiar rhythms must be preserved, together with its time and its flourishes, which latter are also called "false pauses." The steps of the Spanish Bolro are performed terre terre and they are either sliding, beaten, or retreating, being always as it were, clearly struck out. The Seguidillas Bolras is a name which was given when the Boleros were "sung" and accompanied by a guitar. The great difficulty of this dance consists in resuming the part called the paseo, which is immediately after the first part of the tune in the prelude of the accompaniment, which precedes the estribillo. The estribillo is that part of the couplet, not indeed where the moral is found, but which contains the epigrammatic point or turn. The Bolras is different from the Bolro, although the time is taken from the latter. It was generally used in the theaters when it was wished to represent Andalusians or gay and animated peoples. The Bolras is rather a "dance-song" however, rather than a dance. Some authorities assert that the Bolro is the outcome of the Seguidillas. The Seguidillas (Poem) is a quicker dance than the Bolro and it is generally understood that when the Bolro or Fandango is danced in ballet form by eight people and so it is called the Seguidillas.

The Seguidillas Talfadas is a species of the Bolero, mingled with some measures of the Cachucha, performed to a Sequidilla (dance or Song.) The Cuban Bolero version came to be around 1883 with Jos Pepe Snchez composing 'Tristezas'. The Cuban Bolro is a different dance than the Spanish Bolro version, however the Cuban Bolro was very much derived from the old Spanish Bolro, but the music and rhythms changed (2/4) when it came to Cuba and is danced closer to a Rumba style. The Mexican Bolero came to be around 1921 from Mexico. The American Bolero was made popular in the Unted States when French composer Maurice Ravel (1875-1937) wrote his composition in 1928 for Ida Rubenstein which was choreographed by Bronislava Nijinska. The first performance was on November 22, 1928, at the Paris Opera House and Ida danced it on a 'table-top.' The Columbian Pasillo colombiano is done in 6/8 time closely resembles the Bolro. The Bolero viejo o parado is a style derived from the seguidilla. The Valldemosa bolero (Majorca, Spain) is the most popular in the Balearic Islands. The name parado (stopped) comes from the abrupt end of the dance. The Bolro is still danced today and is a standard dance among the International ballroom (Dance Sport) dancers and is very exciting to watch.

The Cachucha

Related to the Fandango, the Cachucha (Kah-choo-chah) which means 'small boat or cap' in Spanish. It is a Spanish solo dance, better done by a lady than a male, which is danced to the Andalusian national song. The Cachucha solo is admirably calculated to accompany the medley of music peculiar to this dance; which is sometimes gracefully calm, sometimes sprightly, and sometimes impassioned hip swinging dance using castanets. The Cachucha word was not to be found in any old dictionary of the Spanish language. It is customary to apply this word to a fair, a bird, a little cap, a fan and, in short, to any thing that is graceful or pretty. In the language of the Andalusian Gittanos, the word Cachucha signifies gold. In a still more elevated style, Cachucha means that part of the quiver in which Cupid puts his darts. Sagitta capsula in pharetra. The Cachucha was first created in Cuba in 1803 but is considered a Spanish dance. The Cachucha was danced in the U.S. at the White House by Fanny Essler with so overwhelming, that the Congress decided it would not convene when she was dancing. Fanny Essler (1810-1884, Vienna) introduced the Cachucha to the public in the ballet's 'The Lady of the Lake' (1812) and later in "Le Diable boiteux" (the Lame Devil) in 1836 which it found its popularity. The Cachucha is erroneously spelled Catchucha at times.

Celeste Keppler (1820s) made this dance known to the mass but it took Fanny Essler to really make this dance popular during her time. The word Cachucha means a term of endearment or a certain kind of cap. Castanets are also used in this dance. Some traces of the Cachucha are to be found in the Sevillinas of Spain (through Essler). It seems expressly designed to display the elegance's of posture and attitude. The Cachucha is danced by but one person, either man or woman. The Seguidillas Talfadas is a species of the Bolero, mingled with some measures of the Cachucha, performed to a Sequidilla (dance or Song.) The Andalusian Tango became very popular and was mainly danced by women, with women, with an occasional Gaucho (cowboy), thrown in here and there. The andalusan was the forerunner of the Argentine Tango. The Cachucha is another Andalusan dance.

Danse des Canarie

The Canary Islands (Islas Canarias) are a group of seven islands, an autonomous region of Spain, in the Atlantic Ocean, off the Western Sahara and constitute two provinces of Spain. The Treaty of Alccovas (1479) between Portugal and Spain, recognized Spanish sovereignty over the Canaries. Folklore says: 'The Spanish explorers named the Islands after what they saw looked like a canary hopping on its perch when the native's were dancing'. The dance is sometimes referred to as 'the Hay'. Wine was the main export of the Canaries until the grape blight of 1853. The Canaries were frequently raided by pirates and privateers. There has not been much written on the 'Il canaries dance' but what I can find is that the Canaries dances were popular in the sixteenth century and was most graceful both in the leg and arm movements, however the dance was considered very difficult to do. Later it traveled thru Spain into France and ending in England, supposedly contributing to the masque. It was originally done as a funeral dance (1552 - endechas de Canario) and have been said to be done by the "Savages" of the island, this changed over time and became a

theatrical or stage dance with much vigour, athleticism, snapping of fingers (Chioppare or Chrich) or Castagnettes. The Danse des Canaries was the next closest thing to the courant as a courtship dance with the Canario of Spain being considered the father of the Jota. The Canaries dance was generally done by men while the female version was called the "Gigue pour une femme", while the music was generally done in 3/8 time and may be done in 2/8 time. Shakespeare also speaks of "canary-it with your feet." It is said to have originated in a ballet composed for a masquerade, the costumes those of the kings and queens of Morocco. The dance is considered to be related to the Schuhplatter and Bohemian Proti-sobe dance. One couple dances through the hall. A lady is taken out by a gentleman, they dance together; he leads her to the end of the hall, always looking at her, leaves her and dances backwards, then moves forward and makes up to her again, and retreats as before. Then his partner does the same, and this is repeated several times with various steps. The dance was sometimes accompanied by castanets. The movements are said to be bold, bizarre and exotic. The steps consist of a skip and a stomp with the alteration of the heel and sole in the stamp. The dance consisted of many Pirouettes and semi-caprioles. This dance was considered very difficult and only the better dancers were allowed to dance it. The Canaries dance was a Court dance, and in the early court dances the Pantomime (see courant for idea) played a major part of these dances and by 1550, the Pantomime part was all but forgotten. The Danza Antigua de Hermigua is an ancient warrior dance from the Hermigua region in the Gomera Island (Canary Islands, Spain). Accompanied by drums and chcaras (large castanets). The dance is for two people or may be done as couple. Costume may be of Moroccan Kings and Queens.

English Morris dancing

English Morris dancing has a great and mixed history when compared to other dances. The name is derived from the Morisco (mriskoz,) a dance peculiar to the Moors and shows that the dance did have a Moorish beginning. The Morisco which it was often called was a Spanish name for a Moor or Moorish (Africa) or Spanish Muslim (Spain,) who after the country was re-conquered after the legendary Charlemagne and Tamer lane battle (Christian Re-conquest 11-15th. Century) remained there and became Christian (Moorish period.) The Moors who had become subjects of Christian kings as the re-conquest progressed to the fifteenth Centuries were called Mudjares. The Morris dance (Tripudium Mauritanicum) was the most frequently mentioned of all the dances of the fifteenth century. In Renaissance writings it is almost always mentioned that a Mouresca, Morisque or Moresque (Arab Lambra) or Morisco, was said to be brought to England from Spain by John of Gaunt (1340-1389) brother of Edward, 'the Black Prince' during the reign of his father, Edward III (1312-1377) around 1360 AD. In the beginning, the Morris dance was a pantomime of war, depicting the struggle of the Moors and Christianity and is one of the oldest English dances to date. However, its origin is not considered strictly English, but the modern version is. Originally, it was done as a celebration type dance whose participants acted out the original battle (initially, hundreds of people would perform.)

It was generally performed on May Day, and introduced several characters, varying in numbers, designation, and dress, according to taste or local customs, many diverse features being added over time. The Dance originally only used a solitary musician which would play a flute, bagpipe, violin, or accordion and a Tabor. The dance eventually quieted down and became enormously popular around 1500 A.D. When the legendary Robin Hood (1160-1247) was the foremost figure of the dance in Elizabethan times (1533-1603,) the birth of spring on May Day, would send the folk of England into the woods to collect flowers, boughs and blossoms and wait for the sun to rise, a symbol of the full opened year. They would return home in the sunlight, flower-laden, dancing and capering around an ox drawn cart which bore the May Pole, thus the Masque of Morris dance which Robin Hood danced with Marian. In the early forms of the English Morris, five men, one being known as the "foreman of the Morris" and another as the "Fool", and a boy who was dressed up to characterize "maid Marian," were the only performers. Accompanying these were a piper and/or a tabourer; with the sound of this melody, the clashing of staves and the jingle of small bells fastened to their costumes (garters,) they danced to the lively measures being played. Soon after, the characters of the "Merry Men of Sherwood" were introduced, Tom the Piper with his pipe and tabor, the Dragon (no mention before 1585) and of course Robin Hood, Friar Tuck and Little John, became conspicuous figures of the dance. Historically (pre 1890s) there appeared to be three basic types of Morris 1) As a solo dance performed at Moorish courts, (usually with blackened face to represent the moors) and a stamping of the feet along with heel stamps. 2) As a couple or group dances which usually portrayed (sword) combat. 3) Large scale that utilized upwards of 100-200 people in two groups, dancing/acting out a dance battle pantomime. This as a rule that would last 4-5 hours using a single musician. England was a principal originator of this folk dance by helping it to grow, making it more of a dance than a celebration, by adding distinction to the dance, with bells, waving handkerchiefs, real and fake horses (hobby horse) and black amoors were a part of the dance, the dance steps were very complex and all the while keeping up a JogTrot pace.

In the Morisco, the dancers held swords in their hands, with the points upwards; this custom connects the dance with the ancient Pyrrhic or sword dance, which that of the Goths did the same in their military dance. In many English vicinities the dance is performed as a sword type dance utilizing fancy costumes, swords, sabers, sticks, military marching, leaping and opposing sides. Many Choral rounds of the time were very similar to the Mourisca with the British reviving the dance back in the 1890s. The dance does not have any turns or patterns per say, and did not glide or sway and was not danced on toe but was very intricate in its movements, (which are many.) The Mourisca was a big element of the first ballets, often called "Spectacles" of that time. The Mourisca or Morris dancers do the dance differently in different parts of the world, and can be done as a solo or group; however the basic idea of the dance is as follows: 1) Characteristic Form: Two rows, originally six, known as the "Los seises" ("the sixes,") but later became ten, along with a "fool" (arap) and a boy dressed as a women (Dama) who is called "Mayde Marya" (as in Robin Hood,) and another man carrying a cardboard figure of a horse (hobby horse) on his hips. All of them wear fantastic costumes hung with many bells. Blacking of the face was very common. 2) Classic Form is done with two rows and three dancers each. These rows move to and fro, zigging and zagging perform in a chain or can perform opposite each other with a vast amount of variations. The classical form used dibbers (sticks) rhythmically when opposing sides would meet (a type of ring dance called bean sitting.) The dance formerly consisted and described as a type of "Prussian Goose-step" or later a military march with the leg kicking forward and a little skip with the other. The arms are described as swinging vigorously and the bells were used to accent the kicking or flinging of the leg. The dance also used leaps that are about a foot high. At the conclusion of the dance the participants sometimes engaged in shouting. Swords and Sabers (originally wooden) are often times used to portray battle when both sides meet. Sticks (like the stick dance) were used rhythmically thru-out the dance as well.

If someone was killed (acted-out) they were buried on the spot with no priest present. Morris dancing does go by many various names, some are known as Moresque, Morisque, Morisco, Morrisk, Morrice and Moorish. However the dance was essentially the same and was mainly a male only dance, while on the other hand, the Zambra, a Flamenco/ Spanish dance is of direct Moorish origin, performed by women only (moras and moros) and was only danced to flutes and oboes. The Sarabande also is a Spanish dance of Moorish, origin when the moors invaded Spain. Of the Portuguese dancers, in their ceremonies usual on conferring knighthood fights with the Moors were replicated, and thus the form called Mourisca was originated. In the Azores it was still preserved under a dramatic form called Mouriscadas. There was also a dance known as the Moor's Pavane in the 16th century. As a side note the Puritans saw the Morris dance as a heathen form and prohibited it from being done until Restoration marked a half hearted revival. Fernao Lopes, describing the character of King Pedro I, says of him that he was a great votary of the Morris dance. Dances such as the Baixa, Chacola, Mourisca and Villo, were usual at all Court weddings in the sixteenth century. The Baixa is a distinctive kind which includes other dances. Religious festivals gave most opportunity for the dance as it is pretty much an exhibition (not-social) type dance. In 1599, William Kemp (actor), danced the Morris dance from London to Norwichin nine days (took him over a period of four weeks) which he wrote about in 1600 titled "Nine Daies Morrice," in this writing he called himself "Caualiero Kemp, head-Master of Morrice-dauncers." He took three people with him on his quest, Thomas Slye- his Taberer, William Bee- his servant and George Sprat. Today, the Morris dance is a festival or show dance, done by performers of the traditions, rather than a social dance and is considered firmly English. In the simple form it consists of three men, usually dressed in white, carrying handkerchiefs and or sticks with small bells attached to their legs, and Baldrics (ribbons) worn on the shoulders.

However, there are different "Traditions" or styles of Morris dancing, which can have all male, all female or mixed with number of performers being 3, 5 or 8 etc. and can have a certain amount of overlap of styles. There are different styles or "Traditions" of Morris dancing in different parts, with some being called North West Morris, Bampton Morris, Bedlam or Border Morris, Headington Morris, Adderbury Morris, etc... In Morris Speak, the styles consist of an Ale (gathering of dancers), Caller (basically a choreographer), Chorus (Set or Corner), Kit (Costume), Set (Number of dancers), Team (Organized group.) These dances or sets may utilize a "Fool" (usually the leader), a "Hobby Horse", "Sticks", "Bells", "Swords", "Jigs", "Hornpipes," etc. and "May" is still the favorite month of the year for this dance as was in olden times. There is much debate over the history of the Morris dance, with some ignoring its roots of the Spanish Moors while others embrace it, whatever the history of this dance, it is as fun to watch today and as I am sure it was back in the day of its creation.