Dance: Chapter 12

19th century social dance:

1789; Social dance became more + egalitarian natural. The rigid formalities of the Baroque ballroom eased + the variations on the dance floor reflected the changes in clothing + fashion. Ability to dance well still was a prized goal + grace in the body. However, with the growing influences of the middle classes promoted the relaxing of protocol on the dance floor. This reflected in the popular dance styles + borrowing heavily from folk repertoire. These modified country dances gradually displacing earlier formal styles like the Minuet. A change also in figures and tunes, which existed in printed dances. Their popularity diminished + in the early 19th century, dancers were encouraged to create their own new figure sequences each time they danced. This process included the selection of the tune + figures to be danced was known as "calling" a dance and couples would take turns to "lead off" a country dance from top of set. The Master of the Ceremonies would then communicate the instructions between the calling couple and the leader of the band. 19 Century ballroom sees both group and couple dancing. There well orchestrated events planned to promote social intermingling in a proper setting. The evening, which included dance games, would progress by alternating group dances with couple dances.

Dances during the Romantic Era:

1840s-1860s had an overall feeling of liveliness, excitement, and polite and genteel romance s evident in the Waltz, Polka, and Galop. By the 1850s, the ballroom with its new, youthful social dances reached its pinnacle. One of the most significant dances of this time was the Waltz.

Ring Shout:

A disguished religious dance in which the worshipers move in a circle shuffling their feet. Was a sacred ritual in which movement of bodies in a circle and shifts of the worshippers feet symbolized the connection between the past, present, future. Served a physical release and a social connection to the comunity.

Polonaise:

A slow dance of Polish origin. Its very dignified, and almost processional in nature including a number of figures such as bows and turns. Its performed in a moderate tempo of 3/4 time like that of the Waltz. Balls in later eras opened with the stately measure of a polonaise or a Grand March, which also provided a form of fashion display.

Aida Overton Walker (1880-1914):

Also known as "Queen of the Cakewalk", a choreographer and performer. Pioneer in black musical theater, shes best known for her buck-and-wing and cakewalk. Performed in Bert Williams and George Walker's vaudeville shows and later married Walker. She choreographed all-black musicals, created the famous duk Williams and Walker, & acted as director and choreographer for the group. She transformed a typically sexual Salome show into a modest representation of black women, performed in theaters previously reserved for white-only performers,& worked to alleviate prejudic through dance.

Flamenco dance:

Art form consisting of three parts based on different folkloric music traditions of southern Spain. Includes instruments, like guitar, associated with Andalusian Romair Gypsies, song and dance. El baile flamenco known for its intense effort life with strong and direct movement, expressive use of arms and open carriage of the upper body with a slight sway of the back. Its punctuated with rhythmic stamping of feet with focus down into ground. Although flamenco includes percusive feet like irish or tap, the intent & feel of dance is different. Different styles or palos of flamenco have developed, was both influenced by and ballet.

Ballet:

Aspects of Baroque dance were preserved, but the technique continued to evolve. Pierre Gardel was instrumental in maintaining the ballet during the French revolution and afterwards. Dancers were being prepared for the technic challenges coming mater in the mid-century and the content and structure of the ballet class was refined to meet those needs. Dancers continued to regard Paris as the focus of superior dance training, performances, & productions and ballet seriously develops into its own art form quite seperate from ballroom. Stage is set for a new era in ballet and for the emerges of stars.

Fanny Essler (1810-1884):

Austrian ballerina who toured American from 1840-43&was widely popular. When she performed in New Orleans her drawing power was able to auction box seats as high as 60$ a night, box receipts for a night= $2,597.35. Such desire to see her perform that one man snuck into the St. charles Theater in New Orleans and hid there overnight with his lunch and brandy to see her in La Sylphide. Elsslers specialty was folk dancing adapted for ballet & was remembered for her sensuality and earthiness. Best known for her fiery performance of La Cachucha, Spanish dance in Le Diable Boiteux & her earthy movements. Was celebrated in continents and had champagne, stockings, shaking creme, & corsets named after her. Rivalry with Marie Taglioni.

Le Diable Boiteux (1836):

Choreographed by Jean Coralli. Famous work for the cachucha danced by Fanny Elssler. The cachucha was based on a traditional Spanish rhythm, and characterized by tapping footwork, intricate stamping, & a supple torso. The overall feeling was shy yet flortations.

Carlo Blasis (1787-1878):

Became a significant dance educator after an ankle injury sidelined his performance life. In 1830, he published Code of Terpischore, included fundamental system of ballet instruction and the developement of d'ecole, a oure academic style if classical balllet. Prided himself on being the 1st to introduce pirouettes in perfect equilibrium in an arabesque. He could do 3 or 4 turns in a la second and the shift into an arabesque in third with the palms up ending in relieve. Hes also mnkwn for intro of the pose "attitude" inspired by statue Mercury. Italian dancers he trained succeeded in St. Petersburg, Paris, London

Calenda dance:

Believed to have been a courtship dance from Congo. Although banned by plantation owners who feared it'd promote uprisings, it was one of the most popular slave dances in the Caribbean. Women an men face each orher in two lines. Movement includes lines moving toward each other and then away. Dance gets faster and faster and movement more and more sexual including contact like slapping thighs and kissing.

Minstrel show:

Blackface minstrel show became popular. Known also as "Ethiopian drama, Black operas, Comic operas, Ethiopian operas" these productions toured throughout the country, towns, cities, small villages, featured on Mississippi and Ohio river boats. Format included satirical plays and racist songs, jokes, exaggerated speeches and the shows typically included dancing jn tge evening length entertainment. Dance was a mixture of African ring dance and Irish jig. First minstrel performers in the U.S were white who covered their faces in burnt cork, imitating blacks in vulgar singing & dancing. Two stereotyped minstrels developed- the clown and Dandy.

Lola Montez (1818-1861):

Born as Marie Dolores Eliza Rosanna Gilbert; an Irish dancer and one time mistress of the King of Bavaria. Rebellious figure she was always trying to attain political and social clout. Montez was famous for her "Spider dance" performance where she battled fake arachnids in a skirt lifting, rique perform.

Master Juba (1825-1852):

Born as William Henry Lane, a free black man. Adopted this stage name as Juba and Jude were common slave names utilized by dancers and musicians. Was the 1st black performer to get top billing over a white performer in a minstrel show. However, still required a blackface. Was famous for dancing thr jig, complicated footwork,& has been attributed to the creatiom of tap dancing. Master Juba's dance "competitions" with an Irishman named Jack Diamond helped bring him notoriety

Entrée:

Brings dancers on stage typically with an allegro and lively two tempo

Social dances grouper by the music, clothing, and manners of the time:

Can be categorized by eras, each with its own music, clothing, and manners. Includes the Regency Era referring to the English Prince Regent (1811-1820), the beginning of the Romantic Era (1840s-1860s), which followed by the High Victorian Era (June 20, 1837-January 22, 1901)

Coppelia (1870):

Choreographed by Arthur Saint-Leon and revised by Marius Petipa and Enrico Cecchetti with music by Leo Delibes. Last major ballet at the Paris Opera its considered to be the final Romantic masterpiece. Based on a story by E.T.A. Hoffmann entitled "Der Sandmann", The Sandman". Ballet is filled with folk dancing from different nations bringing exotic to stage. Contains comedic moments like when main character, Swanhilda pretends to be a mechanical doll named Coppelia, daughter of doctor Coppelius.

La Esmeralda (1844):

Choreographed by Jules Lerrot. Ballet based on the story of The Hunchback Of Notre-Dame and was one of Perrot's most successful dramatic works. Its often cited, after Giselle, the grestest Romantic ballet.

Pas de Quatre (1845):

Choreographed by Jules Perrot with a score by Cesar Pugni. This plot-less ballet is significant not necessarily for its choreography, which captured the Romantic style and included an impressive range in quality of movement, but due to its cast. Brought ballet's superstars together in one performance. Included the 4 greatest ballerinas of time: Lucile Grahn, Carlotta Grisi, Fanny Cerrito,& Marie Taglioni. Fanny Elssler had been invited but declined&Grahn took her place. As to diminish any issues about order of appearance, it was decided that the stars would appear on stage from young-old.

Don Quixote (1859):

Choreographed by Marie Petipa with music Ludwig Minkus. Based on Miguel de Cervantes novel Don Quixote de la Mancha. There are many versions including ones by Charles Didelot, known today as "father of Russian Ballet"& Paul Taglioni, brother of Marie Taglioni. However, the most famous and enduring baller adaption was created by choreographer Marius Petipa.

The Nutcracker (1892):

Choreographed by Marius Petipa and Lev Ivanov with a score by Pytor Tchaikovsky. Music was commissioned to match choreography. The composer was given specific instructions about the length, including measures needed for movement, meausres for pantomime,& quality of sound required. Rehearsals started September 1892 but Petipa fell ill and his assistant Lev Ivanov completed the dances. Ballet was 1st performed at Mariinsky Theatre in St. Petersburg on December 18, 1893

Swan Lake (1877):

Choreographed by Marius Petipa and Lev Ivanov. Was Pttor Tchaikovsky's 1st ballet score. Story about the Princess Odette who has a sol cast on her that shes a swan by day and woman by night. Theres hooe that the spell can be broken when Prince Siegfried discovers the lake and falls in love with Odette. However, Siegfried is tricked into pledging his love to Odile, who is disguised by magic as Odette. With no alternative, Odette&Siegfried throe themselves into the lake to be united in the afterlife for all of eternity.

Sleeping Beauty (1890):

Choreographed by Marius Petipa with a score by Pytor Tchaikovsky. A ballet feerie, fairy ballet less dark than ballet fantastique. The Rose Adage is perhaps the most famous moment in the ballet. During this difficult dance Princess Aurora meets 4 suitos who give her roses, make their intentions known, & dance sitg her supporting her challenging balances.

The Pharaoh's Daughter (1862):

Choreographed by Marius Petipa with music by Cesare Pigni. Inspired by archaeological excavations in Egypt and Petipa's visit to museums.

La Bayadere (1877):

Choreographed by Marius Petipa, music by Ludwig Minkus. Set in India, its most famous and celebrated of Petipa's exotic ballets. Tells a story of the fated love between the noble warrior, Solor & thr beautiful temple dancer, Nikiya, who's murdered by her jealous rival Gamzatti. The gods are vengeful and destroy the temple, killing all who were responsible for Nikiyas death. She later ins reunited, with her beloved Solor.

The Talisman (1889):

Choreographed by Marius Petipa. Its set in ancient India and the story of a young goddess, Ella, who is brought to earth to test whether she can resist the temptations of mortal love. She sill forgeit her right to immortality if she fails. This ballet fantastique was unique for its time because it consisted of 2 male principle roles. This included the role of Noureddin, created by Oav Gerdt and the role of Uragan, created by Enrico Cecchetti.

The Magic Mirror (1903):

Choreographed by Marius Petipa. The libretto is based on poem The Tale of the Dead Princess and the Seven Knights by Alexander Pushkin and fairy tale Snow White by the Brothers Grimm and Ballet Feerie, was Petipas final ballet. Poor reviews were due fo stagging Col. vladimir Teliakovsky, Petipas enemy

Electra (1849):

Choreographed by Paul Taglioni and music by Cesar Pugni. Was the 1st ballet to make use of electric lightening.

Filippo Taglioni (1778-1871):

Choreographer, teacher, and father of Marie Taglioni. In 1832, Filippo choreographed his masterpiece, La Sylphide, to showcase his daughters skills

Giselle (1841):

Co-choreographed by by Jean Coralli and Jules Perrot with a score by Adolphe Adam. Perhaps the only ballet of the Romantic Era that survived in continous performance to this day. Giselle was advertised as a "ballet-fantastique", meaning it involved powerful and sinister spiritual workd with supernatur, fantastical elements (Kansas City Ballet, 2015). Its a tragic love story of a woman, Gisell, goes insane, dancing til her death because shes betrayed by her love Albrecht, disguised as Loys. Due to unrequited love, after her deatg she becomes a "willi", ghostly spirit who was jilter on their wedding day. A group of Willis attempt to dance Albrecht to exhaustion, but Giselle and her love protect him. Pantomime makes up a large portion of the ballet telling the story through gesture.

Major Influence of the 19th Century:

Commenced with Europe at War, but arts and entertainment continued to flourish across borders spawned by the ideals of Romanticism. Era of swift progress in scientific invention and discovery. Included significant advancements in the fields of chemistry, physics, bio, metallurgy, math, + later electricity. Due to industrial development and migration to the towns as well as political upheavals, there were significant shifts in social structure that also affected the world of dance. Although dance existed as imitation to the past, there was a current of new dance forms evident in social + concert dance, dance for religious purpose and connection.

Pierina Legnani (1863-1923):

Considered Petipas "muse" she was the only European dance to be appointed prima ballerina assoluta. Became famous for her ability to perform foutettes en tournant, a whipped turn. She was a brilliant technician and highly skilled, but she also had the ability to portray the characters and fully commit to her parts. This skill was showcased when Legnani starred Swan Lake (1895) and successfully performed the dual roles of Odette and Odille.

Waltz:

Considered the queen of the 19th century ballroom & symbolizes the essence of the Romantic Era. Developed from German folk idioms as used in allemandes in pre-Revolutionary France, yet the dance included a closed body position with partne and turning. Due to the daringness of the dance, discussing was first than dancing. Was considered too modernand immortal. Slowly made some inroads into the high culture ballroom, bolstered by the rare performance by a notable society figure. Dance promoted the idea of a "lead" and a "follow".

The Cotillion popular in the 19th century:

Cotillion figures and dancing games regained popularity during the early part of the century as they provided an opportunity to exchange dance partners in a playful and informal manner. However, in the mid 1810s, Cotillion was oresented in the form of the Quadrille. Typically danced by 4 couples, the Quadrille was performed to a memorized sequence of figures. First set, the Lancers and Caledonians are some of the major sequences, which have survived although there was a great variety of choreographed routines.

Effects of the Romantic Era:

Dance troupes had grown from small to large groups ensembles and quantity of dancers instage was admired. Ballet companies increased in size.grouped ranged from 40-100 members. Female dancers role grew and men took the backseat supporting figure of ballerina. Males job was to make ballerinas look good on stage and provide the ethereal look demanded of Romantic era ballets. The obssession of female ballet dancer turned into international dance mania&the cult of ballerina. Marie Taglioni, Carlotta Grisis, Fanny Elssler were considered superstas and had fans.

Enrico Cecchetti (1850-1928):

Dancer and dance educator. Born into an italian dancing family, he toured throughout Europe and danced at the Mariinsky Theater under Marius Petipa. Hes best known for dancers he trained and ballet curriculum he developed including the structure, progression, and exercises for daily class. Cecchetti balanced the adagio and allegro movements in his class. He also set different exercised for each day of the week to ensure that all areas of the body were adequately and evenly trained. Cecchetti had a specificity to his technique, which demanded that everything be in place including the direction of the head.

Changes in dance technique:

Dancers as professional artists no loner associated with court, the rise of female ballerina and the pursuit if Romantic ideals. The lineage of the Method, Vaganova tradition,& Bourneville School exercise lik plies, tendus, releves, battements, and ronds de jambe remain unchanged. During this time the fouettes en tournant or whipped turn was introduced. Class exercises were developed to support preparation for performing on stage these types of new challenges. Cecchetti wanted to ensure a steps were included in ballet class so he devised a schedule. Each day of week focused on particular types of steps and corresponding quality of movement. In 6 days, all material was covered. Pointe technique develops. Class grew to include exercise for ankles, legs, feet. Designed for preparation for and mastery of point work. Supported the evolution of dancers going from demi-pointe to fu.

August Bourneville (1805-1879):

Danish dancer, choreographer, director. Having trained under Jean Georges Noverre and kept ballet alive in Denamrk while it declined in Europe. He incorporated body directions, like croise and efface and demanded strong technique. His style of jumps are performed with one arm always directed to the viewer, which mant include the audience or other figure of stage. In jumps, the arms are part of the breath and not about creating a shape. He choreographed over 50works and balanced roles for men& women

Influence of music on ballet:

Demanded new music for new works. Composers like Tchaikovsky were commisioned to create work specifically for the ballet. Often the score included musical themes that identified characters. Romantic era works werent short pieces but typically evening length works broken down into sections or acts. Were created to support narratives and followed the plot lines of dance. Music became increasingly expressive and inventive and often nationalistic musical themes.

Romantic Era Ballets Organized:

Divided into two acts with the first act including indefinable oast. Might include rustic or exotic settings that are medieval in nature. The second act typically included a fantastic setting perhaps a forest or at midnight. Second act, was the inclusion of the ballet blanc. First introduced in Giselle, "white ballet"- a section of a larger work in which female corls de ballet were dressed in white portraying enchanted maidens, fairies, ghost, dryads, naiads, &otgrr supernatural creatures.

The Caribbean:

Each island had its own dance traditions. Movement was a combination of the islands colonial past includeing: British, French, Spanish, Dutch, African dance. The Calenda and the Habanera were slave dances, which drew on African traditions & rhythms.

Popular Social Dances that moved from American to Europe:

European social settings, dancing become less exciting, dance masters were less in demand, and fewer people dedicated themselves to mastering a variety of dances. With these shifts, there was a hunger for the novem and the unique. Simultaneously, ragtime music gained momentum and respectability. Ragtime music really gained popularitt at the turn of the next century with Scott Joplin's music. This new type of music necessitated a new style of dance influenced by the popular music of the time. This included dances from both North America & South American such as the Cakewalk, Racket, and Tango.

Relationship of dance to Fashion:

Fashion was a crucial element in the 19th century social dancing. As the rigid formalities of the Baroque ballroom eased, both dancing & clothing becoming less elaborate and constricting. With clothing tending to be lighter & unrestrictive more natural movement like jumping and skipping was introduced into dances.

Female variation:

Female dances by herself in impressive virtuosic phrases highlighting ideals of ballerinas such as 32 fouettes. Sometimes the male and female variations repeat even slightly overlapping each other.

Adage:

Female performs classical shapes and is displayed by an almost invisible male supporting her from behind

Marie Taglioni (1804-1884):

French ballerina considered the quintessential Romantic ballerina and one of the greatest dancers of the century. Known for her role in La Sylphide and 1st ballerina to trumy dance en pointe. First to hoist herself up on pointe, but was only for brief moments at time and only as part of an acrobatic trick. Taglioni wore her slippers a few sizes smaller to squeeze her metatarsals together to provide more support to be able to dance on pointe (high half-pointe). She was considered very chaste and conservative. Performed with knees covered, entire fams could attend

Redowa:

Gets its name from the Czech word rejdovák,derived from rej, which means "to whirl". The dance includes movement in triple time resembling acwaltz and a dance in 3/4 time resembling a polka. Originally a folk dance, it first appeared into the salons in Prague in 1829 and fell out if fashion by 1840.

Other religious dances suppressed:

Ghost Dance/ Natdia was a spiritual movement that came about in the late 1880s. Often linked to Lakota resistance and white Americans fear of uprising. Because forced assimilation had nearly destroyed Natives culture, tribal leaders attempted to reassert their sovereignty and invent new spiritual traditions. Wovoka, a shaman of the Northen Paiute tribe, considered himelf the messiah. He prophesied the reuniting of remaining Indian Tribes of the Southwest and West and the banishment of all evil from the world. According to Wovoka, Ghost dance ceremony would reunite the spirits of the dead with those of the living and power of spirits could be harnessed during conflicts with the government and white settlers. Chief Sitting Bull embraced the Ghost dance and led the Sioux to victory over U.S Army 7th Cavalry Regiment Battle of Little Bighorn, helped facilitate the spread of the dance throughout Sioux Reservation.

Coda:

Grand finale with both dancing in a climatic ending

Polynesian Dance (French Polynesian):

In Tahiti, dance was abolished in 1820 by the British Puritan missionaries. The british arrived to the islands and began to colonize in 1800s. As the influence of the British became stronger, they spoke out against Tahitian dancing. Dances communicated storied of the people. Was particularly conveyed through hand gestures performed in unison with hip movements. The swaying of the hips and movement of the torso that missionaries believed was too provocative and alluring. Dances were banned until 1950 when they were legalized.

The Regency Ballroom:

Included a variety of music and dance styles from different periods, but the unifying factor was the social nature of dances. Might be Jigs and Reels like "The Virginia Reel"=Renaissance Period, English country dances like "Mr.Beveridges Maggot"=Baroque period, Cotillions and Quadrilles= Classical Period. All these group dances in which many couples interacted and danced in a larger pattern. It was considered rude for any couple, whether married or courting, to dance more than two dances together in one evening. Changing oartners throughout the evening, and even during the dance itself, was an essential component of the social benefits of dancing.

Themes of Romantic Era Ballets:

Included fascination with the supernatural, romantic notions, sensuality, and nationalism. These themes are evident in La Sylphide, premierin in Paris in 1832 and Giselle in1841. Introduction of point work, many of the images of the ethereal, mystical, and unearthly were able to be produced. Flying machines further allowed for the illusion of floating. Romantic ideas were further promoted by the female superstars such as Marie Taglioni, Fanny Elsler,& Carlotta Grisid becoming international stars. By 1940s, men were eliminated from the corps de ballet.

Technology Advancement:

Introduction of piano forte allowed more diverse range of music for both concert and social dance. It permitted popular stage and operatic music to be reguarly adapted into dance tunes. This promoted private dancing parties at family homes. Dance and music activity became and increasingly popular amusement and family members turned to learn how to play as a hobby.

Carlotta Grisi (1819-1899):

Italian dancer, first pupil of Jules Perrot. They worked together, even had a child, for many years and he created roles for her including Pas de quatre. Théophile Guatier witnessed Grisis dancing and wrote Giselle for her. Became the 1st full length ballet she performed in Paris. Highlighted her ability to perform both spiritual and sensual roles. The results of Grisi's commendable duality is that today's dancers dont specialize in one type of character or style but must be versatile.

Habañera dance:

Known as a contradanza, Habañera was the 1st written music to be rhythmically based on African rhythm patterns. Cuban contrdanza, called Habañera outside of Cuba and New Orleans it was known as Creole Country Dance. Its a mixture of Spanish, African, Cuban rhythms. From Cuba, the Habañera appeared in Spain then Argentina. Later arrived in France. Subsequently, Habañera merged with Milonga and created Tango. In the U.S, Habañera beat became component of some Ragtime music& In Mexico called Danza.

Racket:

Lively dance that combines quick cuts of the feet back + forth and sideways glides. Appearing in American dance manuals, it spread to France. Typically danced to the galop time (2/4) but it could also be danced to Waltz (3/4). Racket was one of the new couple dances that began and lingered into the 20th century. Its unique to other couple dances of late 19th century, as it doesn't rotate or revolve. It relies on the sliding step in every possible direction as no full turn is made. Other late 19th century couple dances make a half-turn every measure, like the waltz, polka, or 2, like in the Galop and Polka mazurka. Others have a longer pattern involving some straightline travel followed by turning, like the Schottische

Male variation:

Male dances by himself in shorter phrases and flashy movement that showcases the ideal danseur noble movements such as soaring jumps, runs in the air, and pirouette turns.

Popular Social Dances with African Roots:

Part of the middle passage as slaves were forced to dance for captains, crew, guests. Although prohibited on plantations, dance performe by slaves as part of social and cultural heritage. Often contained movement and steps, which were easily concealed in their everyday work but had African dance in their roots. Dances created on American continent were combined of dances learned from slaves & masters. Although slave dancing originally disregared or discouraged, after Emancipation existed great interest in contraband dance. Slave dances of 19th century included Cakewalk, buzzard lope, breakdown,&pigeon walk.

The Lakota:

One of central religious ceremonies of the Plains Indins was the Sun Dance. One if seven major rites of Lakota religion, intened to honor the Creator Deity for earth's bounty and safeguard that abundance would continue. Its now the only public ceremony of the Lakota or Teton-Sioux, religion, however, various forms were perfomed by Crow, Blackfeet, Cheyenne, Arapaho, Plains Cree, & Wind River Shoshoni. Tribal dance had dual purpose with world renewal and thanksgiving at its center. Dedicated to Sun and earth and its cycle of growth and powers that animte the universe.

Cakewalk:

One of the most famous of the slave dances which spread to the ballroom. Origin dates to pre-Civil War South when slaves would sometimes be allowed by their owners to hold entertainments on holidys and evenings in their wuarters. These parties included instrumental music as the banjo, singing, and dancing. The evening was a procession of the couples, dressed in their best clothing, following a chalked line on the dance floor. Those in attendance would then vote for the couple with the best carriage, demeanor, exaggerated movement with a cake going to the winning couple. Typically performed at gatherings on black slave plantation, before and after emancipation in the Southern U.S. Movement was created by slaves to mock the dancing of high society white peoole. Included a bound upoer body that was very presentational contrasted with active legs which included high prances and illusions of rubbery knees. Alothugh an imitation dance of their white owners, the viewers found humor jn the overall dance and would often have slaves from different plantations compete against each other.

Robert le Diable/Robert the Devil (1831):

Opera by Giacomo Meterbeer and not ballet. However, its premiere at the Paris Opera caused a sensation and is linked to the start of the Romantic Era ballets. Was the performance in 3rd act in which Marie Taglioni led a band of ghostly dancing nuns from their tombs in a moonlit cloister which ignited the movement. Sometimes referred as "ballet of nuns", was one of the 1st ballets to address Romantic Era concepts, including supernatural & occult.

Polka:

Originating in Poland, the Polka eclipsed the Waltz becomingan immediate sensation in society ballrooms first in Prague in the 1830s, then Paris in 1840, and by 1843 it was an international craze that swept Europe and the U.S. Allowed closed-couple dancing to be accepted and dancers found joy in spinning in the arms of another dancer. Set in 2/4 time the Polka includes individual turning of the couple with a circular floor pattern so it can be a very dizzying dance. Playful variation at the end of the 19th century allowed for couple relationships on the ballroom. However, the polka was considered rowdy. Polka evolved into the 20th century two step.

Mazurka:

Origined in the 16th century among the Mazurs of east-central Poland. Although it remained a folk dance it was quickly adopted at the Polish court. Later it spread to Russian and German ballrooms and by the 1830s had reached England and France. These set dances in 3/4 time were performed in formations of lines and swuares and added variety to an evening's dancing. Due to the liveliness, it was often utilized in ballets as a component of folk dances integrated into the plots. As oart if a social dance setting, its utilized in the 1870 ballet Coppelia.

English Country Dance:

Originted from the older French Contradanse and Cotillon figures. It along with the Scotch Reel and Mazurka featured intricate steps that added to the variety to an evening's dancing. However, a trend to more natural or easy dance reduced the English country dance to simple walking later in the century.

Gallop:

Polka and Galop emerged to balance its sensuality. Gallop wa named after the fastest running gait of a horse and is a shortened version kf the original term galoppade. Hungarian or German in origin, it is a lively country dance, and was often performed afterthe Volte and the country dances, or, Contredanses. Galloo was a variant to the slow and solemn dance of the Mazurka.

The Creole Show (1889):

Premiering in New York City, produced by Sam T. Jack was a new style of music review. Show was a change from minstrel format and presented African Americans in a dignified way. Marked a breakthrough for african entertainers in the generations following the Civil War and feautured an all-black cast, including 16 black women as chorus girls. Also had a new musical style that emerging in African American neighborhoods of New Orleans and St. Louis. The music was called "ragtime" due to its syncopated or "ragged" rhythm. Finale was the performance of Cakewalk.

Irish Dance:

Promote and encourage all aspects of Irish culture in Ireland the Gaelic League was founded in 1893. As part of the organization, they established and coordinated formal competitions, lessons, rules for Irish dancing. By 1930, the organization had developed into Irish Dancing Commission.

Scotch Reel:

Reel is Celtic in origin and is the most common form of Scottish country dance. They're performed wuickly mostly to 4/4 tempo music with a few 2/4 tempo and are an important part of the repertoire of the fide traditions of North America and the British Isles. A variety of Contry dance in which dancers perform traveling figures alternating with "setting" steps danced in one place. When dancing a Reel, there should be sets of two or more couples. Scottish Reels are mentionedas early as the 16th century. Except in the Scottish Highlands, where they disapeared under the influence of the Presbyterian Church in the 17th century and later reappeared in Scottish Lowlands after 1700.

The Regency Era: (1800 and 1830s)

Regulted by social conventions but wasn't as formalized as what comes later. The unrestricted clothing allowed dancers to perform dances with lots of jumping and skipping. Regency ballroom was lively as dancers spun, hopped, clapped, laughed, talked. Often encouraged by drinking, there was an air of energetic fun.

New movement in Ballet:

Romantic period began in early 19th century as a revolt against aristocratic social and political conventions of the Age of Eightenment and was a reflection the romantic ideas of art and literature of that time. A reaction to the 1st Industrial Revolution, Romanticism was a time of fantasy, supernaturalism, etherealism, and exoticism. The stories of the era dealt with issues of man v.s nature, good v.s evil, supernatural v.s society, and they offered fantasy, romantic love, & folk legends. Romantic ballets themes were about "emotion over reason," including nightmares and irrational madness and moods,& out of control love, imagination, mysterious, bizarre, monstrous, & occult, ideal of man inrevolt, objection against mechanism, stressed nationalism by including local and national themes. Characters were often in a love triangle or unrequited love with human and fantasy figures. The leads were supported by the corps de ballet who performed group dances. Females took centerstage and men took the role supporting the ballerina. Female ballet emerges on international stage to drive ballet craze.

Lev Ivanov (1834-1901):

Russian ballet dancer and choreographer. Younger colleague of Marius Petipa, together they choreographed the Nutcracker and Ivanov much of Swan Lake. He also choreographed Act II of Cinderella under the supervision by Petipa. He became the Second Ballet master of the Imperial Ballet and was a central ballet figure in the late 19th century

Shaking Quakers:

Shaker practice also known as Society of Friends, emerged during the American Revolution, their practices related to dance had changes. Religious inspiration was considered a sign from the Holy Ghost and manifestations could include shaking fits within the worship. "Quakers" was from their process of worship, where violent quakings and tremblins were prevelant. Performed also to shake off sins. Fellowship included exuberant dance and movement. Spontaneous dancing was part of Shaker worship until the early 1800s, when placed by choreographed dancing. Spontaneous dancing came back in 1840s. Dance in worship is stil practiced in placed like the Sabbathday Lake Shaker Village Community-Utopian society (older religious community in U.S to 1783)

Kolo Dance:

Slavic dance that may have originated in the 18th century, but the dances and songs started to be collected by the end of the 19th century. These were communal dance of some Balkan and were performed in a circle.

Why Romantic Era ended:

Some say it eneded as its style and approach is the basis of ballet performed today. However, most say its peak lasted only from around 1830 to 1840s. There were many factors including the American Civil War in 1865, Franco-Prussian war in 1870, & the migration of ballet to Russia and Americas. Later in 1917, Russian Revolution also affected the creation of Romantic Era ballets. Some historians believe that the decline of importance of male dancers with attention to female dancers may correlate too.

Marius Petipa (1818-1910):

Son of a french dancer and student of Auguste Vestris, dancer, educator, & leading choreograoher for the classical ballet in Russia where he integrated the styles of Italian and French ballet. For his groundbreaking work, he imported European stars& incorporated national dances and stories told through stylized mime. These late 19th century ballets including Don Quixote (1869), La Bayadere (1877), Sleeping Beauty (1890) were just a few of many evening-long concerts. He also co-choreographed The Nutcracker (1892), & Swan Lake (1895) and with Lev Ivanov. He commissioned work by Tchaikovsky, which added to the artistry of this work. Even today Pepita's work is performed internationally and used as a benchmark for international competitions

Quadrille:

Survived the French Revolution, always associated with dancing and pageantry. Performed by 4 couples in either two lines or square formation with both step & figures. Its made up of four/five favorite contredanse figures that were woven together to create this single dance of quick steps, such as the jeté assemble, chassé, entrechats. Between each figure, musical theme is played; so, dancers have time to remember the upcoming figure & have an opportunity to socialize with other members of their set. Basic position within the square are the head couples, coupled number 1&2, the side couples number 3&4. Positione within the wuadrille imitated the stringency of European society. Performed with complex steps+intricate jumps. Later, dancers simplified the steps to the pas marche/walk. Was appropriate to glide throughout the figures in a waving, graceful manner. The Lancers Quadrille came into practice in the 1st 3rd of the century.

Popular dances during the Victorian Era:

The Victorian Era dance from late 19th century to 1910, was the pinnacle of partner dance, yet was characterized by a rigidity and a return to more complicated dances. The dances popular in the mid-century were still perfomed at the end of the century, but by fewer people. In an unsuccessful attempt to secure their financial standing and place in society, dance masters invented complicated dances. Due to the complexity, dances weren't popular& the demand grew out of favor. One by one, Mazurka, Schottische, Redowa, & Polka began to fade. Dance needed to adjust to the changing period. Another change was in fashion, including the introduction of the bustle. Replacing the hoop in skirts necessitated changes in how dancers could dance together. The bustle made it challenging to dance the older dance styles.

Tango:

The first stirrings of the tango appear in 1880 along the Río de la Plata. Influenced by the Spanish-Cuban Habañera, the AFrican Candombe, and the Argentinian Milonga, the Tango is a partner dance with a seductive feel. The dance originated in lower-class districts of Buenos Aires and Montevideo. It was frequently performed in brothels & bars. Later in the 20th century, Bueno Aires orchestras and dancers traveled to Europe& brought the craze with them.

How a dancer would make their romantic intentions known:

The male was the one to ask a woman to dance, which was done with dance cards. The dance master or master of ceremonies would present a card to each woman with different dance sets and the men competed to write in their name next to the dance of the woman they were interested in dancing with for a specific set. If a womens "dance card was full", she was very desirable as both a dancer and wife. The cards were often carried or worn the writs. Some dance cards were very elaborate and included items like fans, earring, which had potential dance partners name penciled in

Social dance important in society:

Very, as it was the vehicle for courtship and promoted the social expectations of womens and mens roles in society. Dancing was utilized to convey to others a dancer's social standing. Also conveyed desires and thoughts without verbal communication. Dance was an important factor in facilittin courtship, which lead to marriage. In the U.S, some authorites viewed dance as a Pagain ritual. Despite the growing popularit in the post-Revolutionart and antebellum period, dance master was completely rebuked by dance opponents. They were often viewed as the ambassadors of the devil's work and frequently forced into temporary and traveling work. Sometimes, private employment by families and organizations preparing to host a ball were only work they could find. Additionally, dance was thought to have be tvhe potential catalyst of civil unrest. It wasn't necessarily considered a problem, but that it could cause turmoil. As time passed, European immigrants brought with them new dance techniques and danced. Although many American fell into the category of either severe critic or strong proponent, many more took a moderate stance. The number of Americans who favored dancing increased greatly, eventually drowned any voices of opposition. Many people could see some value to dancing as it bestowed upon the body grace of carriage and dancing grew in popularity.

Romantic Era Waltz, and Polka have in common:

Waltz&Polka- allowed for many people to take to the floor simultaneously. Although were couple dances, Waltz+Polka didn't require the specific floor patterns of the previous era and thus almost everyone could dance at the same time. Both were initially regarded as scandelous. Waltz is now considered graceful at weddings/sweet 15s. Contact of the bodies, excitement of the whirlwind turning was considered improper. The speed of turns provided momentum to keep the fashionable fabric the way of the moving feet. Meanwhile, the increasing trend toward ease and naturalness in dancing had elimated the intricate steps from the Quadrilel and country dances, reducing their performance to simple walking

Where most Social Dances were presented at:

balls, assembly rooms, even taverns. Ball consisted of Group dances with different formations as well as Couple dancing. These two dances would alternate throughout the evening. Balls would open with a Grand March, and the leader and his partner lead of the other dances in promenade around the ballroom. When everyone was behind him, the circling couples would seperate with both male and female leads making their own circles. From there, two centric circles were made by men passing on the inside and women on outside. Leaders then meet up in the middle creating the Arbor March. Was part of a ritual for courtship. Patronized by the rich, there were strict rules of etiquette with dancing preplaned for the evening. However, other classes enjoyed more riotous dancing at parties help in taverns or gathering places. Less organized events with more casual encounters. Its interesting to note that controversial dances like Waltz might be danced at both type if venues but with different styles to suite the location + audience.

La Sylphide (1832):

choreographed by Filippino Taglioni for his daughter Marie Taglioni. Considered to be the 1st Romantic Era baller and one of the oldest romantic ballets. First ballet where dancing en pointe wasn't just a trick or stunt, but part of the aesthetic of dance. Marie, who starred in the work, set a new style of fashion for ballerinas which included a white skirt raised to her calves as well as bare shoulders and arms. La Sylphide was later rechoreograpged in 1836 by August Bourneville, using a new commissioned score. This version remains part of the repertory of the Royal Danish Ballet. Story lines includes James, Scotsman about to marry, whos lured by a sylphide. Due to a sorceress magic red veil that James wraps around the mythological spirits wings, thet fall off. She dies&James is left knowing that his fiancée married his cousin instead.