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Creolizing Contradance in the Caribbean
Peter Manuel 1 / Introduction Contradance and Quadrille Culture in the Caribbean region as linguistically, ethnically, and culturally diverse as the Carib- bean has never lent itself to being epitomized by a single music or dance A genre, be it rumba or reggae. Nevertheless, in the nineteenth century a set of contradance and quadrille variants flourished so extensively throughout the Caribbean Basin that they enjoyed a kind of predominance, as a common cultural medium through which melodies, rhythms, dance figures, and per- formers all circulated, both between islands and between social groups within a given island. Hence, if the latter twentieth century in the region came to be the age of Afro-Caribbean popular music and dance, the nineteenth century can in many respects be characterized as the era of the contradance and qua- drille. Further, the quadrille retains much vigor in the Caribbean, and many aspects of modern Latin popular dance and music can be traced ultimately to the Cuban contradanza and Puerto Rican danza. Caribbean scholars, recognizing the importance of the contradance and quadrille complex, have produced several erudite studies of some of these genres, especially as flourishing in the Spanish Caribbean. However, these have tended to be narrowly focused in scope, and, even taken collectively, they fail to provide the panregional perspective that is so clearly needed even to comprehend a single genre in its broader context. Further, most of these pub- lications are scattered in diverse obscure and ephemeral journals or consist of limited-edition books that are scarcely available in their country of origin, not to mention elsewhere.1 Some of the most outstanding studies of individual genres or regions display what might seem to be a surprising lack of familiar- ity with relevant publications produced elsewhere, due not to any incuriosity on the part of authors but to the poor dissemination of works within (as well as 2 Peter Manuel outside) the Caribbean. -
What Is Square Dancing
Modern Western Square Dancing Something Old, Something New Country Barns, haystacks, fiddle music, and farmers in overalls; that’s the image most people have of Square Dancing. Those people are always surprised when they see how our National Dance has come of age. Today’s dancers move to modern music, they meet in air-conditioned schools and recreation department halls, and they come from all walks of life. A pleasant mix of Classic Rock, Top 40, Country, Latin, and “Oldies” is used at most Square Dances today. Dancers might be promenading to “Pink Cadillac” one minute, and circling to “You Are My Sunshine” the next. In short, everyone can find their favorite music at a Square Dance today. Just as the music is a blend of styles, so are the dancers, with everyone from company presidents to unemployed, and from student to retired, all having a good time together. It doesn’t matter who you are or what you do, just that you like having a good time with friendly people. There are square dance clubs on many college campuses around the country, and on many military bases, here and abroad. Single dancers dance together at Single Square Dance clubs in many cities. Square Dancing is described as “Fun and Friendship Set to Music.” What better place for singles to meet each other for a relaxing evening of fun? No matter where you travel, here or abroad, you are never a stranger at a square dance club. Today’s Square Dancing is a combination, and evolution, of the folk dances of many parts of Europe. -
Resources for the Study of 19Th Century Social Dance Ellis Rogers
Resources for the Study of 19th Century Social Dance Ellis Rogers The following is a summary of the most accessible and useful Wilson, T of the sources for research into 19th century ballroom dance, A Companion to the Ballroom with some information on their content. Only British, French, Button and Whittaker, London, 1816, 234 pages German, American and Canadian sources are quoted. Notation of the melody line and calls for hundreds of The abbreviation ‘call’ has been used to indicate abbrevi- country dances; notation only for Allemandes, Cotillions, ated instructions for figures, for example ladies’ chain, prom- Minuets and Marches. Includes an entertaining ‘Disserta- enade. tion on the state of the Ballroom’, a great quantity of 1. General Survey of 19th Century Dance dances, not always of high quality. Three books are essential reading: Wilson, T Emmerson, G.S. A description of the correct method of Waltzing A Social History of Scottish Dance Sherwood, Neely and Jones, London, 1816, 119 pages McGill-Queen’s University Press, Montreal & London, A description of French Waltzing - slow Waltz, Sauteuse 1972 Waltz and quick Sauteuse danced in sequence. I am not This book contains much general material on English as aware of any other description of this form of waltzing well as Scottish dance, predominantly of the 18th and 19th although the folk dance Swedish Masquerade has some centuries. similarities. Also includes description of German Waltz- Guilcher, J.M. ing; notation of melody line given for several tunes. La Contredanse Gourdoux-Daux, J.H Mouton & Co, La Haye, 1969 Principes et notions elementaires sur l’Art de la Danse An excellent and complete history of social ballroom Dondey-Dupré, Paris, 1811, 87 pages dancing in France from medieval times to the 20th century. -
The History of Square-Dancing
The History of Square-Dancing BY S. FOSTER DAMON ODAY in America we find ourselves in a great period Tof square-dancing. These old American folk-dances, which have never died out, have revived and spread from backwoods and mountains and plains into the cities again. Yet nothing seems to be known whence they came originally and how they developed into what they are. For some years now, I have been gathering information from old dance- books, town-histories, travellers' chronicles, newspapers, novels of the old times, even poetry and sheet-music, with results which have fitted together into an outline-history of this forgotten phase of our culture. This history is not unamusing, pivoting as it does, now upon some great revolution, and again upon so trivial a matter as a change of style in ladies' skirts. For the history of square-dancing is an expression of the ever-changing time-spirit. Anthropologists report that the great apes have been observed dancing in lines and circles. If this be so, folk- dancing is probably older than mankind. Certainly in man's own half-billion years, folk-dancing has spread every- where, so that there is not a step, not a formation, probably not a figure, which may not be found somewhere else on the face of the globe. No tribe, no nation, can now claim to have originated anything, especially as the chronicles for this world-wide event were never kept. But the movement which produced American square-dancing emerged into the light of history on March 19, 1651; for on that day was published the first English dance-book, John Playford's epochal English Dancing-Master. -
The French Connection and Ca Ira' Peter Ellis
“Calling the Tune and Leading a Merry Dance” Part 9 '- The French Connection and Ca Ira' Peter Ellis The mention of Downfall of Paris in Part 8 from the newspaper report of 1825 was a bonus. It meant I could reference it as a country dance most likely known out here as surely readers would be up with the 'play' in the satirical account. Downfall of Paris is a tremendous tune in which details of origin are extremely interesting. It developed from a French revolutionary song Ça Ira with words vehemently aimed at the aristocracy. These words have been forwarded by Chris J Brady in England with other information variously given to him by Paul Roberts and Frances Tucker. "Ah! It'll be fine, It'll be fine, It'll be fine aristocrats to the lamp-post Ah! It'll be fine, It'll be fine, It'll be fine the aristocrats, we'll hang them! And when we'll have hung them all, We'll stuff a spade up their arse" An illustration of the revolution referencing the tune can be found via the link http://tiny.cc/b39fs It is from the British Museum and shown below. British Museum number 1948,0214.486 Description Political satire; a horned, winged devil, exclaiming "ça ira", pulls an open cart full of monkey-like musicians, followed by a row of women carrying farming implements and rows of infantry, with chicken faces; a nebulous city in the background and flying monkeys with French caps carrying a sheet of music labelled "Ah! Ca Ira" above the cart. -
Rock's Ball-Room Hand Book, Quadrille Preceptor ... and Valse À
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com I In” 7 -_ _ $40.5 .m, @q 'u*v ‘ y .f' *2: . .v '51? § ‘ ‘ ‘ .. {*7 - :7 u t \ X". F \ V Ji-‘lw-’ Mr 44» _ £414 awn, ROCKS BALL-ROOM HAND BOOK, QUADRILLE PRECEPTOR, CELLARIUS INSTRUCTOR, MAZURKA AND POLKA "COMPANION, AND VALSES A DEUX TEMS DANSEUR, - I TOG-TIER WITH ALL THE MOST "INIHAL AND 'AIBIONABLI‘YIGURII AI DAICID A'l' s'rA'Tr-z BALLS AND AT ALMAOK'Q. i IDITBD‘B! GEORGE LEMORE SAUNDERS. ! I 'I‘H'IRD EDITION. /0 LONDON: ROCK, BROTHERS, AND PAYNE. 1845. [Copyright entered at Stalionnrs' Hall-J CONTENTS. PAGE. Preface . 0I'OOIOQCOllolc-O.OIQQQII'OIII 3 Advantages OfDancing.................. 5 RulesHistory for ofDancing Waltzing...................... 9 13 . Paine’s First Set of Quadrilles .......... 17 Lancers Quadrilles by Duval ...... .. .. 20 Lancers ditto by Hart .................. 23 PrinceofWales'ditto........-........... 25 The Cotillion .......................... 28 Gallopade.. “a? ... .. 30 Caledonians .. ... 'w ' A I :__oot-I~I’.Q'ouoaoocooooo 32 Waltz Quadrille . 9ft; . '0 34 Origin of La Polka . if“ 34.1.5114 . g. 35 Lu. Polka Steps .... .. 36 Figures in La Polka $257.1. .. .. 38 La Polka Cotillion . 3.. 39 PolkaValse 1‘1 Waltzes Deux-Tems --0u10|00 41 ’U...‘..OCQIIOIOO 4‘2 La Mazurka ... column-tooloo a o I o a o u. 43 Mazurka Steps..... u .00. .._.0I .. 44 Lu Mazurka Figures .. .. ........ 45 Cellarius Valse. .. I ...-'0. I o I I c I .0000. -
Dancing out of Line: Ballrooms, Ballets, And
The Natural Accidents of Dancing And now and then, as they skip and jump, The giddy couples together bump, With a crash and a smash and a terrible thump, That ends at times in a spilling. —Tom Hood, The Physiology of the Dance “veritable ‘delirium’”1 was incited in English society on A April 11, 1844, when ballet celebrities Carlotta Grisi and Jules Perrot danced the polka for the first time on the stage of Her Majesty’s Theatre. This polka frenzy stamped its name on clothes, hats, streets, and puddings, while magazines and newspapers carried heated stories about the effects of such dancing on the body and how to do it correctly if indeed it must be done.2 The Times printed dozens of advertisements daily for polka lessons placed by “professors of the art,” who are described in one article as having to work night and day to keep up with the “polkamania” infect- ing insatiable young people.3 Punch despaired over the ubiquity of polka talk in social circles: “Can you dance the Polka? Do you like the Polka? Polka—Polka—Polka—Polka—it is enough to drive me mad.”4 To parody the popular composer and conductor L. A. Jullien for creating a new polka “for nearly every day of the month, which he names after the persons by whom,—or the squares, lanes, or alleys where,—they were first danced,” Punch created “The Punch Polka” and printed it as sheet music for public distribution.5 A representative from Buckingham Palace reported to the Times that Queen Victoria “entirely set her face against the polka and [gave] 1 IntroduCtIon Figure i.1. -
Complete Ball-Room Hand Book, Containing Upwards of Three Hundred Dances ... by Elias Howe, Assisted by Several Eminent Professors of Dancing
Library of Congress Complete ball-room hand book, containing upwards of three hundred dances ... By Elias Howe, assisted by several eminent professors of dancing. GV 1751 .H86 1858a COMPLETE BALL-ROOM HAND BOOK CONTAINING UPWARDS OF INCLUDING ALL THE LATEST AND MOST FASHIONABLE WALTZ, POLKA, MAZURKA, SCHOTTISCHE, GALLOPADE, COMMON AND POLKA REDOWA, QUADRILLES, COTILLONS, VARSOVIANNA, GORLITKA, MADRILLIANNE. ELETEZKA, ESPAGNOLE, TWO, THREE, AND FIVE STEP WALTZ, ETC. ETC. ALSO, COMMON WALTZ AND POLKA CONTRA DANCES, MAY DAY, CHRISTMAS, AND NEW YEARS' DANCES. Full Explanations, and every variety of the latest and most approved Figures, and Calls for the different Changes, and Rules on THE ETIQUETTE OF DANCING, ETC. 13247 ASSISTED BY SEVERAL EMINENT PROFESSORS OF DANCING Published by DITSON & CO., Boston, New York, and Philadelphia RARE BOOK COLLECTION Class GV1751 Book .H86 1858a HOWE'S COMPLETE BALL-ROOM HAND BOOK: CONTAINING UPWARDS OF THREE HUNDRED DANCES, INCLUDING ALL THE LATEST AND MOST Complete ball-room hand book, containing upwards of three hundred dances ... By Elias Howe, assisted by several eminent professors of dancing. http://www.loc.gov/resource/musdi.243 Library of Congress FASHIONABLE DANCES, WALTZ, POLKA, MAZURKA, SCHOTTISCHE, GALLOPADE, COMMON AND POLKA REDOWA, QUADRILLES OR COTILLONS; VARSOVIANNA, GORLITZKA, MADRILLIANNE. ELETEZKA, ESPAGNOLE, TWO, THREE, AND FIVE STEP WALTZES, &c. &c. ALSO, COMMON WALTZ AND POLKA CONTRA DANCES, MAY DAY, CHRISTMAS, AND NEW YEARS DANCES. WITH ELEGANT ILLUSTRATIONS And full explanations, and every variety of the latest and most approved figures, and calls for the different changes, and rules on DEPORTMENT AND THE TOILET, AND THE ETIQUETTE OF DANCING BY ELIAS HOWE, ASSISTED BY SEVERAL EMINENT PROFESSORS OF DANCING. -
The Folklore Society of Greater Washington, a Nonprofit, Educational Organization Dedicated to Preserving and Promoting Traditional Folk Arts in the Washington, D.C
Volume 27, No. 7 the March 1991 Folklore HOTLINE: 703-281-2228 Society of Greater WashingtonNHCHHIR BLUES HOUSEPARTY John Jackson Archie Edwards MARCH PROGRAM Friday, March 8, 8:30pm This month’s FSGW program is Friday, March 8, 8:30pm, at the Washington Ethical Society Auditorium, 7750 16th Street NW, Washington DC. As always, the monthly programs are FREE to members, including those joining at this event; $6 others. Featured will be a showing of the Piedmont blues video documentary, Blues Houseoartv. followed by a perfor mances by John Jackson and Archie Edwards, two of the artists appearing in the video. FSGW assisted Eleanor Ellis, the video’s producer/editor, with the administration of her grant from the National Endowment for the Arts. In the summer of 1989, Eleanor, an FSGW member, received a grant from NEA to produce a documentary of a "country folk" blues jam and houseparty held at the home of John, Cora and James Jackson in Fairfax Station VA. The houseparty once served as the social and cultural hub of rural communities. Blues Houseoartv features music, dance and memories of a group of musicians invited to the Jacksons, including John Jackson, Archie Edwards, John Cephas, Phil Wiggins, Flora Molton, John Dee Holeman and others. Parties at the Jacksons’ always feature fine music and attract local musicians. The Piedmont blues they play is a rhythmical finger-picking style from the foothills of the Appalachians, and the artists in the documentary are recog nized as masters of this style. Three of the featured artists (John Cephas, John Jackson, and John Dee Holeman) are recipients of National Heritage Award Fellowships. -
Supplemental Russian Mazur-Mazurka Sources Dance Material
SOURCES, REMARKS, OBSERVATIONS, ANECDOTES, TRANSLATIONS, AND PERHAPS DIFFERENT INTERPRETATIONS OF “NEW” SUPPLEMENTAL RUSSIAN MAZUR-MAZURKA SOURCES DANCE MATERIAL (EXCLUDING DANCE MANUALS) TO BE CONSIDERED AS AN ADDENDUM OR SUPPLEMENT TO PREVIOUSLY PUBLISHED WORK (1984) OF R. CWIĘKA - SKRZYNIARZ A CONTINUING WORK IN PROGRESS NOT IN A CERTAIN TOPICAL OR THEMATIC ORDER BUT ONLY ARRANGED IN A CHRONLOGICAL ORDER — THERE ARE OVERLAPPING CATEGORIES © 11/1/2006 SUPPLEMENTAL RUSSIAN MAZUR-MAZURKA ii TABLE OF CONTENTS 1815 SAINT PETERSBURG, RUSSIA, PEOPLE ..............................................................1 RUSSIAN MILITARY CULTURE IN SAINT PETERSBURG ........................... 2 1817-1818 THE ENGLISHMAN CREEVEY IN FRANCE ............................................3 MARIE NARISHKIN .................................................................................................... 3 1820-1830s DANCE EDUCATION IN RUSSIA ...............................................................3 1826 MENTION OF DUKE OF DEVONSHIRE ............................................................4 1826 DUKE OF DEVONSHIRE IN RUSSIA ..................................................................5 1827 RUSSIAN EMPRESS AND POLES IN DRESDEN ..............................................7 1828 GRANVILLE, A RUSSIA BALL ..............................................................................8 1830s SIBERIA, PRISONERS ..............................................................................................9 1833-1834 NEW RUSSIAN NATIONALISTIC COURT -
THE AFRO-AMERICAN TRANSFORMATION of EUROPEAN SET DANCES and DANCE SUITES1 John F
THE AFRO-AMERICAN TRANSFORMATION OF EUROPEAN SET DANCES AND DANCE SUITES1 John F. Szwed and Morton Marks It is well acknowledged that the court dances which developed in The chief problem in working with Afro-American folk dances Europe from the seventeenth century onward spread to the rural is their lack of visual or written documentation. As in any folk dance areas of Europe and to the new world.2 What has not been pro- tradition, these forms are passed down in an "oral" — i.e., body- perly recognized is that these dances — the quadrille, the cotillion, to-body — tradition. But there are additional problems, beyond the contradance and the like — were taken up by Afro-Americans those of transformation, in the documentation of Afro-American in North and South America and the West Indies and were dances. While dance is frequently mentioned in historical, travel, modified and adapted to local cultural circumstances. In many cases and ethnographic literature, it is treated briefly, quite often in — especially in the West Indies — they continue to be found today. negative comparison to European dancing. Yet as similar as these dances may look or sound, their functions And even where descriptions exist, they are often minimal and are not always necessarily the same as those of their European confusing; a European dance name may refer to an entirely dif- sources. At one extreme, they were "Africanized" for sacred pur- ferent dance; or a native New World term may disguise a well- poses; at the other, they were re-formed and became the basis of known European form; and the European name for a step may label a new world popular culture. -
Northern Junket, Vol. 13, No. 4
n ^w MfM^IWiy^d Ar' m m ' "^ZS-,. • ^ .. 0' \ 51] V 1)04 9. Article Page Take It Cr Leave it - - - - 2 Traditional Eanco In Qjuoboc - Part 2 - 2 DancG Through Tho Ages - - - - i4 Ifftiat To Bo - - - - 15 A Lovo Affair With Old Violins - « 17 Missing The Boat - - -. - 20 Boston; Waltz Capital Of The 11,8. - - 22 Sq-uaro Dance - Trailin' Star - - - 26 Contra Dance - Y"acaipa Contra - - - 2? Two Mixers - Friday mte Mixer & Turn The 28 Glasses Over Thanks To: - - - - - 29 The Way It Was - - - - « 30 Book & Record Reviews - - - - 34 It»s Fun To Hunt - - - - 37 You Enow It»s Winter V/hon- - - - - - 43 Romomher When? - - - - - 44 What TLoy Say In Now Hampshire - .. 45 Odds & 5Jnds Of Folklore - - - 46 1 Legacy Of Recipes - - - ~ 49 Wife Savf^rs - - - - ^ 52 1P3FFA coming events: "A Day With Ralph Rige," Sunday, March 25th. Concord G-irl Scout House, Afternoon and evening; supper in between. A Day To Remember', Live music featuring Bob McQuillen and Rodney Miller. At same^pla'ci'Si'^iSniiday Feb« 25 a- Centra Daiicerwl th Fred Breunig & Randy Miller. March 10, Another Couple Dance Workshop with Conny & Marianne Taylor. TAKE IT OR L E A "^ B I T Gongratulatiins to THE HEW BMAGLAUD FOLK KHSTIYIL ASSOCIATION for their work and part in puptilarizing tradi- ^^ tional dancing in New 'Baglando A f-^w years ago they decided on a series of traditional contra and sqtiare dancGS to "be held in various halls in the Gr^ster Boston area. The majotity: of them have been held in the Concord Girl Scout House ,"¥aldon St.