The Paso Doble
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PASODOBLE in southern France, and it’s this influx of Spanish culture that inspired the creation of the Perfect bullfighting dance,” says Gary. “But 10 2 the tempo and regular /4 beat are most likely drawn from a popular Photograph © Ron Self French military march called ‘paso redoble’, or ‘double step’, similar to ‘paso doble’ or ‘two step’.” The paso doble “The combination of marching beat and speed – 62 bpm at Prepare to dance for your life as Marianka competition level – make it very different to any of the other Swain explores the passion, drama and Latin styles,” explains Harriet. “Its cultural significance of the paso doble regularity means every step is distinct, like determined speed Photograph by Jack Blake, from the Dancing Times archive walking, as opposed to the f all the ballroom jive’s easy swing or the samba’s “ styles, this is the one undulating syncopation. That his practice was interpreted Othat most requires presents two challenges to the Tby French instructors and you to be an actor as well as a dancer: firstly, to maintain that dancers at the beginning of the dancer,” observes Gary McDonald, relentless pace, and secondly, 20th century, taking elements of executive board member of the to add shaping, variation and these traditional torero dances, World Dance Council. Teacher drama to this martial baseline.” including flamenco action, and Harriet Nelson agrees: “Unlike Fortunately, the paso doble combining them with partner other dances, there isn’t really has a rich cultural backdrop. dance interpretations of the a ‘paso lite’ – a social version Although it was shaped into a drama of the bullring. The name suitable for a crowded floor. You ballroom style in France, the paso doble, or “two step”, refers have to commit, wholeheartedly, dance’s origin lies in the tradition to the emphasis in the time to its violence and passion, to of the torero, or bullfighter, signature: two emphases per playing those specific roles and making an extravagant entrance bar, so in 2/4 time signature, the to evoking the most dramatic into the ring (known as the dancers stress “one” and “three”, story in the ballroom world.” paseo), which included rousing and in 2/6, they stress “one” This dramatic content makes the music and some dance steps, and “four”. This fledgling form paso doble one of the most well- and in the drama of the passes was popularised in bullfighting known of the standard ten dances, The dance, of course, draws on (or faena) made just before pantomimes, common in the as renowned for its association the tradition of bullfighting, which the kill, which, like a Hollywood 1920s, with the man playing the with sunny Spain, the charging can be traced back to prehistoric movie, were emphasised bold, arrogant torero and the bull, the swish of the matador’s bull worship and sacrifice and to by a stirring soundtrack. woman the elegant cloth or capa. ➤ cape and blood in the sand as for one element of Roman gladiatorial any dance steps. However, it’s games, before it was adopted as also a dance curiosity, for if you a distinct pastime in Spain and “The paso doble is also a dance curiosity, for if you start to examine the figures of this its central and South American start to examine the figures of this hot-blooded hot-blooded Spanish explosion colonies, popularised as a sport on Jurij and Jagoda Batagelj dance the – coup de pique, sur place, huit – foot (as opposed to horseback) by paso doble at the International in 2010. Spanish explosion – coup de pique, sur place, you’ll soon discover that it owes Francisco Romano in the 1720s. Top right, Robert and Margaret O’Hara huit – you’ll soon discover that it owes as much demonstrate the paso in as much to France as Spain in “In the 19th century, corridas Ballroom Dancing Times, June 1964 to France as Spain in its terminology and origins” its terminology and origins. became increasingly popular 40 / WWW.DANCE-TODAY.CO.UK JUNE 2012 \ DANCETODAY \ 41 PERFect10 However, the paso doble owes ancing the paso doble, its inclusion in the ballroom Dhowever, is not just stamping, canon to renowned French cape waving and stabbing, notes dancers, instructors and Latin Harriet – “that’s a common ISTD founders Pierre Zurcher misconception! The body positions Margolie and Doris Lavelle, who and lines are very specific. The made it the toast of Paris in the leader represents the bullfighter, early 1930s and then took it to who manipulates his body to attack the UK as the newest fashion the bull while minimising counter- in partner dancing, placing it attack by twisting out of range alongside cha cha cha, rumba and presenting a smaller target, and samba in their repertoire. and the capework, both with an Paso doble has never been actual cape and with the follower adapted as a social dance, but it acting as the cape, draws on folk survived as a competition style, tradition, so it’s a proud art form. “most likely because of its test Robert and “Also, as the paso developed, of partnership, performance, Margaret O’Hara dancers added more Spanish Photograph by Jack Blake, from the Dancing Times archive energy and commitment,” courtship elements, with the believes Harriet. “It requires great woman taking on the role of strength from both dancers – señorita in addition to cape and although it’s often thought of as bull, so in certain figures, it’s the man’s dance, the follower a dance of flirtation with the takes a dominant role in some same rules for specific flamenco of the flamenco figures – but it’s movements as you have for a real balancing act: too much Cuban motion or samba bounce.” power and passion and you lose The narrative shaping and control of it; two much attention flamenco feeling is crystal clear to detailed lines and shapes and in the most popular paso doble you lose the emotional impact.” music, Pascual Marquina Narro’s Part of the appeal for dancers rousing “España Cañí”, composed is the creative process of in 1925, which has notable shaping the story through this highlights. “It’s the perfect music balance of battle and seduction, for this dance,” says Harriet. “It violence and artistry, brutality commands attention, it requires and beauty. Unlike most other a polished, detailed routine with ballroom styles, the figures have extravagant climaxes for the a distinct narrative purpose, highlights and it challenges the informing the audience who dancers to match the martial beat, or what they’re seeing on Franco Formica and Oxana stirring passion and dramatic the floor: a brave bullfighter, Lebedew perform a paso doble heights; anything less will fall at the Night of 100 Stars, 2010 steeped in tradition, a proud, Photograph © Ron Self flat. Like the bullring, paso doble sultry gypsy girl, a billowing is not for the fainthearted.” l cape or a rampaging bull. which the man leads his partner Danced correctly, the steps from one side of his body to Next month: Rachelle tell the story, such as the appel other to mimic the bullfighter’s Stretch concludes the or foot stamp, which would raise caping motion; and the coup de series with her exploration dust in the ring to get the bull’s pique, which evokes the stabbing of the roots of the jive. attention; the chassé cape, in motion of the bullfighter. 42 / WWW.DANCE-TODAY.CO.UK.