How to gqom dance

People slowly began to disperse. So in the general flow we went to the subway. There was no strength to continue the festivities, fatigue after the flights made itself felt. We got off the subway at our Sheung Wan station and once again looked at the skyscrapers we saw earlier, but now in the evening illumination:

39. HONG KONG EVENING

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This event is only a part of what we had time to see in GK during our two-week stay.
Links to our other adventures can be found on my blog.

Bows and curtsy in historical dances of the XVII

St. Vladimir Orthodox School0002 Completed by: Kudinova Anastasia Vasilievna

Primary school teacher in rhythm

2019

Ramo

"Bow" means a greeting gesture. Movement characteristic of ballroom dancing.

Represents a sign of respect for the partner and partner to the public and

to each other. Distinguish bows for men (simple, with salute, with the removal of the hat, etc.) and

female (simple, with a transition, with a turn at hand, with a curtsey, etc.)

The dance bow, unlike the everyday one, is subordinated to the musical cadence. In

Minuet or Polka, for example, it takes two measures. On the first measure, step

to the side and a prefix are made, on the second - the head bends and straightens. In the Viennese

Waltz, the same actions are stretched over four measures. In quadruple dances, in

, depending on the tempo of the music, one or two measures are enough.

When bowing, the half-reversed positions of the legs and the relaxed positions of the hands are observed.

The Cavalier can hold his arms slightly rounded down with his hands turned back. If he holds the lady's hand with one

hand, then he can remove the other behind his back. When performing

the old courtly bow, the gentleman should slightly move his hands to the sides and

bow very deeply in order to maintain symmetry of the lady's low curtsy.

During the bow, as in the curtsy, the lady takes the side folds with her hands

dresses, slightly above the knees. With a tight dress, the arms can remain round,

depicting actions with non-existent folds. Also, hands can be clasped in

palm at chest level, or they can be occupied by a fan. If the dress is equipped with a long train

, then when bowing, you must first fold the train back

with a deft circular movement of the leg. The upper part of the body must remain perfectly still

.

At competitions in ballroom dancing, you can see bows that include

effective tricks - the partner’s transitions from one side of the partner to the other,

deft spinning under the partner’s hand and 18 others. This is done to attract attention and

in ordinary cases does not make sense. It should not be forgotten that the main thing in bowing is

a demonstration of the respectful attitude of the dancers to each other, to the public and to the dance.

"Curts" is a respectful bow with a deep squat. Is mandatory

an element of European court dances and all court etiquette.

In Europe during the era of absolutism, the ability to perform bows was considered as an independent art

and was obligatory for all courtiers - for men and

women. According to the technique of execution, "Curts" were divided into small, medium and

important, differing from each other in the depth of the squat and the degree of head tilt. In the

of the 19th century, the curtsey was greatly simplified and was mostly used as a feminine

everyday greeting within a secular society. In the same sense, he entered the

ballroom etiquette of the 19th century - as a polite bow of a lady in response to a bow of a gentleman.

“Even if you don't know how to dance well, you will be credited with being able to curtsey well,” wrote the outstanding dance teacher Rameau at the end of the 17th century.

Fair statement. At that time, the ability to make curtsies and bows

testified to belonging to a secular society. It was supposed - maybe

be, and not without reason - that a person who has comprehended all the subtleties and wisdom of secular

behavior belongs to that society in which one must be able to bow easily and freely

. Curtsy was also a very important part of all dances of the XVI

- XVII centuries, and sometimes there were more curtsies than purely dance movements.

Naturally, the study of the basic curtsies lasted six or seven months, while

the dances were studied for several years.

I. ORIGIN AND CHARACTERISTICS OF HISTORICAL AND EVERYDAY DANCES

DANCES OF THE 17TH CENTURY

"From the shoes to the hat — bows, ribbons, bows,

ribbons! everything is in folds -

in bubbles, a short jacket, a shirt will be released

in assemblies over a skinny stomach!

J. B. Molière

Fig.1

In the first half of the 17th century in France, mainly in Paris, still

continue to dance Italian dances - pavane, chimes, galliards. But in the same

time, their own French court dances were created. Dance masters are paying more and more attention to the

branlies, which are being developed and distributed throughout France

. From the French provinces, various folk branlies penetrate into Paris,

which become the source of new court dances. So, from the French province of Poitou

comes the folk branle, consisting of small steps (pasmenus).

Separate movements of this branle are stylized, embellished, and on its basis

the glorified court minuet is created. (Fig.1)

Measured, small steps are combined with smooth squats, alternating

stiff curtsies. The arms, slightly bent at the elbows, with manneredly raised hands,

a toned body, a raised head, and strictly maintained postures

gave the minuet beauty and solemnity. The dance was performed to slow music, which

was first composed by Lully, using 31 folk dance tunes.

In its form and content, the minuet corresponded to the court-aristocratic style

of the 17th-18th centuries. “In general, this dance ... boring, pretentious, devoid of fire and freedom

movements, it, with its salon gentleness, characterizes

the artificial ceremonial and sugary mores of the secular society of the last century in the best possible way.”

For almost two centuries, the style and character of the minuet has changed.

Famous dancers and dance masters composed new steps: balance-menuet, side steps

minuets, various types of steps. Hand movements became freer and more varied. Now

they were raised high above their heads. The soft and smooth turn of the hands was combined with

various leg movements. The pace of performance began to pick up. The whole dance style of

has become even more refined and mannered.

At first, the minuet was performed by one couple. The dancers could vary the pas in their own way

discretion, keeping the basic pattern of the dance. When several couples began to perform the minuet in

, moving in one or two columns along the hall, then the dancers

could not improvise, but had to observe the established pas and figures.

The peculiarity of the minuet was that it was never danced around the hall, like waltz, polka or other circle dances. His drawing varied in smooth,

rounded lines in the form of the letter S, the numbers 2 and 8, and the letter Z. This is a construction in

is made mandatory hereafter.

In the second half of the 17th century and throughout the 18th century, the minuet was a favorite dance of

different European countries.

III. THE INFLUENCE OF FASHION ON HISTORICAL AND EVERYDAY DANCES OF THE 17TH CENTURIES

Bows and curtseys

, which changed depending on the evolution of dance forms and

character of the costume, were of great importance for dances and court etiquette of that time.

At the beginning of the 17th century, women's dresses no longer have the shape of a bell, but fall

loose pleats. The bodice of the dress is short, the neckline is large, the train is not very

long. Her hair began to curl in ringlets, which 32 went down to her back and shoulders.

They wore gloves, they held beautifully embroidered scarves and fans in their hands. Shoes were on

heels.

In the second half of the 17th century, women's dresses became wider again, and the train became longer.

Ladies wore a dress with a large neckline, long, to the elbows, gloves. Waist

was pulled together by special corsets made of iron plates.

Men

Men began to wear short jackets; pantaloons, to the knees or calves, were tied with

ribbons and decorated with bows. White

satin shoes with red heels, a short cloak, a sword in a sling, a cane and a hat decorated with feathers were supposed to be worn for formal and ball costumes. Her hair was long and curled down to her shoulders. Hats with large brim

raised on the left side were worn low on the forehead. Gloves

were decorated with expensive stones and embroidered with gold.

By the end of the 17th century, the men's costume changed somewhat, mainly the caftan,

which became longer and covered the pantaloons. The floors of the caftan expanded downwards. They wore

very wide, to the elbows, cuffs, gloves, and from the 80s large muffs

came into fashion. The civilians wore a sword on a belt harness over the caftan, and later -

under the caftan. In fashion were long curled; a wig and a hat, the brim of which

was raised from the sides and in front.

In the 17th century, a hat was an essential part of a man's costume. When bowing

, it was taken off and put on according to the same rules as in the 16th century. It was not allowed

to tilt the head and cover the face. When they took over the side of the hat, the hand should

be at the same level with the eye, and the elbow should be at shoulder level. You can fix it

was with both hands. Having taken off the hat, they put it with the crown up on the left hand, bent at the

elbow, or held it in the lowered right hand with the crown forward.

With a hat and a sword, attended official meetings, balls, visits - and

etc. The most noble nobles could, in the presence of the king, after bowing, put on a hat again

. (Fig. 3)

A snow-white shirt made of thin linen with puffy lace cuffs and

a slit decorated with lace frills in front was

an obligatory accessory for a man's aristocratic costume.

Over the shirt they put on a "vesta" - a narrow oar jacket made of bright silk fabric with

embroidered with narrow long sleeves.

They also wore "culottes" - tight pants up to the knee or slightly below it. They

fastened at the bottom with a button, and sometimes they had pockets. Over the culottes, the nobles

sometimes wore white silk stockings, and the bourgeois - colored ones.

Gloves, cloaks, a sword on a belt belt completed the costume. In the 30s. In the 18th century, together with the fashion for snuff tobacco, snuffboxes and tobacco graters appeared.

In winter, men wore large muffs and "gaiters" - stockings without soles,

All nobles wore a sword - civilians on a belt belt, military men - on a sling

over their shoulders.

Fig.2 Fig.3

Women

A woman dressed in a Rococo period costume resembled an elegant porcelain figurine. The silhouette

of the costume in bright and light colors was very feminine and emphasized the tenderness of the fragile

shoulders, thin waist and rounded hips (Fig. 2) .

The shape of the neckline has changed: originally oval, it gradually turned into a

shallow caret. The collar disappeared, the neckline of the bodice was sheathed with a frill or lace. One of the favorite

bodice finishes is the “ladder” – decoding it with bows along the entire

length, from the neckline to the waist (at the same time, the bows decreased from top to bottom).

Women wore an undershirt, a corset and "fizhma" - a lightweight frame, on which the skirt lay loosely, falling in wide folds. Figma, and in France

"pannier", were made from willow twigs or whalebone, laying in rollers and layers

quilted fabric. A decade later, the panniers expanded greatly, acquiring the shape of an

ellipse. It was very inconvenient to pass through the doors, get into the carriage, and when making the frame, they began to use hinges.

The court dress had a train, which was sewn to the shoulders or to the waist.

The ladies' stockings were light silk with gold or silver embroidery.0003

"French" heel.

In the 18th century, rouge, powder, perfume, flies were in fashion. (flies covered smallpox marks)

They powdered their hair and wigs. There were

laces, bows, ruffles, rich embroideries in the clothes.

Between 70-80s. In the 18th century, a complex ceremonial ladies' hairstyle arose -

"koafura" (Fig. 4), which was one with the headdress. Several types of it

were created by the hairdresser of the French Queen Marie Antoinette - Leonard.

The hair was raised above the forehead to a height sometimes up to 60 cm and fixed on a light frame

, which was mounted on the top of the head. Then they were curled, strengthened

with hairpins, pomaded, powdered and decorated with ribbons, feathers, lace, flowers,

with a mass of jewels. Whole baskets of flowers,

fruits, or even models of sailing ships were placed on top of the hair on the head. There were flea combs instead of

jousting tournaments - sword duels, instead of strict ceremonies - balls - masquerades

, instead of stiffness - grace, instead of hunting - opera ballets, etc. characteristic is the importance of the fan as an object of exquisite life and costume. At this time, the “language of fans” appears (Fig. 5).

, a special secret code for gentlemen and ladies (like the language of flies, the language of flowers and other “languages” -

is a characteristic sign of the times). A fan accidentally shifted from one hand to the other

could decide the fate of a lover, express a desire, make an appointment, moreover, with

indicating the exact time and place.

Court etiquette was so strict that sometimes a gentleman could not speak to his beloved

except from afar and with gestures.

It was quite inconvenient and sometimes dangerous to speak in mysterious signs, and resourceful ladies found a very elegant solution

: they adapted a fan for this purpose - an indispensable accessory of the costume

women from hot countries. Thus a whole language was formed, understandable only to the initiates.

The language of the fan had many variations depending on the social circle and even the city. In

European countries, the fan was worn suspended from a silk loop on the right wrist,

and in Spain - both on the right and on the left hand; this changed the value. The position at

in the right hand had a bolder meaning; on the left - "special", addressed

to a secret viewer.

The language of the fan, which appeared in France in the era of Louis, and then migrated

along with the fan to Russia, is difficult to understand today. As a man of his

time, he was “read” in the process of conversation, by changing the position of the fan, by the movement

of the hand, by the number of individual “leaves” that opened and instantly closed. Although

the fan was in the hands of a woman, the man,

to whom the messages were addressed, had to know all the subtleties of the secret language.

In 1911, a collection of good manners was published in Moscow, in which several pages

are devoted to the art of holding a fan: “Good manners. A collection of rules, instructions and advice

on how to behave in various cases of domestic and social life”,

compiled “according to the best Russian and foreign sources of A. Comilfo”. This

collection tells about the meanings of the color of the fan and about the famous “language of the fan”.

Emotional background:

- “Location, sympathy, love” - give a fan to a person with the upper end.

- “Contempt” - feed the fan with the lower end (handle forward).

— “Doubt” — closing fan.

- “Negative” - closed.

- "Unconditional all-encompassing love" - ​​a fully opened fan.

- "Excitement from the news" - sharp, quick strokes.

- "Waiting" - patting with a slightly open fan on the open palm.

Color value:

- White fan - innocence;

- Black and white - broken peace;

- Black - sadness;

- Pink with blue - love and fidelity;

- Red - joy, happiness

- Yellow - refusal;

Phrases:

- “Yes” - put the fan with your left hand on your right cheek.

- "No" - put an open fan with your right hand on your left cheek.

- “I love you” - point with a closed fan at the heart with the right hand.

- “Be careful, we are being watched” - touch the left ear with an open fan.

— “Be quiet, they are listening to us” — touch lips with a closed fan.

- “I want to dance with you” - wave an open fan several times towards yourself,

beckon.

- "You upset me" - quickly close the fan and hold it between folded hands.

- "Follow me" - a pat on the leg from the side.

- "Get out!" - a sharp gesture with a folded fan handle forward.

- "You are my ideal" - touch your lips and heart with an open fan.

(Fig. 5).

IV. BOW AND REVERANCE IN THE 17TH CENTURY

Time signature ¾. The pace is slow. Starting position: legs in III position,

right leg in front. The ladies hold the dress from the sides with both hands, and the big fingers

lie on top of the dress, and the rest are hidden in its folds. The gentleman's hands with

palms down and with slightly raised hands are below the waist,

slightly in front of the body.

1st cycle

One, two. Looking at the person to whom the greeting is addressed, the dancers do a slight

squat on both legs.

Three. Take a small step back with the left foot, gradually transferring the weight of the body

to the left foot. The right leg, extended at the knee and instep, remains in front, touching

with the toe of the floor. Simultaneously with the step back, the cavalier raises

left hand to the hat, takes it by the left side of the brim and lifts it up. Taking off his hat,

moves his left hand to the side. Ladies, taking a step back with their left foot, move the train away.

2nd cycle

One, two. Deepening the squat on the left leg, tilt the body and head.

At the same time, the gentleman brings his hand to the body with a smooth movement, and then opens

to the side.

Three. Straightening from the bow, stretch the left leg. Right foot sliding

move to the left in the III position forward.

If it was required to give a second bow, then the gentleman left his hand with the hat,

set aside, and when bowing, brought it to the body, and then again opened it to the side

. When performing a bow, the gentleman could also take off his hat with his right hand.

The rules of etiquette required several bows, following one after the other

as one approached the person to whom the bow was intended. Did the same for several0003

bows, stepping back. At the same time, 34 never turned their backs to the person to whom they bowed

V. BOWINGS AND CUTS IN THE 18TH CENTURY (practical part)

The curtsy of the lady and the bow of the gentleman are similar in their movements, but the lady in

curtsies squats lower than cavalier.

Curtseys and bows in the 18th century were made forward and to the side - to the right and to the left.

Bow of the gentleman and curtsey of the lady forward

Musical accompaniment No. 3. Time signature 4/4. The pace is moderate.

Starting position: legs in III position, right leg in front.

The lady holds the dress from the sides. The gentleman's hands with palms down and

with slightly raised hands are slightly in front of the body and slightly retracted from

of it.

1st stroke

Looking at the person to whom the greeting is addressed, and doing a squat on the left leg,

slide the right leg forward without separating the toe from the floor. Gravity

body, which is very tucked up, on the left leg. Simultaneously, gentlemen raise both arms to the sides, slightly above waist level. At the same time, the hands are slightly raised,

the palms are directed downwards.

Two. Bow the body and head in bow. At the same time, the arms descend smoothly and roundly

, almost connecting with the hands. The palms are directed towards the body. Then both arms

are smoothly opened to the sides slightly above waist level. Brushes lightly

lag behind the movement of the hands. The palms gradually go down, and the hands slightly rise

.

Three. Smoothly straightening the body, raise the head, Four. Stretching the knee of the left

leg, with a sliding motion pull the right leg to the left in the III position forward.

A variation of the male forward bow (Fig. 5).

The time signature and starting position are the same as in the previous bow.

1st measure

One, two. Looking at the one to whom the greeting is addressed, take a step forward with the right

with the leg, transferring the weight of the body onto it. The left leg, slightly bent at the knee, touching the

"pad" of the foot of the floor, remains behind the right. Simultaneously with the step, the right hand

is raised up to the right, the left to the left, slightly above the waist.

Three, four. They take a step back with their left foot, crouching a little while doing 40. The right

leg, extended at the knee and instep, remains in front, touching the toe of the floor.

Simultaneously bring the right hand to the heart. Left is swiped back a little at level

left shoulder. The body and head are bowed, the right shoulder is slightly ahead of the left

.

All curtseys must be smooth and fluid; wrists very

mobile and soft. The body is pulled up. Curtsy and forward bow are also performed from

of the left leg, standing in front in III position.

(Fig.6).

Gentleman's bow and lady's curtsy to the side

Types of bows

Knicksen - a light and quick bow - a squat of a young debutante, joyful from attention

halls.

A jubilant bow is an expressive, flying and sensual movement of the body, when an enthusiastic

diva “gives herself” to the audience.

Curtsy - a free play of a coquette with a bow, like a dance step, with a deliberate demonstration of

dress, jewelry and oneself.

Time signature, tempo and starting position are the same as in curtsey forward.

1st cycle

Looking at the person to whom the greeting is addressed, take a small sliding step

right foot to the right, transferring the weight of the body onto it. The left leg is left extended

at the knee and lifting in II position on the toe. Simultaneously with the step, gentlemen raise

both hands to the sides.

Two. With a sliding movement pull the left leg to the right in the III position back,

slightly squatting on both legs. Without holding the left leg in III, move it to

IV position back, deepening the squat. The hull is very tight. Simultaneously

with the left leg pulled up to the right gentleman, both hands are lowered smoothly and roundly,

almost connecting them with the hands.

Three. Transferring the weight of the body to the left leg, gently bow the body and head in

bow. The right leg, extended at the knee and instep, remains in front, touching the toe

of the floor. Simultaneously with the inclination of the body and head, both arms are smoothly opened to

sides.

Four. Straightening out of the bow, with a sliding motion pull the right leg to

left to III position forward.

Curtsy to the left side is done in the same way.

(Fig.7).

Cavalier could wear a hat (cocked hat) and not take it off when bowing. If

they took off their hat before the beginning of the bow, then with a round 41 movement they raised their right hand

to it and put three fingers on the top of the right corner of the cocked hat: index,

middle and ring fingers.

The elbow should be on a par with the shoulder, and the palm should be at eye level. Not

it was allowed neither to cover the face with the hand nor to tilt the head. Taking off the hat in a rounded

movement, the right hand was opened to the side. Holding the hat in hand, during the bow

made the same hand movements as without the hat.

To perform several prostrations following one after another, the right leg

after the prostration was not pulled up to the left, but was carried out, sliding the toe along the floor, back to the IV position

and squatted. Then they straightened up and, holding back the left leg,

squatted again, connecting the squat with the above hand movements. Usually with

the same bows went back. The departure with bows was the most respectful

form of greeting.

Prostrations were also performed while walking. Having tilted the body and head, they took

steps forward, during which they again gradually straightened up. If you had a cane with you,

which was held in the left hand, then when bowing it was either placed on the ground, making the movement described above with the right hand with a hat

, or thrown low in front of

with a bow and caught by the middle of the trunk. Then, bowing down, they made a greeting

with their hands.

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