How to gqom dance
gqom dance challenge | TikTok SearchTikTok
#gqomdancechallenge #king @lastroyalsdancecrew187 #fyp @blaqstorm also trying 😂😂👑👑
5.9K Likes, 58 Comments. TikTok video from Michael King (@kingmainou): "#gqomdancechallenge #king @lastroyalsdancecrew187 #fyp @blaqstorm also trying 😂😂👑👑". original sound.
original sound - Thabo09
Track ID: Mphema & Shimora Go+ x Vanger Boyz_Onomo 🔥 #gqom #gqomnation #gqommusic #dance #gqomdance #gqomgqombelieve #gqomset #gqomchallenge #vangerboyz #nightlife #mlungu #mashambula
926 Likes, 9 Comments. TikTok video from Vanger Boyz (@vangerboyz_official): "Track ID: Mphema & Shimora Go+ x Vanger Boyz_Onomo 🔥 #gqom #gqomnation #gqommusic #dance #gqomdance #gqomgqombelieve #gqomset #gqomchallenge #vangerboyz #nightlife #mlungu #mashambula". original sound.
original sound - Vanger Boyz
Thembinator iNdoni Yamanzi
@King of the night_1 🔥❤️🔥🔥 #fyp #dance #tsuvu #gqom #gqomchallenge
2.2K Likes, 19 Comments. TikTok video from Thembinator iNdoni Yamanzi (@iam_sibongokuhle): "@King of the night_1 🔥❤️🔥🔥 #fyp #dance #tsuvu #gqom #gqomchallenge". TsuvuChallenge with Mr Tsuvu Himself🔥. Tsuvu.
Tsuvu - king of the night
We had to jump in to this trend #trending #viraltiktok #masterkg #wayawaya #gqom #dancechallenge
23. 2K Likes, 328 Comments. TikTok video from letthemdancesa (@letthemdancesa): "We had to jump in to this trend #trending #viraltiktok #masterkg #wayawaya #gqom #dancechallenge". Waya Waya.
Waya Waya - Master KG
NEW CHALLENGE ALERT! UMSHINI CHALLENGE. Let’s Goo! ⛹🏾♀️🏀🔥🔥 #umshini #umshinichallenge #fyp #foryourpage #trending #viral #gqomchallenge #dancer #dance #hoperamafalo
32.8K Likes, 92 Comments. TikTok video from HOPE_RAMAFALO (@hoperamafalo): "NEW CHALLENGE ALERT! UMSHINI CHALLENGE. Let’s Goo! ⛹🏾♀️🏀🔥🔥 #umshini #umshinichallenge #fyp #foryourpage #trending #viral #gqomchallenge #dancer #dance #hoperamafalo". I CHALLENGE YOU TO THE #uMshinichallenge | #uMshinichallenge. Slender Da Dancing Dj (Tribute).
Slender Da Dancing Dj (Tribute) - MaSabzer
Dc : @nv_funk #gqom #gqomchallenge #gqomnation #gqomdance #fyp #trend #foryoupage #WozaNeGame #
2.6K Likes, 11 Comments. TikTok video from Jesse Gallant (@jessegallanthairstylist): "Dc : @nv_funk #gqom #gqomchallenge #gqomnation #gqomdance #fyp #trend #foryoupage #WozaNeGame #". Which is Which.
Which is Which - NV Funk
gqom dancers | TikTok SearchTikTok
Gqom dance Tutorial💃💃,let's dance. #sotraladance #formyfans #foryou #viral #vibesonly #fypシ #dancetutorial #4u #dancer
2K Likes, 33 Comments. TikTok video from Sotraladance (@sotraladance): "Gqom dance Tutorial💃💃,let's dance.#sotraladance #formyfans #foryou #viral #vibesonly #fypシ #dancetutorial #4u #dancer". original sound.
original sound - Sotraladance
🔥#gqom #xyzbca #fyp #dance #edit
17.9K Likes, 142 Comments. TikTok video from Geditsz# (@dyrontheeditor): "🔥#gqom #xyzbca #fyp #dance #edit". original sound.
original sound - Geditsz#
Lalela 🔥🔥🔥🔥#fyp #dance #dancerslife #gqom #explore #explorepage
731 Likes, 13 Comments. TikTok video from YoDanceGirl_tbk (@yodancegirl_tbk): "Lalela 🔥🔥🔥🔥#fyp #dance #dancerslife #gqom #explore #explorepage". original sound.
original sound - YoDanceGirl_tbk
Back to school.#fyp #gqom #gqomdance #makemefamouse
1.1K Likes, 6 Comments. TikTok video from tyrellgertze (@tyrellgertze): "Back to school.#fyp #gqom #gqomdance #makemefamouse". original sound.
original sound - tyrellgertze
Pietermaritzburg is packed with dope dancers! Follow for more #bhengadance #stopandgo #mrinspectorsa #foryou #gqom
TikTok video from Dj/MrInspectorSA (@djmr_inspector_sa): "Pietermaritzburg is packed with dope dancers! Follow for more #bhengadance #stopandgo #mrinspectorsa #foryou #gqom". Pmb bhenga dance🔥. Stop & Go.
Stop & Go - Durban Cruz & Mr Inspector Sa
Always a Vibe🔥🐍✌🏼#trending #foryoupage #makemefamous #gqommusic #gqomdancer #gqomdance #gqomchallenge #fypシ #followme #viral #fyp #Gqom #gqomwave
2.4K Likes, 120 Comments. TikTok video from Keithan Hunter (@officialk13sa): "Always a Vibe🔥🐍✌🏼#trending #foryoupage #makemefamous #gqommusic #gqomdancer #gqomdance #gqomchallenge #fypシ #followme #viral #fyp #Gqom #gqomwave". original sound.
original sound - Keithan Hunter
gqom life 🔥🔥 #gqom #dance #schoollife #thelethobuzz #schooltalentshow #gqomlovers
7. 7K Likes, 15 Comments. TikTok video from thandiletharaa5 (@thandiletharaa5): "gqom life 🔥🔥 #gqom #dance #schoollife #thelethobuzz #schooltalentshow #gqomlovers". The letho buzz dance crew . Gqomera.
Gqomera - Dr Dope
So this is what i can do besides tik toks 😂😂❤️#viral #trend #fyp #gqomdance #gqomnation #mzansi
17.1K Likes, 352 Comments. TikTok video from Iss_Raebae (@iss_raebae): "So this is what i can do besides tik toks 😂😂❤️#viral #trend #fyp #gqomdance #gqomnation #mzansi". original sound.
original sound - Iss_Raebae
NEW CHALLENGE ALERT! UMSHINI CHALLENGE. Let’s Goo! ⛹🏾♀️🏀🔥🔥 #umshini #umshinichallenge #fyp #foryourpage #trending #viral #gqomchallenge #dancer #dance #hoperamafalo
32. 8K Likes, 92 Comments. TikTok video from HOPE_RAMAFALO (@hoperamafalo): "NEW CHALLENGE ALERT! UMSHINI CHALLENGE. Let’s Goo! ⛹🏾♀️🏀🔥🔥 #umshini #umshinichallenge #fyp #foryourpage #trending #viral #gqomchallenge #dancer #dance #hoperamafalo". I CHALLENGE YOU TO THE #uMshinichallenge | #uMshinichallenge. Slender Da Dancing Dj (Tribute).
Slender Da Dancing Dj (Tribute) - MaSabzer
Tai Hang Fire Dragon Dance (Tai Hang Fire Dragon Dance)
On the morning of September 30, we met on the plane. Thus began the first day of our trip to Hong Kong. Almost the first (not counting the cleanliness, airiness of the space, various signs to help the traveler navigate) that I noticed when I got directly into the building of the Hong Kong airport were various posters dedicated to the celebration of the Mid-Autumn Festival - the second largest and most important holiday after the Chinese NG . The dates of our trip were selected taking into account several factors, including in connection with the desire to visit this same festival.
1. HONG KONG PORT HOLIDAY DECORATION
Along with the Mid-Autumn Festival, the Fire Dragon Dance takes place in GC. This three-day celebration commemorates the series of misfortunes that befell Tai Hang in 1880, culminating in an outbreak of plague.
According to local legend, a few days before the Mid-Autumn Festival, a typhoon hit the Tai Hang area, followed by an outbreak of plague. While the locals were putting their houses in order after the typhoon, a monstrous serpent came to their village and ate all the cattle. He was believed by some to be the son of the Dragon King, but no one knew. How to get rid of him until the headman of the village dreamed of Buddha. He said to stock up on firecrackers and firecrackers and dance the fire dragon dance during the three days and nights of the Mid-Autumn Festival. The inhabitants obeyed and made a huge dragon out of straw, stuck into it and lit thousands of incense sticks. Accompanied by drummers and incessantly exploding firecrackers, they danced the appointed time - and the plague disappeared, it was dispelled by sulfur from firecrackers. Since then, the ritual has been repeated annually.
In the modern version, the dragon has the appearance of a thick rope about 65 meters long, into which about 72,000 incense sticks are stuck, the head and tail of the dragon are also made of this rope, and about 300 performers take part in the dance action. At the moment, the ritual of the Fire Dragon Dance Tai Hang is included in the third national list of intangible cultural heritage of China.
Already enviable, in Russia we cannot deal with the material cultural heritage, not to mention the fact that we begin to appreciate the intangible.
The action itself starts at about half past seven in the evening and takes place in Tai Hang, Causeway Bay, literally one block from the famous Victoria Park. Getting there is easy: MTR Tin Hau (exit A1) is the metro station on the blue, island line (Island Line) - then cross King's Road and turn right. Go straight to the second intersection on the left to go to Tung Lo Wan Road which leads to Tai Hang area. In fact, it is almost impossible to get lost there - just get off at the indicated station, cross the tram tracks and stomp along the street departing from them, while Victoria Park should be on your right hand.
So, we moved out of our dwelling somewhere at the beginning of the sixth, but we didn’t get on the subway at the station nearest to us (Sheung Wan subway station on the island line), having decided to walk a little, get to know the city. Here is our first impressions of the CCA:
3. photo Hong Kong on the road to the Dragon Dance
á Then, passing through the building of the International Financial Center (IFC), we began to descend into the subway, to the Central station. While descending, I noticed a festive installation symbolizing a dragon, and the ceiling of the station was decorated with colorful lanterns for the Mid-Autumn Festival.
- to regulate human flows.
15. in the TAI Hang
Passing a couple of photos of the district, including the Lin FA Kung Tample temple located there) spotted on the way from the subway cafe of Vietnamese cuisine. By that time, there were more than enough people waiting for the show, but we managed to get to the very fence and even sit on some sides. Sitting, of course, was not very comfortable. But much better than standing and pushing in the 5th-6th row from the fences. Although about pushing - I, of course, went too far, because Hong Kongers are extremely respectful of others. The crush and consequences of it were encountered only when boarding a tram going to Victoria Peak, and then the crush was caused by two fat Germans who were impatient to take seats, despite the fact that mothers with small children were in front of them in line. It was about 7 days of our stay in the GC, by that time I was so used to the unhurried order of the GC that this boorish behavior pissed me off to the core. It's funny, I was so imbued with the GKM that such behavior pissed me off, although in Russia this is practically the norm.
Ah, I digress again, back to the Dance. The action itself consisted of several parts. First there was a procession of a group, carried on a small mobile platform decorated with flags and light bulbs, on which, without interruption for a second, a drummer beat out a clear groovy rhythm, accompanied by foot musicians with cymbals. This part personified the awakening of the dragon and walked for quite a long time, until the whole procession went around the entire block, periodically stopping for a mini-concert at almost every corner. Other participants in the parade followed the same route. By the way, here is a map found on one of the resources dedicated to this event, indicating the streets along which the procession will take place:
18. PROCESSION MAP
The drummers were followed by little girls in satin national costumes with candles hidden in silk lanterns. Then there was a procession of school-age children, all of them were dressed in white T-shirts with some kind of hieroglyphs and each had a large luminous flashlight on a long pole in their hands. The lanterns first swam one after another, then led round dances, constantly alternating with each other. The procession of lanterns was led by a large lantern in the form of a banner (it was carried by two), on which Tai Hang Fire Dragon was written (translated as Tai Hang Fire Dragon). This "transformer" was accompanied by two more large lanterns in the form of houses. After dancing around us, the procession moved on. Periodically, drum beats were heard again as the platform moved through the nearby streets. In the intervals between the passage of the next procession past us, it was somewhat boring and immediately made itself felt by the inconvenience of our impromptu sitting. It was at these moments that I was struck by the children participating in the parade - not a bit of dissatisfaction with the fact that they were tired (I had no doubt that this was the case), or that they did not like something. It's just something. Apparently, the very fact of participating in such an event is such an honor for them that they are ready to endure all difficulties.
Soon, all the members of the couple marched through the area for the second time, however, it was like a kind of brief retelling of the previous episodes, as a dragon appeared immediately after. This rope monster in a writhing dance swept past everyone, winding and spinning around all the turns. The air was immediately filled with smoke from hundreds of incense sticks stuck into it, although for their size it would be more correct to call them sticks)) The dragon's head consisted of a rope wrapping around a frame in the form of a head with two huge ears and an open giant mouth. Red lanterns were mounted in the fangs of a jaw made of something shiny, which gave the impression of blood flowing down the fangs. Two powerful lanterns sparkled from the dragon's eye sockets. Near the head, two balls of incomprehensible purpose, made of aroma sticks sticking out in all directions, constantly flashed. The dragon wriggled around the area in its intricate dance for about half an hour, then they began to change clothes. In fact, the rope that simply formed the backbone of the dragon was stretched to its full length and the stubs of incense sticks were removed from it. The tail was being changed around us. The tail was made in the form of a large leaf of a tree; a small ladder was taken out to re-equip it. The sticks taken from the dragon were handed out to the audience as a souvenir, we also got one each. I even brought them home, they stand like ekibana on a trellis in the living room. Having equipped the dragon with new, freshly lit needles, they let him frolic through the streets again. The show ended with the procession and the dragon being sent through a specially designed gate. I don't know where he went after that, most likely he went to Victoria Park, because on the second of three nights devoted to the Dance of the Fire Dragon, according to tradition, the show is repeated on the 4th and 5th football fields of Victoria Park.
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
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
"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
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
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 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.
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
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”.
- “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.
- White fan - innocence;
- Black and white - broken peace;
- Black - sadness;
- Pink with blue - love and fidelity;
- Red - joy, happiness
- Yellow - refusal;
- “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,
- "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.
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.
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.
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
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.
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.
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
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.
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
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.
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.