How to spell dance in french

FOUETTE [fouette] - from Ch “quilt, flog”; kind of dance turn, fast, sharp; the open leg bends towards the supporting leg during the turn and opens again with a sharp movement.
PIROUTTE [pirouette] - "yule, turntable"; rotation of the performer on one leg en dehors or en dedans, the second leg in the position sur le cou-de-pied.
TOUR [tour] - turn.
TOUR CHAINES [tour chain] - “linked, connected”; fast turns, following one after another, performed on two legs diagonally or in a circle on high half-toes. nine0007 TOUR EN L`AIR [tour an ler] - a tour in the air.

French basses dances of the 15th century. Theory and Practice - Historical Dance Association

Author: Tyrenko Milena-Sofia
Year of publication: 2008

Author: Tyrenko Milena-Sofia

The concept of “mezura”
Types of mezur
Bassadance dance principles
The terminology of the bassadance dance and the technique of the French movement

Simple, single step
Double step
Branle
Demarch
Onener

Hand position
Body and head position.
Geometry of French bass dances
Dance etiquette
Funny note.
Footnotes
References

“I am bassdans, queen of all dances; I deserve to wear a crown; few people reach me; whoever dances me well, he certainly received this gift from heaven" - a quote from the manuscript of Margaret of Savoy, or, in other words, the "Brussels Manuscript".

Bass dance (basses danses) in translation sounds like a "low dance". This type of dance supposedly arose in the 14th century as a court dance, and was called so because these dances were performed almost without rising from the ground, without jumping. They were also called "walking" or "promenade". Bass dances were performed to slow and moderate music, often to popular songs, the main motive of which was Love. Dances often got their name from the first line of the song to which they were performed: “Flowers of Beauty”, “My Month”, “My Favorite” (Khudekov, 1914)

Bass dances were danced in Spain, Italy, France (Burgundy), Germany.

Although each country made its own adjustments and additions, the general style of bass dance - sedateness, stateliness, lack of sudden movements and jumps - always remained unchanged.

Most of the sources have survived from Bassdans in Italy, less in France. It is believed that Italian bass dances are more mobile than French ones, they have a more complex pattern and more complex steps. Also, the difference lies in the fact that, as we know, in Italy some bass dances were performed in threes or fours, while the French bass dances can only be said with certainty that, judging by the images that have come down to us, they were performed by a column of couples. nine0005

In French bass dances there is a strict regulation of the sequence of movements, which is completely absent in Italian dances of this type.

In this work, I will consider only the Burgundian (French) bassadances of the 15th century, and also present various options for reconstructing the steps and their conventions.

It should be noted right away that the reconstruction of the steps of the French bass dances was made on the materials of the "Brussels" and "Toulouse" manuscripts, which are almost identical. nine0005

Basically, five types of steps are constantly used in French bass dances:

• Single (Single)
• Double (Double)
• Branle (Branle)
• Desmarche (Desmarche
• Oner (honenr) (Reverence) - This movement does not apply to steps. Some works claim that there are only four types of steps in French bass dances, and Reverence is an additional element of the dance. nine0016

Single - often the word "single" in modern educational practice is replaced by the word "shempio". The Italian "chempio" and the French simple step are related to each other, but differ in execution technique.

Single step - (simple) oddly enough is considered one of the most difficult to perform, although its description is very simple:

The first simple step is taken from the left foot, the second from the right foot. Together they make up a couple of simple steps that are never taken alone in French Bassdans. The foot is not attached between the steps.

There is another version of the execution of a simple step. The first step should be taken from the left foot, the second step from the right, but as if stepping over a small object with a smooth, rounded movement.

One pair of simple steps takes 1 tempo of music. Each simple step alone takes half the tempo. The term tempo is used for one measure of a dance (Daniel of Falling Rocks, 1991 - 1993).

In the schemes of French bass dances, the "simple" step is indicated by the letter - s or less often S .

Double (Double) - the term "doppio" is often used in modern educational practice. The Italian "doppio" has many similarities with the French double step, and most likely of the same origin.

The double step is the easiest of all French bass dance steps.

“The first “double” is done from the left foot. You need to get up and take three light steps, the first from the left, the second from the right, the third from the left. The second step is taken from the right foot ... (similarly) "

There are several options for reconstructing a "double" step:

1. You just need to stand on your toes and take three steps forward without dropping on your heels. However, between the "double" steps, it is imperative to get down on the foot in order to rise on the toes before the next "double" step. The body, at the same time, should be kept straight, as if reaching up. Steps should be small and light.
2. Another reconstruction of this step is as follows: take three steps forward, gradually rising on half toes, throughout the entire chain, as in the Italian step "doppio". That is, the first step is taken on the whole foot, the second, on the half-toes, the third - on the high half-toes. At the end of the step, you should lower yourself to the foot (Daniel of Falling Rocks, 1991 - 1993).
3. In the third variant, it is proposed to take the first step on a full foot, the second on half-toes, the third again on a full foot, at the end of the third step, again slightly rise on half-toes [1].

Doppio occupies one tempo in music.

In the schemes of French bass dances, the "double" step is indicated in different ways.

The usual "double" step forward is indicated by the letter - d less often D . In those cases where D simply means a “double” step forward, then the number of steps in a bundle is usually indicated by a number next to it, for example:

Alenchon dance, "Toulouse" manuscript.

C B S D(3) R(3) B / S D R D R B / S D(3) S R(3) B / S D R D R B C

Bassdance is quite rare, and to indicate this non-standard step, there are special designations:

1. Most often, in the adapted recording of the French bassdance, the “double” step back is simply denoted by a large D . La Francoise Nouvelle. "Brussels" manuscript. (ssdddssDssdDb) (ssdddDdDb) (ssdDb) 9r b

   Branle ( Branle ) - I have not seen another name for this movement.

   This is what is said about this movement:

   "Branle should start with the left foot and end with the right, and it is called branle because it is performed by swinging one foot towards the other"

   "Branle", judging by the description, it is enough a simple step, and it is done without moving forward. But, despite the seeming simplicity, it is not so easy to reconstruct this step.

   There are several versions of this step, each of which has the full right to exist. nine0005

   1. Take a step with your left foot to the left, then bring your right foot up and down, and finally transfer your weight to your right foot. Here, too, you need to add some tricks: in particular, you need to transfer the weight back to the right leg at the end with a slight sway, almost like in the 16th century riprez.

      This version of the execution is based on the above statement, assuming that this step is to end with the right foot movement .

      If the branle step is performed in this interpretation, then the step is obtained with an offset to the left. The shift to the left is the biggest negative of this version, although it is more consistent with the original source. nine0005

   2. The second of the main versions proposes to take a step to the left with the left foot, bring the right foot to it (while the weight remains on the left foot), then take a step with the right foot and bring the left foot to it (weight on the right foot).

      This version assumes that "finishing with the right" is finishing with weight on the right leg . The above version of the reconstruction is very similar to another version owned by Ingrid Brainard (Ingrid Brainard).

   nine0023

   Interestingly, there was a related step called konje. He is mentioned at Arena and Arbo. Arena uses it in place of the branle, and Arbo uses it at the end of each dance or long string. According to Baron Patri, Coplande writes that congé and branle are regional names for the same step.

   Demarch ( Desmarche ) - in modern educational practice, this movement is often referred to by the term ripreza ( reprise ). There is an opinion that the Italian ripreza and the French "demarche" are movements related to each other. Since all later manuscripts, in particular Moderne and Arena, speak of ripreze where the Brussels and Toulouse manuscripts speak of "demarche", it is obvious that they are related. And their connection turns out to be very simple. Copland, in his translation of an unknown French source, writes: “And it should be noted that in some regions of France riprezes are called demarches, and branlies are called conges ...”. From this, it was concluded that we are talking about regional differences in terminology. nine0005

   About “demarche” it is said:

   “First, to make one demarche, you should step back with your right foot, and we call it “demarche” because we step back and rise, and then bring the right foot back to the other »

   The second demarche is performed from the left foot, rising and slightly turning the body towards the lady; and then we bring the right foot to the left, also rising.

   The third demarche is done from the right foot, like the first, and must be performed in the same place as the first. nine0005

   The interpretation of the first paragraph in an attempt to reconstruct the demarche step is confusing. Twice it is mentioned that at the beginning and at the end of the step one should take the right leg back, and at the end both legs should be together. There is no mention anywhere that you need to move your left foot. In addition, it is said about the second "demarche" that it starts with the left foot and ends with the right. It is extremely difficult to implement this recommendation.

   There are two interpretations of this passage in the text:

   1. This passage of the text describes two different aspects of the same movement. nine0016
   2. At this point in the text, the author made a mistake and the first step of the "demarche" should end like this: ... bring the left foot back to the other foot. This interpretation is a deviation from the original source, but no other, any plausible version for understanding this place has yet been invented. It is on the basis of this theory that the modern reconstruction of the first step of the “demarche” is built.

   If we continue to follow the above version that a mistake was made in the original source, then the reconstruction of the demarche step itself does not seem difficult:

   We start with a step back with the right foot (maybe before that we move it a little forward, so that we get a real step), then transfer the weight to it. At some point in the movement back, we rise. There is an assumption that this refers to a smooth arching movement, as if we are stepping over a brick, as in the second version of the “simple” step, only in the other direction. Then we pull the front leg back to the back, feet together, the weight remains on the right leg. The second step is done in the same way, only from the other leg. nine0005

   There is an indication that during the second demarche you need to turn slightly towards the lady (probably this applies to gentlemen). If the gentleman does not do this, then during the step it turns out that he deviates slightly from the lady. It may follow from this that this instruction is given so that the gentleman does not turn away from his partner and continues to look at her. Apparently, in the first and third demarches, the lady should do the same.

   Rick Wallis also notes that the demarche step should be done exactly backwards, so that both feet are in line. He also advises gentlemen, when performing this step on the second demarche, turn to the lady as they wish, it is possible only with the face, or with the whole body, and be sure to look at your lady. Ladies must accept this sign of respect, and respond to it of their choice (Rick Wallace). nine0005

   There is another version of the demarche step, which is very different from those considered earlier.

   In this version, the step should be taken to the right, back obliquely, from the right foot. The step is obtained with an offset to the right side. The second step is back and to the left, from the left foot, the third step is back and to the right, from the right foot. During such a performance of the “démarche”, the weight is transferred to the leg set back in the same way as it is done in the Italian Riprese [2].

   In the scheme of the French bass dance, "demarche" is usually indicated by the icon - - or -.

   Oner (honenr) or (Reverence) - bow. In modern educational practice, the term "rivenza" is most often used. Because of this, there is a temptation to understand this movement as a bow in Italian dances, which would be fundamentally wrong.

   In the "Toulouse" and "Brussels" manuscripts, at the beginning of the dances there is always the letter R , which was understood as a designation of a bow. This is a wrong interpretation. From the description of the “demarche” step, it can be seen that in the dance patterns of French bass dances it is indicated by the sign - . Toulouse, in his manuscript, after the preface, placed a list of abbreviations. All abbreviations are indicated only in capital letters, and the capital R is in the list of abbreviations as a "demarche"! He not only does not mention Riverenza anywhere, but the letter that we considered the sign of Rivernza means "démarche" (Toulouze) in him.

   From this it follows that in the dance patterns at the beginning there is the designation of the step “demarche”, and not a bow, and it is marked with a capital letter only because it is at the beginning of the entire dance pattern. Perhaps the demarche that opens the dance should be made somewhat embellished so that it performs the function of a bow. nine0005

   The demarch is directly related to the other two steps: rivernza and ripreza. In two places of the manuscripts it is said that we usually call the rivernets. “Note that every bass dance begins with a demarche and ends with a bran…”

   “A larger bass dance begins with a bass dance; on the first measure, called demarche, we pay respect to the lady, bowing in her direction, and this bow should be done from the left foot "

   Both the Toulouse and Brussels manuscripts contain a dance in a rather strange scheme of which there is a step, called "oner". nine0005

   Beaulte de castille

   ss d honneur d / ss d honneur d / ss d honneur d / ss ddd rrr ss d rrr ss d /

   bow. Unfortunately, there is no information in the manuscripts about exactly how this step is performed.

   There are two versions of how oner should be performed:

   1. In the first case, the dancer steps back a little while walking, as in a normal demarche, but from the left foot. nine0016
   2. In the second case, instead of bringing the right foot back to the left, the dancer returns the weight to the right foot forward, and brings the left foot to it.

   There is also a third version, in which it is proposed to make "oner" in the same way as the Italian Rivernza.

   It has already been said that in the usual notation the opening demarche is denoted by the letter R . But there are also other designations. Some authors designate the opening demarche with the sign C , which means, in principle, the same thing - Courtesy (Reverence) [Respect]. nine0005

   The concept of "mezura" back to the table of contents

   Mezura, in the context of the Brussels and Toulouse manuscripts, is a bundle, a sequence of steps.

   Now it is necessary to tell in more detail about the types of mezuras and the classification of bass dances.

   It is said about bass dances:

   “It should be noted that there are two types of bass dances. Namely, a larger bass dance (major) and a smaller bass dance (minor). A larger bassdance starts with a bassdance; on the first measure, called demarche, we pay respect to the lady, bowing in her direction, and this bow should be done from the left foot. nine0005

   The smaller bass dance begins with a pas de brebant, and on the first measure we do not salute the lady. But the fact is that in both manuscripts there are only two minor bass dances, these are Roti boully ioyeulx and Lesperance de bourbon . All other dances belong to the major type of bass dances. Since there are very few "minor" bass dances, and they are rather an exception, the above classification is rarely considered, and in ordinary educational practice this classification is not used. nine0005

   There is another difficulty with "minor" bass dances. It is still not known for certain what the pas de breban (pas de breban) step is and how it was performed. In the first draft of the translation of one of the copies of Domenico Piacenza's book "De arte saltandi & choreas ducendi" that has come down to us, there is an indication that it may simply be a series of saltarelli or something similar. There is an opinion that "Breban" is the Netherlands. In modern educational practice, it is customary to perform the pas de breban step like the Italian saltarello. nine0005

   Types of mesurs to the table of contents

   1. The first classification is based on the number of "double" steps. In each figure there can be either one, or three, or five such "double" steps. If five, the figure is called "grand" - large. If three - "moyen", medium. If only one - "petit", small.
   2. Each of them is subdivided into four more subspecies depending on the number of “demarches” in the mezur and on the presence of “simple” steps after a set of “double”. In a “perfect” figure, after a “double” there is a “simple” step, in an “imperfect” one, no. nine0016

   Each combination has its own name.

   Large most perfect	ss ddddd ss rrr b
   Large Perfect	ss ddddd ss r b
   Large imperfect	ss ddddd rrr b
   Large very imperfect	ss ddddd rb
   Medium most perfect	ss ddd ss rrr b
   Medium perfect	ss ddd ss r b
   Medium imperfect	ss ddd rrr b
   Medium very imperfect	ss ddd b
   Small most perfect	ss d ss rrr b
   Small perfect	ss d ss rb
   Small imperfect	ss drrr b
   Small very imperfect	ssd rb

   The diagram above is based on the text of the "Toulouse" manuscript, since not all indications in this regard are clear in the Brussels manuscript. The texts of both manuscripts have discrepancies as to which mezura is called.

   In addition to the main mesurs, there are two more bundles that do not fit into the general scheme:

   1. The first consists of: ss d r d r b

      This is the only figure that appears unchanged in the later book of Modern. Despite the fact that this bundle does not fit into the general scheme, it occurs very often: in the "Brussels" manuscript it occurs 32 times. nine0005

   2. The second consists of: ss d r

      A common, but not included in the classification, link is like an add-on to other figures in some dances. Often it stands in the bassdance, as a small introduction. This is not a mezura in itself, because the dances always clearly indicate the number of connections, and it is clear that this figure is not considered a full-fledged mezura. In the "Brussels" manuscript, it occurs fifteen times, and is always added to the average mezura, perfect or imperfect. nine0005

   Example:

   Alenchon

   R B/ SS D R SS DDD SS RRR B/ SS DDD SS RRR B/

   It is quite obvious that each Mesura begins and ends with a step “ branle". In the dance patterns of French bass dances, the end of one and the beginning of the other is indicated by the sign / or is highlighted in brackets.

   Bassdance dance principles back to contents

   Most French bassdance dances correspond to the following:

   1. Five types of steps
   2. Correspond to the "formula" of the mezura in steps.
   3. Successive mezuras in a dance have different lengths (large, medium, small)
   4. Each kind of step takes the same time: one tempo. Each tempo is divided into six beats (Rick Wallace).

   Manner of movement to the table of contents

   The "Brussels" manuscript has a remark on this subject: "When everyone dances ... they walk calmly, without throwing, as gracefully as possible"

   Rick Wallis in his work "Another look at the dances of Burgundy of the 15th century" advises to keep the chest high, the body straight during the performance of bassdances and never to lower to the full foot during the execution of "simple" and "double" steps.

   Terminology and technique for the five movements of French Bassdance back to index

   A simple, single step back to index

   This step is often referred to as "chempiot". I strongly suggest moving away from the temptation to use Italian terminology in French bass dances, which often simply leads to confusion and confusion among students. nine0005

   Execution:

   Push off with the right foot and immediately stand on high half-toes, simultaneously with the push, move the left foot forward and transfer the weight to it, and gradually lower, as if pressing down an invisible spring with the heel. The right leg, without putting it forward, but not on the floor (it is permissible to touch the floor with the tip of the toe).

   Push off with the left foot and transfer the weight to the right foot, standing on high toes. The left leg, just like the right one before, is not attached, but is brought forward. nine0005

   Double step to the table of contents

   This step is often referred to as "doppio". Just as in the first case, I propose not to use this term in relation to French bass dances in order to avoid confusion.

   Execution:

   Push off with the right foot and immediately stand on high half-toes, simultaneously with the push, move the left foot forward and transfer the weight to it. Without sinking onto the foot of the left foot, it is necessary to bring the right foot forward and transfer the weight to it, then the left again (all this time we go forward on high half-toes with the weight carried out on the extended foot). At the end of the third step, we lower ourselves onto the foot of the left foot, as if pressing down on a tight spring with the heel (the lowering should not be sharp) and bring the right foot forward without transferring weight to it. With the tips of the fingers of the right, extended forward leg, touch the floor. nine0005

   The second "double" step is performed in exactly the same way, but begins with the right leg extended forward. The third "double" step is performed again from the left foot.

   The first step of the "double" is longer than the next two steps. A double step is done for six counts. On 1 - push off and stand on the left foot, on 2 - pause, on 3 - step with the right foot, on 4 - left, on 5 - lower on the foot of the left foot, on 6 - move the right foot forward.

   Branl to the table of contents

   Above, I gave several options for the reconstruction of this step. I myself propose for practical use the second of the described options. There is some nuance in this step that I would like to focus on, namely, on the left leg.

   The step itself is made through high half-toes, the dancers seem to describe an arc above the floor. As already mentioned, the step ends with the transfer of weight back to the right foot and bringing the left foot to the right. However, the left foot should not be attached to the right, but immediately brought forward, but without transferring weight to it. That is, before starting the next step, your body weight should be only on the right leg. nine0005

   During the branle step, the body is twisted. Taking a step to the left, the right shoulder is taken out, a step to the right - the left. We kind of turn around in the direction in which we take a step. It is not necessary to do a strong twist at all. You can only slightly turn your head in the right direction, with a slight nod.

   The branle step performed simply, without twists or even a nod of the head, looks like an unfinished movement.

   Demarch to the table of contents

   This step is often referred to as "represe". I propose, just as in the two previous cases, to abandon the Italian terminology so that there is no confusion. A demarche is not a ripreza. nine0005

   In reviewing the various versions of this step, I took it on faith that there was an error in the Brussels manuscript. Of the versions based on this theory, I settled on the first version of the reconstruction of this step.

   However, this step is actually quite difficult to perform correctly and beautifully, the long train of the lady's dress interferes. In this step, there are more hidden and unexpected difficulties than it seems at first glance.

   Demarch is done strictly backwards. At the same time, the gentleman and the lady hold hands. The gentleman makes a "demarche" always strictly adjusting to the lady! The lady cannot take big steps back, as there is a high risk of stepping on the train and falling. nine0005

   Version:

   The first demarche step always starts with the right foot. Immediately, I note that initially the right leg will be pushed forward, and all the weight will be on the left leg.

   Next, the right leg is moved clearly back, so that both feet are on the same straight line. The toes of the right foot do not come off the floor during this movement, otherwise the toe of the shoe may bend. Ladies, while stepping back, move the train with their foot.

   Stepping back onto the right leg, we bend it at the knee (as if we were squatting), transferring weight to it. Then we pull the left leg to the right leg, also without lifting the toes from the floor. At the same time, the movement must slowly rise on the right leg and finish the movement, standing on high toes, distributing the weight on both legs. nine0005

   The second step of the demarche is done from the left foot, the third step from the right.

   Onener back to contents

   This movement is the most controversial moment in the reconstruction of French dances. In practice, I use the second reconstruction option described above, but with some reservations.

   Having tried all the options in practice, I settled on the fact that the lady responds with a slight bow of the body, while the gentleman makes a big wide demarche, turning around to face the lady. At the end of such a demarche, the gentleman returns to the lady through his right leg and turns around to face in the direction of travel. It is more beautiful if the dancing couple does not separate their hands during the honorific. nine0005

   Position of the hands back to the table of contents

   Hands are an important element in Burgundy bass dances. The dancing couples held hands from the beginning to the end of the dance.

   The gentleman's hand should lie on top of the lady's hand, or on her wrist, leaving the fingers free.

   The arms were bent at the elbows and held very high, at waist level, or even slightly higher. Often, the hands of the dancers touched each other up to the elbows.

   Ladies most often put their free hand on their stomach, holding a long dress in front (Fialko 2007). nine0005

   Cavaliers either kept their free hand down or put it on their belt, although the latter is more common in miniatures depicting Italians.

   Body and head position. back to contents

   There are only a few mentions of how to hold the body and head while dancing in the "Brussels" and "Toulouse" manuscripts. The images of that time also do not give us a clear picture. However, it is known that in many ways the fashion for clothes makes the dance.

   It was the fashion of the Burgundian court that largely determined the nature of the French bass dance movement.

   Ladies could not make quick and abrupt movements, it was also extremely difficult for them to walk backwards. A heavy train delayed and interfered with movement. In order not to step on the hem, the lady often tucked the upper dress in front by the belt, or held it with her hand. To maintain the center of gravity, the ladies leaned back slightly. Because of this setting of the body, they seemed to be pregnant. At that time, female pregnancy was put on display, as such a "pregnant" silhouette was in vogue. nine0005

   The lady's head was slightly lowered. A large, often not at all light, high headdress pulled the head back. This made my neck very tired.

   With her torso thrown back and her head down, the lady stood bent over like a letter - S . This is confirmed by numerous images that have survived to this day. Although, on the same miniatures, you can often see ladies standing straight, like men.

   However, I am inclined to the first version, based on my experience of moving in a dress of that time. nine0005

   Men, unlike ladies, stand either straight or their body is inclined towards the lady.

   Men, like ladies, danced in headdresses, but they kept their heads straight, not bowing to their chests.

   The geometry of French bass dances. back to contents

   In what direction were the dances performed? Did they dance one couple or several? Maybe each couple danced in an arbitrary direction for themselves?

   We will not be able to answer any of these questions if we operate only on descriptions of dances. nine0005

   To answer the questions posed, one must turn to the miniatures of that time.

   In this article, I will not do an in-depth analysis of images, but will only voice the well-known result:

   1. French bass dances were most often performed by a column of couples. The first couple chose the direction, the rest followed. Judging by the images, the column of dancers did not necessarily move in a straight line, from one end of the hall to the other. The performers could slowly move from one room to another, turn around when the place ran out, or walk across the hall obliquely. nine0016
   2. Also, there are images where it is obvious that the bass dance is performed in a circle. Clockwise or counterclockwise.
   3. It is known that there were bass dances with certain complex figures that were convenient to perform only by dancing clearly in a straight line. For example, a famous dance from the "Brussels" manuscript La danse de cleves .

   Etiquette in the dance To the table of contents

   Very few sources have come down to us from which we can draw accurate information about the rules of behavior for a lady and a gentleman during the performance of dances. However, a small text by Guglielmo has been preserved on this subject, replete with very interesting details. Here are some quotes:

   “A young and virtuous lady, if she wants to comprehend and assimilate this science and art, should behave much more modestly and humbly than a man. ” and gentle. Let her movements be soft and humble, and her posture proud and full of dignity; the step should be light, the gestures beautiful and clear. The look should not be haughty or wandering (should not look in all directions, as many do), but it is best if the lady looks down for the most part modestly; but without lowering his head to his chest, like many. (On the practice, p.109)”

   Here, it is worth mentioning that the author referred in the text to Italian society, where headdresses, and all women’s clothing in general, were strikingly different from the Burgundian dress of that time. The headdress of Italian women was much simpler and smaller in size than the elaborate headdresses of French women. He didn't pull his head back.

   However, the author claims that in Italy too, ladies often kept their heads down! What can we say about French women, where such a position of the head was dictated by ordinary convenience. nine0005

   Also, Robert de Blois, back in the 13th century, in his poem “Good manners for ladies”, noted that a lady should never look a man in the face, except perhaps to the one to whom her love rightfully belongs, that is, her husband ( Viollet le Duc 2003:36).

   Also, based on the images of dances of that time that have come down to us, it can be assumed that the ladies never picked up the train during the performance of bass dances. It is interesting to note that when performing other dances of the same period, such as branles, the ladies not only threw the train over their hands, but also tucked it in the belt behind them! True, such images are not often found. nine0005

   Funny note to the table of contents

   At the end of the article, I would like to mention the Italian term "French dance", which is found in the texts of Giovanni Ambrosio. The author in his work cites several dances as "French": bass dance Borges , ballo Amoroso, and ballo Petit Riense. What Giovanni Ambrosio meant when he said that this or that dance is “French” is still a moot point.

   Some researchers tend to believe that this is how the author described dances borrowed from France. Others suggest that this is just some kind of term used at the time, the meaning of which we no longer understand. Both versions are equally possible (On the practice… p.235). nine0005

   For illustration, here is the choreographic scheme of the "French" Borges bass dance, described by Giovanni Ambrosio.

   Borges (Borges) - Citizen.
   Performed by a couple.
   Forward, from the left foot.
   2 sh. 5d. 2 sh.
   Back, from the right leg
   3 sh.
   In place.
   2 Continents (l.r.)
   We go forward, from the left foot.
   2 sh. 1d.
   Back from the right foot.
   3 sh.
   In place.
   2 Continents (l.pr.)
   End of the dance.

   The linear structure of this dance is unusual for the choreography of the Italian bass dance, while for the Burgundian dance, such a structure is typical. nine0005

   If we replace the chempio back with a demarche, and the continent with a branle, then it turns out:

   Footnotes to the table of contents

   [1] This version of the step is taken from the master classes of Eva Kroshlova. St. Petersburg FTS 2008
   [2] This step option is taken from the master classes of Eva Kroshlova.

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