Choreographed Dancing

The Shift to a New Art Form.

All of the dances described so far come under the heading "conventional"—that is, they consist of a single set of steps and movements which are to be repeated over and over throughout the length of the dance. Although there were many different types of dances, which resulted in a rich variety of steps and movements, a dancer needed only to learn a single set of steps for any one type; once the basic steps were learned, they could be applied to any and all dances of that type (for example, a saltarello step could be danced to any and all saltarello compositions). This is not to imply that the dancing was static; as the descriptions from "Il sapporitto" and Roman de la Rose suggest, the dancers were free to add variations, as well as other body motions, to all of the basic steps, bringing an element of creativity to each occasion. All of these conventional dances continued to be practiced throughout the Middle Ages and into the Renaissance, but sometime in the mid-to late fourteenth century a new level of dancing appeared, one that would blossom into a separate art form in the centuries to come: choreographed dance, the direct ancestor of classical ballet. The very concept of choreographed dancing sets it aside from the conventional type in a number of significant ways. On the technical level, it replaces the spontaneous repetitions of a small number of dance steps with a studied and rehearsed individual sequence. Further, rather than simply being a particular kind of dance (a carol, or an estampie, for example) each choreographed dance was unique; it carried its own order of steps that was not shared by any other dance.

Difficulty and Execution.

On the social level, choreographed dances separated the nobles from the lower classes. This was a sophisticated artistic elaboration that was restricted to courtly circles where the nobles had the time to rehearse and the funds to employ a dancing master (a choreographer) who designed the dances and instructed the dancers. The choreographed dances were complicated and required serious concentration on the part of the performers, who had to memorize a complex series of steps as well as arm and body motions and floor patterns that were particular to each dance. In addition to mastering all of the motions, the most difficult chore for each dancer was to be able to execute the movements with grace and elegance, and at all times to make the task appear to be effortless. Hours of weekly practice were necessary for the dancers to execute the steps properly and stay physically agile. Much of this was done under the guidance of a dance teacher.

Social Display.

The most notable difference between the choreographed dances and the other repertory, however, was its function. The choreographed dances were not something that everyone in the room performed at once; they were danced by two, three, or, in Italy, up to twelve dancers, depending on the particular dance, while everyone else watched. In reality, therefore, these were performances not far removed from theater. The noble members of the court placed themselves on display in front of their equals, demonstrating their personal grace and elegance. Not the least of the display was the costume, since attention was brought not only to how the dancers moved in the dance, but to their elegant clothes and jewelry, which were chosen to reinforce the image of wealth and taste. (The majority of accounts of dancing from this period, in fact, dwell on what the dancers wore and how elegantly—or inelegantly—they presented themselves, while unfortunately failing to report details of the dance steps.) The courtly choreographed dance, therefore, functioned as a demonstration of social and political power; it was one of the many tools employed by the wealthy and powerful to establish, maintain, and publicize their position.

sources

Ingrid Brainard, "Bassedanse, Bassadanza and Ballo in the 15th Century," in Dance History Research: Perspectives from Related Arts and Disciplines. Ed. Joann W. Kealiiohomoku, Committee on Research in Dance (New York: Dance Research, 1970): 64–79.

Guglielmo Ebreo da Pesaro, De pratica seu arte tripudii; On the Practice or Art of Dancing. Chapter 3. Ed. and trans. Barbara Sparti (Oxford: Clarendon Press, 1993).