opinion about the art of dancing of the Middle Age or Renaissance Era.
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The Renaissance world and the art dance
France had set the fashion in court dance during the late Middle Ages; with the Renaissance, however, Italy became the centre of the new developments in dance. The Renaissance brought greater mixing of social classes, new fortunes and personal wealth, and greater indulgence in worldly pleasures and in the appreciation of the human body. The period emerged as one of the most dance-conscious ages in history.
United States: Dance
Serious dance hardly existed in the United States in the first half of the 20th century. One remarkable American, Isadora Duncan, had played...
Court dances and spectacles
Celebrations and festivities proliferated. The itinerant jugglers of the Middle Ages became highly respected and much sought after as dancing masters. They quickly assumed the function of instructing the nobility not only in the steps but also on posture, bearing, and etiquette. They became responsible for the planning and realization of the spectacular festivities. The social prestige of this newly developing profession grew constantly.
Some of these dancing masters were highly learned men, and their treatises leave no doubt about their scholarly ambitions. Many of them were Jewish, descended from the Klesmorim, a group of medieval Jewish entertainers. The first dancing master known by name was Domenico da Piacenza, who in 1416 published the first European dance manual, De arte saltandi et choreas ducendi (“On the Art of Dancing and Directing Choruses”). His disciple, Antonio Cornazano, a nobleman by birth, became an immensely respected minister, educator of princes, court poet, and dancing master to the Sforza family of Milan, where about 1460 he published his Libro dell’arte del danzare (“Book of the Art of the Dance”). Such books record little about the actual steps and the melodies to which they were performed, but they are eloquent in the description of the balli—works that were invented by the dancing masters themselves. Adapting steps from the various social dances, they used them in a kind of dance pantomime.
In France, numerous forms developed from the branle, a round dance of peasant origin that became fashionable in the courts. One of the most frequently mentioned of all the dances of the 15th century was the morisca, or moresque, a romanticized version of dances from Moorish Spain. These were first mentioned in 1446 by a Bohemian traveller who visited Burgos, Spain. Later, in Portugal, he encountered similar forms. Sometimes religious motifs of the legendary fight between Charlemagne and the Turkic invader Timur entered the morisca, but usually it was performed as a double-file choral dance. It had nothing to do, as was long believed, with the English masked Morris dance.
From such choral dances the ballet emerged. At the court entertainments throughout Savoy and northern Italy, sumptuous spectacles with mythological, symbolical, or allegorical content became increasingly popular. At these early stages, however, pantomime and dance are not easily distinguished. Famous examples of these spectacles are the presentation of the story of Jason and the Golden Fleece at the marriage of Philip the Good of Burgundy in 1430, and the dinner ballet on the same, though widely enlarged, subject staged for the wedding of the Duke of Milan in 1489.
Tudor England of the early 16th century had similar pageants, with the participants disguising “after the manner of Italie.” Like the Italian balli, the English masque offered an almost unlimited choice of performing variations, from a simple dance in masks to the most elaborate spectacle interspersed with songs, speeches, and pantomimes. As for the actual dances, Robert Copland’s Maner of Dauncynge of Bace Daunces after the Use of Fraunce, published in 1521 as an appendix to a French grammar, leaves no doubt that the English upper class of that period was thoroughly familiar with continental dance. But whereas the nobility preferred dances of slow, measured, and dignified stature, stylishly performed and modelled upon the standards of the French court, the peasants continued their boisterous dancing, in England as elsewhere, very much as they had for centuries.
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