Цитата: THE MONOPOLY OF THE VALSE.
THE MONOPOLY OF THE VALSE. It is contended in many, quarters that revival of the old-fashioned dances would have a good effect. In the quiet graceful movement which they afford there is much beauty and dignity while pleasure is afforded not less to the onlookers than to those taking part in them. It is, interesting to notice how dancing, like every social circumstance, goes through changes of fashion, and many dances which are dear to the memory of the older generation are hardly known, even by name, to the younger. Nowadays the waltz generally monopolises three-parts of a dance programme. Sooner or later people will tire of it, just as they have wearied of the quadrille, but until that time arrives there is no reason why so many dancers should be left out in the cold, and encouragement given to those who pay no heed to their imperfections. Rather than miss a dance for which payment is made many persons become “terrors to their companions”. It is to be hoped that there will be a revival of the beautiful dances of the South, and the mystic dances of the East, with their slow, gliding steps, for these represent the essence of the art, and that which constitutes its real beauty— the harmonious movements of the limbs without visible effort. Meanwhile it may be noted that the all-absorbing waltz has passed through numerous changes. It has been I danced a “deux temps,” a “trois temps,” with a hop, and with the body perfectly rigid, until at the present time a mixture of the deux temps and the hop valse finds favour. The slow, Redowa valse, introduced in London in 1846 by Mr Coulon, sonpopular a few years ago has entirely gone out of fashion, and this season a lively spring waltz of the trois temps order, played in German music, obtains the sway. The waltz movement which it contains has enabled the cotillion to replace the old fashioned quadrille. The lancers is much more stylish—and the music is in greater variety —than the quadrille, and it is not likely that it will fall into disfavour for some years. The barn dance is gradually but surely usurping the ordinary schottische on account of the ease with which progression is made. “La polka,” which succeeded the valse “a deux temps,” was introduced at Southampton in 1845 by Mons. Gilmer, has also lost its place in public favour. It became nothing short of a romp, and to this cause its decline is attributed. The disappearance of the interesting set dance, The “Caledonians,” the revival of which was attempted four years ago, is distinctly due to the monopoly of the alse. The old country dances are now seldom seen, and the jovial Circassian circle, which supplanted them, is fast disappearing from notice. The hornpipe still remains a favourite with students in colleges where the art is taught, but little is heard of it in public. Occasionally one is pleased to notice the reappearance of the “Norwegian dance”, which- recalls memories of the subdued measures of “Sir Roger de Coverley.” But the valse has prospered at the expense of these and many others. There are signs, however, that it has been overdone,” and it is obvious that unless more variety of dance is encouraged, the young people’s idoL as it is so often termed, must gravitate to the prosaic level of other dances. The sooner dance-masters and hostesses take this view, and adopt practical remedial measures, the better it wilt be for all interested in the art of Terpsichore”.
Источник: South Wales Daily News - 27 December 1898
Цитата относится к: 1898 г.
Дата первой найденной публикации: 1898 г.
Подобрал цитату: Алина Логвиненко (Файзганова)