Origin of the Dance

La Raspa is said to have begun in Veracruz, a state that has a major port city off the Gulf of Mexico. With shipments of trade goods also came music and dance from around the world. Modern Mexican folk dances, like La Raspa, are mixtures of Aztec, Mayan, Yaqui, African and European movements–sacred and secular–which were forged together as many cultures intermingled over the centuries.

Traditional Attire

Veracruz was strongly influenced by the Spaniards who settled there, which is noticeable in the clothing. When dancing La Raspa, the traditional garb, according to the Houston Institute often includes “white guayabera pants and shirts and red waist sash and straw hat [for men]. The women [would] wear imported white lace dresses; their hair up in buns in a comb and shawls, or rebozos, accompanied by fans.”

Etymology

The origin of the name “La Raspa” has been lost in time. The name possibly comes from the verb “Raspere”, which is an Old Germanic word meaning “to grate upon,” states the Merriam Webster Dictionary, from where we get the word “raspy.”

This could refer to the Guiro, an instrument played all over Latin America, according to Viva Quetzal, which produces a rhythmic scratching sound when a scraper is rubbed over its indentations. Scratching could also refer to the chicken-like movement the dancer uses with his legs (with arms akimbo like chicken wings) when he dances La Raspa.

La Raspa and Children
The minimalist movements of this dance are often taught to school children. Not only does it promote physical education, but, as the Ballet Folklorico Mexico notes, another purpose of doing so “is to encourage children to carry on the dances and traditions of Mexico and other cultures.”

Singing While Dancing

Chinese folk dancing typically incorporates singing while dancing. Each ethnic minority adds its own local flavor and charm to the performance style of dance. The Yangko, Caicha, Mangshi and Xuanzi dances all incorporate singing into the folk dance routines.

Intricate Plots

Many Chinese folk dances are based on stories. Ethnic minority folk dances symbolize aspects of each of minority’s culture, including the group’s religious and historical background. Many ethnic minority folk dances share common plot themes such as communal bond, love, rivalry, forgiveness and jealously. Dances include elements of their different environments, national characteristics, beliefs, customs, cultures and lifestyles.

Beautiful Imagery

Chinese folk dances use beautiful imagery to emphasize the character of the various nationalities within China. Dancers often move in spirals and circles because the Chinese believe circles symbolize harmony. Complex hand gestures and hand-eye coordination are also used to symbolize important elements of Chinese art: concentration, flow of energy, strength, discipline and spirit. Performances use colorful stage costumes, dramatic background music and superior dancing talent.

In a recent competition on the television show “So You Think You Can Dance,” the finalists donned Russian folk attire and displayed their talent in a traditional Russian folk dance. The choreography, which was difficult, showed how much the Russian music and dance is enjoyed and recognized today by international audiences. For example, the “kozachok” or “kazachok” is a much appreciated and known folk dance from Ukraine, with its increasing tempo and high kicks made from a squatting position. Yet this is only one of the many different forms of Russian folk dance that have become familiar over the nation’s history.

Early History
The first Russian folk music and dance extends back into the 10th century, when Slavic tribes moved into Russia. The Slavs were known for their knowledge and mastery of instruments, songs and dance. Because of the many invasions of the country and the resulting inter-cultural mix, many of the original dances have either been combined with each other into new forms or been lost over time.

The first dances were only known by the peasants and lowest classes. The upper classes and aristocracy did not dance themselves, but they instead enjoyed watching the performances of dance troupes and clowns. There were also street entertainers, or “skomorkhi,” who sang and danced and performed tricks as they wondered from town to town.

First Bear Dance
According to Russian dance director Mikhail Victorovich Smirnov, the first established record of Russian dance occurred in 907AD when Vechshiy Oleg, first grand prince of Kiev, was celebrating his victory at Constantinople. Although his troops could not infiltrate the city walls, they did force the Greeks to enter into a treaty. At the celebration, male dancers dressed up like bears, and several dancing bears were clothed like Russians. At the end of the feast, Oleg demanded the bears be released back into the wild and the dancers be executed. Apparently, Oleg, who was partially blind, thought the dancers were from the northern tribes who owed him numerous tiger skins.

Holiday Traditions
Some of the Russian folk songs and dances were associated with calendar events, such as planting and harvesting and others with family rites, such as birth, weddings and funerals. Most Russian holidays have been celebrated in the fall and winter when the farming is done for the year. The entertainment begins with a prayer and is followed with an abundant feast, singing, dancing and a series of entertaining fist fights or “stenka na stenku,” “wall against wall.”

Folk Dance Clothing
The clothing, which accompanied many of the dances, was also based on the event. Holiday headwear included a “kokoshnik,” or headdress that was decorated with pearls and gold thread; embroidered and decorated blouse or shirt; “sarafan,” or jumper; belt and ornamented apron. The primary color was red, which meant “beautiful.” The men wore “kosovortkas,” or shirts fastened on the side; belt; narrow trousers; semi-high or high boots.

First Dance Troup
In 1937, after the civil war came to an end, the Soviets organized the first Russian folk dance troupe under the direction of Igor Moiseyev. The troupe continues to be one of the top performers of folk dance worldwide. The dancing ensemble with its traditional music, dance and song, which is popular in the West, keeps the audience clapping and shouting praise. Moiseyev died in 2008 at the age of 101.

Moiseyev Dance Company
The Moiseyev Company embodies all of the Russian traditional folk dance arts and preserves the folk culture. The classically trained are more than dancers. The men and women in their traditional belted tunics and bright red dresses are also acrobatics, like today’s break dancers, with bodies spinning and zigzagging on the ground so fast they are almost impossible to see. The dancers fly into the air with their legs wide apart and their fingers touching their toes. While they are dancing, they are telling the story of the hundreds of years of Russian history and the many changes that occurred during the centuries.

Ceili Dance
Traditional dances, or ceili dances, include sword dances, round dances, line dances and progressive line dances. The Normans are credited with bringing the round dance to Ireland in the 12th century. The Rince Fada or long dance is actually a family of line dances that was brought by the Normans. The Carol was another of these dances brought by the Normans; when an Irish town was conquered, the dance would be performed by the Norman invaders. In this dance, the leader sang, and the dancers in a ring around him sang the song back to him.

Dance Masters and Step Dancing
Dance masters were first mentioned in “A Tour in Ireland, 1776-1779″ written by Arthur Young. Each dance master would travel to different houses in his area teaching dances and steps to the local youth. Dance masters standardized the solo steps for jigs, reels, hornpipes and slipjigs. Step dances emerged in the late 18th century, created by the dance masters. These dances, along with the ceili dances, were often performed at weddings, patron’s and saint’s days, annual festivals and Sunday gatherings.

Set Dances
Set dances are a category of step dancing. These dances evolved from quadrilles which came from the French court. The dance masters changed them to fit Irish music, and elaborated on the steps so that they could showcase their dancing skills. Unlike ceili dances, which have been made uniform throughout the country, these dances have regional differences. In 1936 the Catholic Church tried to wipe out these dances using the Public Dance Hall Act, but they survived in homes and at local gathering places.

Dances Made Irish
There are several dances that do not have their origins in Ireland but are now performed as traditional Irish dances. Among these are couple’s dances and waltzes. The round dance and the quadrille are also imports made Irish. “Shoe the Donkey,” “Stacks of Barley,” the “Gay Gordons” and “Schottische” are among the imports regularly performed at ceilis. This amalgamation of dances and styles has led to beautiful dances such as “St. Margaret’s Waltz” and the “Pride of Erin.”

The Gaelic League
Due to the Public Dance Hall Act of 1936, traditional dance was nearly lost. This act specified that all dancing events had to be licensed. The Gaelic League helped to save Ireland’s tradition of dance as part of the efforts to help restore the sense of Irish national identity. In 1897 the League held their first ceili in London. At this event there was Irish music and singing, step dances and waltzes. After this event the ceili spread to Ireland, and to Irish communities globally. Ceili events have since become a matter of national pride and identity.

Who Created the Tarantella?
The Tarantella was originally a dance done by lower and middle-class Italians and was considered a dance that would heal the sick. It later developed into a courtship dance and was performed by young couples. In the courtship version of the dance, the woman uses the dance to attract her partner, who is attracted to her beauty, elegance and fitness.

Never Performed Alone
Italians believe that it is unlucky to perform the Tarantella alone, so it is always performed with at least one other person.

Spider Bite
There is a myth that the Tarantella originated as a cure for a bite by the Tarantula, a poisonous spider. The person who was struck by the spider would perform the Tarantella nonstop to avoid being overcome by the venom.

Throughout Italy
While it is believed that the Tarantella originated in Southern Italy, there are versions found throughout the country. The Furlana and the Saltarello—found in Venice and Rome, respectively—are similar to the Tarantella.

Origin
Tarantella translates to “little spider.” It is believed that the town of Taranto had an epidemic of poisonous spider bites during the 13th century.

Tarantella Caused More Harm Than Good
If the dance was actually used as a cure for spider bites, it would actually do more harm than good. Vigorous dancing would cause the toxins to be released in the body, thus increasing the effect of the bite.

Landler, Waltz and Polka
The Golden Encyclopedia of Music defines the landler (country dance) as an old Austrian peasant dance in 3/4 meter. At the end of the 18th century, it experienced a rise in popularity and is said to be the successor of the courteous and more sedate minuet. The waltz developed from the landler and spread like wildfire across the ballrooms of 19th-century Vienna. It is also in 3/4 meter but much quicker. For the first time in history, dancing couples came really close and embraced each other. Therefore, at its first introduction, the waltz was considered scandalous and amoral.

The polka is a Bohemian peasant dance which became fashionable around 1830. It is played in 2/4 meter with characteristically jaunty tunes. The “zwiefacher” (twofold) is a Bavarian specialty. It changes between 3/4 and 2/4 meter.

Art Mimics Life
Like folk song, folk dance mirrors the experiences people had in daily life. By observing folk dance, you can deduce which occupations used to be prevalent in any area of Germany in times gone by. Nowadays, folk dance in traditional costumes (“trachten”) is only performed by special clubs, dedicated to keep them alive. You can often find typical movements or sounds from certain occupations. For example, in the weavers’ dance (“webertanz”), two rows of people mimic the movement of the thread on the loom. There are also dances like the anvil polka (“ambosspolka”) and the lumberjacks’ march (“holzhackermarsch”).
Love and Courtship
Dance has always played an important role in people’s love lives. Many times the only opportunities for girls to meet their future husbands were the barn dance, the may pole dance, the harvest dance and the like. While the older folk would gossip, the youngsters took to the dance floor in their finery–dirndl dresses for the girls, knickerbockers for the boys. In Bavaria and Austria, the pants were made of leather, the famous “lederhosen.”

Schuhplattler
Folk dances follow strict gender roles. The boys are allowed to whoop, stomp and clap, while the girls twirl daintily, which lifts their skirts and shows their legs. The most famous of these “mating dances” is the Bavarian “Schuhplattler,” which is usually danced to the rhythm of the landler. Interestingly, often only the men dance it. Here, the men are particularly noisy. They accentuate the rhythm by stomping their feet and slapping their leather-clad thighs and the soles of their shoes. Because of the slapping sound, the Schuhplattler is also called “Watschentanz.” “Watschen” is the Bavarian word for slap or smack.

Inspiration
German folk dance provided not only entertainment for the people but also inspiration for the great classical composers. Mozart and Beethoven wrote landlers and waltzes. Chopin’s waltzes and mazurkas are legendary. And of course, there is the “Waltz King,” the “Walzerkoenig,” Johann Strauss junior.

For almost as long as man has existed he has used dance as a form of communication and personal expression. Spain is certainly no exception. Ritualistic dances commemorating battles and other war-related themes were the first to appear, and centuries later during the Middle Ages, structured religious-themed ritual dances were recognizable.

The 15th century saw the distinction created between the various genres. Serious and measured dances quickly grew outdated while the popularity of the happier and free-moving dances surged exponentially. With the Renaissance, popular and folk dance continued to make huge strides in the history of Spanish dance and even gained recognition internationally. These regional dances both flourished on their own and melded with other dances to birth brand new ones. You can imagine how many- at one point, there were over 200 traditional dances in the region of Catalonia alone!

During the Baroque period, gypsies arrived to the Iberian continent and the growing popularity of the gypsy music and dance, flamenco, eagerly formed part of the history of Spanish dance. The rest is history- or rather Spanish dance history- as flamenco has since become both a national and international sensation. With feisty flamenco’s ever-rising fame, regional dances suffered a decline- a decline which intensified during the 20th century, when the dictator Francisco Franco actually banned all things regional, including dance, music, and languages. Luckily today there has once again been a boost in the pride and the practice of traditional dances, and the history of Spanish dance continues!

Traditional Spanish Dances
Jota Aragonesa: This typical dance hails from the north of Spain, namely Aragón, and features a fast tempo as couples dance with their hands raised high above their heads playing castanets. Moorish influences are probable, as it is loosely attributed to a Moorish poet who was kicked out of Valencia during the 12th century.

Sardana: Several couples join hands and dance in a closed circle in this traditional dance from Catalonia.

Muñeira: Danced in twos or alone along to the music of bagpipes, this traditional “Miller’s Dance” is typical throughout Galicia and Asturias.

Zambra: The zambra began as a Moorish dance, but with monarchs Fernando and Isabel’s reconquista of Spain, the Moors were able to conserve the dance by adapting it to Spanish dance customs.

Bolero: One of the oldest and most traditional dances of the history of Spanish dance, the bolero is a quick Spanish dance boasting sudden pauses and sharp turns.

Fandango: At one point the most famous dance of Spain, the fandango is a lively, happy Spanish danced in two’s.

Paso doble: A quick one-step Spanish dance.

Flamenco: A passionate dance hailing from gypsies, flamenco is internationally famous. Learn more!
Sevillana: Lively and joyous dance typical of Seville and reminiscent of flamenco that features four distinct parts.

Origin
Most date the fandango dance back to 1760 Spain, originating in Seville, and there is conjecture that it was brought from Spain by the Phoenicians. Some argue that the true origin of the fandango music and unique dance began with the Italian composers present in the royal court of Spain at the Baroque period, and composer Boccherini is said to have developed the first slow fandango.

Influence
The influence of the fandango dance is seen in the Philippines due to Spanish colonization. The fandango is still performed today with some regional variations. The Spanish fandango influenced Cueca, the national dance of Chile, when the Spanish dominated Chilean culture during the Colonial period. When the fandango was thought to have some movements that were not quite acceptable to the Europeans, the bolero evolved. When learning cultural dance in the southwestern United States, people turn to the fandango dance.

Features
The fandango dance steps are similar to tap.
tip tap scalzo image by goccedicolore.it from Fotolia.com
The fandango dance steps are similar to tap.
Slowly and gently, the fandango begins with music in A Minor, and then the tempo increases to triple time in E Major. The steps are deliberate, with fast footwork much like tap dancing. The dance is performed as a solo or couples dance. When performed by couples one partner leads, sets the pace and the step sequence. The lead changes from one partner to another and is characterized by a brief dramatic pause sometimes called feet dragging, and the dancers hold a pose. Castanets are used; there is foot stomping and finger snapping.

Evolution
Because the dance is eye catching and dramatic, the fandango has evolved in society as a slang word used to describe a spectacular quarrel or tomfoolery.

Place in Art
Whether performed by a ballet company or immortalized in a work of art, the fandango dance lives on. The “Famous Fandango” is a 1981 serigraph on paper vividly depicting a solo female fandango dancer. Six couples highlighting the conflict and resolution of two couples performed the world premiere of “Fandango Furiouso” by the American Repertory Ballet

Basics of Dandiya

Face your partner, holding one stick in each hand. Keep your knees soft and arms bent at the elbows. Feel the rhythm of the music and allow your body to bounce slightly in time. Make eye contact and a connection with your partner.

Your feet and hands will be moving to the same beat at different rhythms. Let’s say your arms will be moving at the pace one-and-two-and-three-and-four-and while the feet will be moving at the pace one-ball change-two-ball change-three-ball change-four ball change. In essence, the “one, two, three, four” of both the hands and feet happen at the same moment, while the “and” and the “ball-change” have to happen in the same moment. Therefore, “ball-change” is done at a quicker pace.

Hit your right hand sticks together approximately head level on the first count. Execute this correctly by sweeping your right out towards your left and hitting your partner’s stick as you sweep back towards the right. Simultaneously, step onto your left foot and do a ball-change. In other words, step on your left foot, quickly shift weight into the ball of the right foot and quickly shift weight back to the left foot. These are your steps “one-and” and “one-ball change.”

Now mirror the last move on the other side. Sweep your left arm out towards your right and hit your partner’s stick as you sweep back towards the left. Step on the right foot, ball-change. This is “two-and” and “two-ball change.”

Strike your own sticks together in an ‘X’ about shoulder level slightly off to the left side, right stick striking on top of left. Step on the left foot, ball-change. This is “three-and” and “three-ball change.”

Hit both of your sticks together with your partner’s sticks above your heads, with your own two sticks forming an ‘X.’ Step on your right foot, ball-change. This is “four-and” and “four-ball change.”

Step 6
Once you are comfortable with those basic steps, you can exchange places with your partner. Start moving as you are hitting your sticks above your heads in an ‘X’ as described in the previous step. Step to the left (or towards the outside right of your partner) and once you have stepped past your partner as he is passing you, turn towards your left until you are once again facing your partner.

La Cucaracha
Partners begin facing each other on both feet and perform the same steps. Step on the right foot diagonally across the left, step back on left foot and step the right foot back in place. Step your left foot diagonally across the right and step back on your right foot and hold for a count. Spin four steps to your left and then hold. Repeat these steps starting with the right foot.

Part two of La Cucaracha begins when you walk forward three steps diagonally to the right starting with the left foot. Stamp your right foot twice. Walk back to place and stamp your right foot twice again. Repeat part two going in the left direction.

Bleking Step
This is a dance step done in folk dances from all over the world, but is especially popular in traditional Mexican dancing.

Hop on the right foot. Touch your left heel forward and hop onto left foot. Touch right heel forward and hop onto right foot. Repeat. The bleking step is done in place, meaning it does not travel forward when you hop.

La Raspa
This is another partner dance where the dancers face each other and do the same steps. Take one bleking step on the right foot. Turn slightly counterclockwise away from partner and do a bleking step on the left foot. Repeat steps again, this time facing your partner.

For part two, partners hook right elbows and lift left hands high. Do eight running steps and clap on the eighth step. Reverse direction, take eight running steps and clap on the eighth step.