Tag Archives: J. G. Gourdoux-Daux

Cotillon Steps and Quadrille Steps

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The Cotillon

Cotillion Dance 1771 (2)

A few years ago, I wrote a series of posts about the cotillon steps recorded by London’s dancing masters in the 1760s. In 1762, De la Cuisse (who began the cotillon craze by publishing these dances) listed six steps in his Le Repertoire des bals ou theorie-pratique des contredanses – balancé, rigaudon, contretems, chassé, pirouette and pas de gavotte (the demi-contretems, which he described as ‘un Pas naturel; C’es le Pas fondamental de la Contredanse’). All are familiar from the dance manuals of the early 1700s. Between them, Gallini, Gherardi and Villeneuve added another six – assemblé, glissade, ‘brizè à trois pas’, ‘chassé à trois pas’, double chassé and sissonne.  Three of these were also described in the earlier manuals, while three – the brizé and chassé ‘a trois pas’ and the double chassé were apparently more recent.

The Quadrille

Quadrilles - Practising at Home

The step vocabulary for the early 19th-century quadrille was more extensive and some of the steps were certainly more challenging than any used in the cotillon. One of the earliest works to deal with the quadrille was Notions élémentaires sur l’art de la danse by J. H. Gourdoux-Daux, published in Paris in 1804. The second edition was titled Principes et notions élémentaires sur l’art de la danse pour la ville and appeared in 1811. It was presumably this edition that was translated into English for publication in Philadelphia in 1817 as Elements and Principles of the Art of Dancing as used in Polite and Fashionable Circles. This translation describes nine steps for use in quadrilles – the ‘change of foot’ (changement de jambe), assemblé, jeté, sissonne, échappé, temps levé, grand coupé, chassé and glissade. Only one, chassé, is among the cotillon steps prescribed by De la Cuisse, while three more appear in the collections published in London – assemblé, glissade and sissonne. The last of these occurs only in Villeneuve’s Collection of Cotillons and he does not describe it. By the time Gourdoux-Daux was writing, the sissonne had become a spring from two feet to one, beginning in third position and ending with the free foot either extended to second or fourth position or brought into the ankle. It is recognisable as the second part of the pas de sissonne recorded in the early 1700s.

Gourdoux-Daux published a third edition of his treatise titled simply De l’art de la danse in 1823, which is accessible digitally. It adds a tems du balonné, pas de bourrée, tems de cuisse, demi-contretems, brisé and entrechat. His third edition is described as ‘revue, corrigé et augmenté’, indicating that it contains new material. However, without access to Gourdoux-Daux’s earlier editions, it is not possible to know whether he included any of these steps before 1823 or whether his American translator simply omitted them as either not generally used or, perhaps, not appropriate for social dancing.

In 1822, Alexander Strathy published his Elements of the Art of Dancing in Edinburgh. His list has twelve quadrille steps – assemblé, jeté, glissade, sissonne, temps levé, chassé, échappé, pirouette, changement de jambe, pas de Zéphyre or pas battu, jeté tendu and jeté du côté. His vocabulary overlaps with that of Gourdoux-Daux, but both have steps not included by the other.

The only other treatise I will look at here is Charles Mason’s A Short Essay on the French Danse de Société published in London in 1827. His vocabulary overlaps with both Gourdoux-Daux and Strathy and also includes steps they do not list. Mason’s list has twenty of what he calls ‘Les Mouvemens’ – changement de jambes, assemblé, jeté, sissonne, tems levé, chassé, glissade, jeté ballonné, tems de Zéphyre, coupé, pas de basque, pas de bourrée, tems de ‘coudepied’, jeté brisé, pas tombé, fouetté, contretems, pirouette, emboîté and petits battemens. Some of these may have been embellishments to steps, rather than steps in their own right, and some may have been used only within the ‘Differens Enchainemens de Pas’ Mason refers to on his title page.

In the following table I have tried to set out the steps recommended for the cotillon and quadrille respectively, with the name of each dancing master to include it listed in order of the date of their first publication in which it appears. For the purposes of this investigation, I have omitted the Allemande step used in so many cotillons – it is probably worth another post of its own (although I did write about it a few years ago). There were, of course, several other works on dancing – and the quadrille – published in the early decades of the 19th century, so my list of steps is probably far from complete and it is certainly not definitive. How and why did the step vocabulary change and expand so much as the cotillon gave way to the quadrille?

Table of Cotillon and Quadrille Steps

 

How Easy Are Regency Quadrille Steps?

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In an earlier post, Jumping or Rising? Regency Quadrille Steps, I admitted that I had found it difficult to learn the step sequences used for the various quadrille figures in Strathy’s Elements of the art of dancing (1822) and Gourdoux-Daux’s Elements and principles of the art of dancing (translation, 1817). I’m still puzzling over the reasons for this. I’ve been dancing quadrilles for a good few years, admittedly using only a small range of steps, and my background in ballet (as well as my work on baroque dance) means that I can usually pick up step sequences quite quickly. So, in this post, I thought I would take a closer look at what made the new quadrille sequences so challenging.

I’ll begin with the upper body and the arms. Strathy advises:

‘The graceful display of the arms depends greatly on the manner in which the elbows and wrists are turned. The arms should be held in a rounded form, so that the elbows and wrists make the least appearance possible; the elbows turned forward in a small degree, and the wrists held in contrast with them; the hands gently rounded, and the thumbs placed on the joint, or rather over the first joint of the fore-finger, and turned towards the sides. In this position, the arms have a much more delicate appearance, than when the back of the hands are held foremost’.

The lady, of course, holds her skirt, and Strathy helpfully provides illustrations.

The arms are in what is nowadays called a bras bas position and this is where they stay, except when taking hands with another dancer in the quadrille set. Strathy places a lot of emphasis on the ‘proper deportment of the body’ and the ‘proper disposition of the waist’. It takes quite a lot of practice to control the upper body (including the head and the shoulders) and keep the arms still without becoming tense and looking stiff.

In my earlier post, I looked at whether regency dancers jumped or merely rose for their springing steps. With further experimentation, and advice from the dancing master who began this enquiry, I came to the conclusion that the answer was somewhere between the two and that some steps, for example the jeté, travel relatively little. This style of dancing is far more contained than modern ballet. Just as much as its baroque predecessor, it requires what Strathy calls ‘à-plomb,- that steadiness and facility of execution’ achieved by keeping the weight well over the feet.  At the end of each step, you must be ready to go in any direction (or none) – just as in baroque dance. I am beginning to master this, but it has taken quite a while.

My main struggles have been with the sequences used in regency quadrilles. As I tried, and failed, to learn these well enough to do them without repeatedly checking the notes, I attempted to analyse what was going on. I came to the conclusion that I was actually trying to replicate what was expected in modern ballet. I was just too used to sequences that were fully symmetrical as well balletic conventions for closing the working foot either ‘under’ or ‘over’. Baroque dance, of course, works differently but I’ve almost always been learning notated dances and not short step sequences.

I’ll give, as an example of how regency quadrille sequences work, one of Gourdoux-Daux’s alternatives for traverser – in which the dancer crosses the set to the other side. Most of us (myself included) generally use the sequence of three temps levé-chassé ending with a jeté and assemblé.  Here is what Gourdoux-Daux suggests (and this is only one of several alternatives offered by him and Strathy):

‘Presenting the right shoulder to your opposite dancer, perform the glissade above with the right foot, glissade under, jeté in the third position under the left foot, turning round on that side at the same time. Then do the assemblé with the left foot under the right. To complete this trait, rise sisone under with the left foot, glissade above with it, glissade under and assemblé with it under the right foot.’

The description does need a bit of interpretation, but it is an asymmetric sequence and you have to get the correct foot in front at the end of each glissade as well as finishing your jeté and assemblés ‘under’. You also have to be ready to change orientation, as well as direction, immediately after dancing to the right side and the left. It has taken me a while to get it right.

Perhaps my problems also related to the fact that I was trying to learn several different sequences (for dos-à-dos, traverser, chassé croisé and dancing right and left) all at the same time, as well as having very little time for practice each week. I’m sure that it would have taken regency dancers some weeks of careful tuition by an expert dancing master before they became proficient. Still, never underestimate the skills of even amateur dancers in history!

 

Jumping or Rising? Regency Quadrille Steps

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I have been trying to get my feet around the steps and sequences used in regency quadrilles and finding it a bit of a struggle. I think there are two main reasons for this. One is that the ‘grammar’ of the sequences, the way in which the steps are put together, contradicts what I am used to in modern ballet’s petit allegro. The other is that the individual steps, which seem very similar to those of petit allegro, in fact need a different style and technique which I am still trying to work out.

I started to learn this material (in which I claim no expertise) for a project devised by a young teacher of historical dance with whom I have been lucky enough to work over several years. The source texts we are using are Strathy’s treatise of 1822 and the 1817 American translation of Gourdoux-Daux’s manual.

These provide descriptions of the temps levé, chassé, jeté, assemblé, échappé, glissade, sissonne, changement and grand coupé, which feature in the various quadrille figures and balances we have been exploring.

Looking through the two treatises, I was surprised to see that both use the word ‘rise’ where I expected to see ‘spring’ or ‘jump’. Gourdoux-Daux’s translator does use the word ‘jump’ occasionally and Strathy says ‘spring’ once, but the descriptions suggest that neither word really represents what they intended their dancers to do. When describing the landing from a step which I would assume (from my experience with ballet) leaves the floor, Strathy uses the word ‘fall’ while ‘V.G.’ says ‘alight’. I won’t go through all of the steps I have listed, but here are their descriptions of the changement, which I think illustrate the point I am grappling with.

Strathy says:

‘Of the step named Changement de Jambe.

Place the body as directed for the deportment, the feet in the fifth position; balance the body equally on both legs, bend low by folding the knees outward, rise without jerking, and make the feet pass by the first position, the one to the place of the other, the knees extended, and the points or toes turned down, so as the feet may be in a line with the legs, the points near the floor, where they will fall by the weight of the body: place the heels gently, the feet in the fifth position; keep the knees straight.’

While Gourdoux-Daux says:

‘On the motion called Change of Foot, in the third position.

To perform this step, place yourself in the third position, firm on the hips and knees, with the toes properly turned out. Bend down equally upon both knees and insteps, (without raising the heels from the floor) rise up gradually, just high enough to enable you to bend the instep so as to cause the toes to be in a perpendicular line with the leg, as much as possible. Cross your feet as in the first position, viz. the heels close together, and alighting on the floor on the toes, bring the heels gradually down in the third position and straighten up your knees.’

Both descriptions suggest a jump that isn’t quite a jump, since the dancer rises only high enough to fully point the feet. The motive force for the step seems to come from the feet as much as the plié, making it closer to the modern rélevé than a jump. So, in regency dancing, are jumps closer to the demi-jeté or perhaps the ‘relever en sautant dessus’ of the contretemps in baroque dance?

Another word that turns up regularly in these treatises is ‘slide’, used in the description of the assemblé (for the initial movement of the working foot) as well as in the glissade (which is obviously linked to the baroque step with its pas glissés). A sliding step does not, of course, leave the floor.

For another project, I have been re-reading a study of balls and assemblies 1660-1840 where I came across a short discussion of changes to the dancing floors around the regency period. The evidence was somewhat contradictory. Apparently sprung floors were being introduced at much the same time as floors became highly polished – the one facilitating springing steps while the other encouraged sliding steps. Did they indeed affect the dancing style and technique of the time – perhaps further research is needed?

So, to return to my original problem, was regency dancing full of small jumps similar to those taught in a modern ballet class? Or was it based on jumps that weren’t quite jumps, making it lively and bouncy but with the emphasis on controlled vivacity rather than aerial feats?