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away. The Fandango may go all the way back to ancient Rome, while
Romans called it the Spanish
Dance, it was probably the Fandango dance. The Tarentella
and Furlana
are similar dances, with the main exception of the couple touching
each other. The Fandango has been portrayed in many ballets
as well. By the 19th century it was said the Fandango was scarely
danced and was replaced by the Jota,
Sevillana and Bolero.
- The primitive Fandango could not be executed in
a drawing-room of moderate size as the dancers would sometimes make
sets (groups). The woman accompanied herself by castanets,
The feet stamp the time accents, in the absence of castanets the
fingers and thumbs are snapped indicating the measure (slow 6/8)
by a graceful movement of the feet, of the heel. The gentleman tosses
a tambourine; (or a tambour de basque, which, however, is now
out of use), this he strikes with little bells, seeming, as
it were, to invite his companion to accompany him in gesticulation,
sometimes he also has only castanets, however this was usually deemed
efeminate. At the end of certain measures, the music halts abruptly
and the dancers remain froze until it is resumed.
-- This dance requires a costume. The woman adopts the short skirt
of bright-colored silk, and adorns it with flounces of black blond
lace. The gentleman wore an embroidered, braided waistcoat. The
guitar furnishes the orchestra while dancing, both male and female
alternately playing the same air, both keep time to its measure.
The Fandango is said to be a foundation to all the other Spanish
Dances.
- The progress of the Fandango, a highly boasted dance, is one of
the proofs which, backed by the decisions of the Spaniards, establishes
the Fandango as the leading dance of Spain, and as the one which
stands in the highest estimation. Their other dances are scarcely
anything more than imitations of it, and are looked upon as second
rate.
- Some music is of or a mix of 3/8, 3/4, 6/8 time. Some variations
are -- the Malagueña (aka: Flamenco), the Rondena, the
Granadina and the Murciana. The Chica dance
of Africa is said to be the Fandango, only was a much calmer version.
The use of Castanets, Guitars or a Mandolin, the arms and hands
play an important role. Many Roman dances are said to be compared
to the Fandango. The Plugge-dansen (Holland) was also a kind
of fandango.
- The Menuet Afandango is partly composed of the Minuet
and Fandango. The Jaleo
de Xeres and theOle' are somewhat similar to the Fandango, their
charm consisting in their rapid combination of gestures and motions,
and are said to be in high favor among the Andalusians. The former
is not unfrequently introduced in stage ballets.
- Zapateado, El- (form of Flamenco,) This is the same sort
of movement as the Guaracha, and is in the time of 3/8. There is
in this dance a considerable noise made by the feet. Its steps are
struck, as it were, similar to the Anglais and the Sabottière.
- Carlos Blasis states in his book "The Code Of Terpischore"
in 1830 states:
"America is not the only country that has been influenced by
Africa in dancing; From the Moors it was that Spain first received
that dance now so peculiar to it, the Fandango, which is nothing
else than the Chica , under a more decent form,
the climate and other circumstances not permitting the performance
of this latter with all its native concomitants. The origin of this
dance it is very difficult to discover; but every thing in it seems
to be the effect of a burning climate, and ardent constitutions.
The Fandango is danced by two persons, and accompanied by the castanets,
an instrument made of walnut wood, or of ebony.
The music is in the time of 3/8, and is a rapid movement. The sound
of the castanets, and the movements of the feet, arms, and body,
keep time to it to the greatest nicety. It is all life and action
in the Fandango. It was formerly danced much more generally by persons
of quality, after the regulations enacted for the theatre, which
introduced more dignity, more formality, and unaccompanied by the
slightest movement that could give offence to modesty, or shock
good taste. The lower orders, amongst whom this dance is in high
request, accompany it with attitudes which savour of the vulgarity
of the principal performers, and their extravagant movements never
slacken, never cease, till they are fairly tired out"... end
Blasis.
In choreographing the dance the dancers if solo, duette,
or quartette, all used castinettes. If corps of eight, or sixteen
half castinettes and half used tambourines. If solo, the dancer
came on from L. 2d ex.. If for more, half came on from each side
of stage. If more than a duette form in column of 2s down center
of the stage. |
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