Dañs tro

See also: Gavotte

The dañs tro or gavotte is a family of traditional dances of Low-Brittany.

Their style is due some to the maintenance, the dancers being relatively firmly dependant by giving itself the arms on the hip or higher (Fisel), while turning slightly to the left. It results from it a vertical suspension from the dancers, a small vertical trepidation of the hands, a light natural oscillation of the line of dance. The vertical suspension is less important than in Fisel and varies according to the horizontal progression. For example, the gavottes which opened in chain as the gavotte of Braspart progress more and the vertical suspension is of as much less important. One observes a very light natural oscillation of the round. Some cause it consciously.

Style of the musical accompaniment (Kan ha diskan or couples bell ringers) adhesive with the dance.

Naming and etymology

The term “gavotte” is in fact unsuitable; indeed, contrary to the Year-dro , the laridés and wrinkled , with the rounds of Landéda and Loudéac, the gavottes does not derive from the Branle S of the French Renaissance, but probably of the old Trihori S of Breton influence, just like the kost rear it hoad . This abusive term of gavotte was employed by foreign observers with the area which seen resemblances to what they called gavotte. It since passed into Breton: gavotenn .

Decomposition

The gavottes are generally danced in a continuation made up of three parts, each one having its own musical reason and its own tempo:

  • your simpl (also called your kentañ , “first " time, or your berr , “time runs”), of fast execution
  • tamm kreiz (“piece” of the medium, also called tamm diskuizh , rest period, or ball ), slow walk composed of a walk intersected with figures plus sharp
  • your doubl (also called your diwezhañ , “last time” or your to hir , “long time”), rapid (but of execution often sharper and dynmaique on the first part) with one phrased musical often redoubled

The your doubl can be replaced by a your tripl but that is rather rare.

There exist however continuations of gavottes which do not follow this decomposition but associate a gavotte with a ball 8, a jabadao, a succession of balls (to 2, 4 and 8).

Structure of the step

The gavottes themselves ( your simpl and your doubl ) comprise 8 times and diverge by:

  • the presence of a subdivision or not, the subdivision varying according to times to which it occurs (in 3-and-4, in 4-and-5, in 5-and-6) and its style: irregular, small steps, pause, pause with a fictitious support (not known as of rest, IE the old step of the women in Poher), in start/to strike/change of support (gavotte of Calanhel)
  • the style of the step: in linear progression, with embroideries (gavotte of the Swallow-hole, gavotte Pourlet), hopping (Châteauneuf-of-Faou), ventilated (Fisel)
  • time or the starting foot: normally the left foot, but several gavottes (for example the gavotte of Braspart) starts of the right foot
  • the figure of the ball: simple or with change of support
  • musical accompaniment: a couple of bell ringers (Bagpipe/bombards) or a couple of singers of Kan ha diskan

The gavottes were generally danced in round (some opened thereafter chains some as the gavotte of Braspart) but some are danced to four: gavotte of the Swallow-hole, Châteauneuf-of-Faou the. There exists even a gavotte couples some, that of the continuation glazik.

The second part of the continuation is a ballade intersected with a ball on the refrain. There exist several balls:

  • the ball known as old, where riding and riding turn one to the other and alternatively carry out a series of posed cross towards the interior and the outside
  • the ball known as of Poullaouen, collected by Loeiz Roparz, used in Dardoup country and in Poher, where riding and riding turn one to the other then carry out a Pas four towards the riding one then towards the rider on the Ligne of dance
  • the ball of the country Calanhel
  • the modern ball, it is an evolution introduced by the circle of Berlien into the Années 1950 which sees the dancers posing slightly the foot ahead by accompanying the gesture by a light movement of arm, with or without changes of supports
  • the ball of the gavotte of the right foot, appears in step of four towards the center of the round

Others gavottes have more complex balls (ball Fisel, ball with 8 of the gavotte Dardoup) or include/understand a succession of balls (balls of Swallow-hole, balls of the continuation of Chateauneuf-of-Faou, balls of the Glazik continuation).

Evolution

Formerly danced in round, which gives a more energetic dance, more “powerful”, the gavotte evolved/moved by places in chain opened, which gives a faster dance, less “hopping” vertically. This evolution was carried out at the end of the 19th century and at the beginning of the XX {{E}}. At that time, several Breton dances gradually “separated”, i.e. comprised figures with two in dances up to that point massively in group (to be compared with the appearance of figures with two in the Year-dro , then its evolution in Kas-a-barh ). Also one sees sometimes balls with two during the tamm diskuizh of some gavottes.

Airs

The gavottes training very an big family which covers a broad territory of Brittany (Cornwall/Brittany center and Trégor), there exist many different airs (as well as manners of dancing), in particular of Kan ha diskan. However, its general style dissociates other dances.

Generally, one employs only one air by part (your simpl, tamm kreiz, your doubl). However some gavottes, like the continuation of the Swallow-hole, have an accompaniment much more complex which is composed of a succession of many different airs (at least twelve).

See too

Random links:Red Slate Mountain | Norihiko Hibino | Irenee Vautrin | Nicolas Besch | Deliver emblems | Université_de_Tohoku