Kinski’s Oporto manuscript (1751): between influence and change
(Catarina Costa e Silva)

In the middle of the 18th century (1751), Felix Kinski’s belle dance manuscript is, simultaneously, a source of tradition and transformation. Integrating 12 ballroom dances, 11 for couple and 1 minuet à quatre in Beauchamp-Feuillet notation, this source highlights the effect of the repertoire’s travelling through Europe in a time of social and cultural changes. In this manuscript we find local approaches, meaning Iberian contributions, and we trace the transformations and the spreading of this choreographic and musical French repertoire through Iberia and Latin America. In this paper we will highlight some of these aspects, presenting new sources and inputs for the study of this repertoire’s evolution.

 

Catarina Costa e Silva, Portugal

Founder and Artistic Director of Portingaloise, company and festival of Early Dance and Music . Performer of contemporary and early dance, singer, choreographer and stage director. Collaborated with several European groups such as Ensemble Elyma, Divino Sospiro, Capella Sanctae Crucis, O Bando do Surunyo, Orquestra Barroca de Mateus, Orquestra 430 of Vigo, Baroque Orchestra of Casa da Música, among others. Early dance teacher at the Early Music Department of Escola Superior de Música e Artes do Espetáculo- Porto since 2010, as well as intensive training at the Ludovice Ensemble Academia, Early Music Week- Federal University of Minas Gerais, European Union Baroque Orchestra (EUBO), among others. Studied Early Dance with Béatrice Massin, Bruna Gondoni, Catherine Turocy, Cecília Gracio Moura, Diana Campóo, Françoise Denieau, Guillaume Jablonka, Jürgen Schrape, Marie Geneviève Massé, Ricardo Barros, among others. Diplomas: undergraduation in dance; degree in Art History - University of Porto; degree in Singing - ESMAE; Master Music-Theater Studies - University of Sheffield; currently concluding the Phd in Artistic Studies - University of Coimbra.