Eine kurze Geschichte der Galliarde
(Markus Lehner)

Um 1500 entstanden, entwickelte sich die Galliarde zu dem mit Abstand populärsten Tanz im späten 16. Jahrhundert. Ob als eigenständiger Tanz, Teil eines Balletto oder als Nachtanz bot die Galliarde viel Gelegenheit, Sprungkraft und tänzerischen Erfindungsreichtum unter Beweis zu stellen. Eine ganze Reihe von Manualen aus dieser Zeit boten interessierten Tänzern eine Fülle an ausgefeilten Variationen dafür an.

Im 17. Jahrhundert änderte sich allerdings, ausgehend von Frankreich, der Geschmack, man bevorzugte nun statt wilden Sprüngen elegante Zierlichkeit, so dass die Gaillarde langsam von den Tanzböden verschwand. Einige Tänze aus dem späten 17. und frühen 18. Jahrhundert, die uns in Beauchamps-Feuillet-Notation erhalten sind, geben uns schließlich einen Einblick in die letzten Lebensjahre der Galliarde.

Im vorgeschlagenen Workshop wird der Galliarde-Grundschritt, die berühmten „Cinque Passi“ oder „Cinque-pas“, vorgestellt, sowie ein kurzer choreographischer Ablauf skizziert. Einige leichte bis mittelschwere Variationen geben einen Einblick in die Breite der Variationsmöglichkeiten und stilistische Charakteristika der Tanzmeister. Der stilistische Wandel im Frankreich des frühen 17. Jahrhunderts wird demonstriert, ehe die Teilnehmer anhand von Ausschnitten aus späten Gaillardes die allmähliche Auflösung der Tanzform nachvollziehen können.

Markus Lehner, Herrsching, Deutschland

Markus Lehner unterrichtet seit 1984 historischen Tanz mit dem Schwerpunkt Renaissance. Seine Tätigkeit im Bereich der Tanzforschung führte 1997 zur Veröffentlichung des „Manual of Sixteenth-century Dance Steps in Italy“. 2022 organisierte er zum fünften Mal das internationale Symposium für Historischen Tanz auf Burg Rothenfels unter dem Titel "Der Ball - Geselligkeit, Macht, Politik, 1600 - 1900“. Er ist Gründungsmitglied und Vorsitzender des Vereins Dance & History e.V., der Forschung und Wissensvermittlung im Bereich des Historischen Tanzes fördert.

 “From Folías to Folies d’Espagne”

Workshop on Spanish Golden Age Dance and its relation with the French Baroque Dance
(Ana Yepes and Anna Romani)

We propose a practical session exploring the technique and style of Spanish Golden Age dance and its relationship with French Baroque dance — through steps, arm movements, and notated choreographies.

Our work on Spanish Golden Age dance will draw on 17th-century sources such as Esquivel’s El Arte del danzado (detailing step vocabulary), the dance descriptions by Jaque and González, and the Chorégraphie by Novelli, a manuscript that assigns “figures” to steps and illustrates arm movements. For French Baroque dance, we will work with Feuillet’s Chorégraphie and with several notated Spanish Entrées preserved in French sources.

Participants will have the opportunity to practice excerpts from González’s Mariona and compare them with sections from Pécour’s Folies d’Espagne. We will also study passages from Jaque’s Folías alongside Pécour’s Loure pour une femme. A similar comparative approach will guide our exploration of arm movements, observing the differences and discovering personal choices in their use.

Those who wish to practice with castanets are warmly invited to bring their own.

Anna Yepes, La Genevraye, France

She studied music in Madrid, The Hague and with Nadia Boulanger. She obtained an Early Dance Teacher diploma from the GSMD and a dance certificate from the Sorbonne, Paris. Among other opera productions she has choreographed for Rinaldo, Orlando, Alceste, Giulio Cesare, Ginastera’s Beatrix Cenci, King Arthur, Indes Galantes, Hippolyte et Aricie, Carmen, Massenet’s Manon and Lully’s Bourgeois Gentilhomme. She has collaborated as a dancer and choreographer with Les Arts Florissants, Ris et Danceries, Les Paladins, Elyma Ensemble and the Yepes Trio among others. She works with directors including Francisco Negrin, Alfredo Arias, Jean-Marie Villégier and Mireille Laroche. She has her own company, Donaires Ensemble, which presents baroque dance programs and contemporary dance pieces. She teaches regularly in Europe, South and North America and Japan. She is currently collaborating with with Anna Romaní on the edition of their first book on dance of the Spanish Golden Age: “Introduction to Dance in the Spanish Golden Age, its sources, and its links with French and Italian Dance”.

Anna Romani, Barcelona, Spain

Anna Romaní, born in Barcelona, graduated in Contemporary Dance and Choreography at the Institut del Teatre. She specialises in Renaissance and Baroque dance, having trained with leading international teachers. Since 2005 she has performed with French companies such as Ensemble Donaïres, L’Eventail and Outre Mesure, and collaborated with ensembles including Le Poème Harmonique, Forma Antiqva and Vespres d’Arnadí. She frequently works with the Palau de la Música in projects involving both professional and amateur choirs, as well as family programmes. Alongside her performing career, she has consistently combined artistic practice with research. She co-directs Xuriach, a company dedicated to the study and performance of historical Catalan music and dance. As an educator, she integrates body and music through the Orff approach, and has taught at various conservatories and cultural institutions.

The Art of Port de Bras in Tomlinson’s “Art of Dancing”
(Caroline Copeland)

This workshop will explore some of the unique elements relating to port de bra in Kellom Tomlinson's treatise "The Art of Dancing" (1735). Tomlinson’s description of the movement of the arms is vague but he offers tantalizing details, evocative images, and specific action initiation points for the practitioner to consider and explore. The treatise’s engraved plates are even more intriguing depicting dancing figures with gathered fingers, lifted elbows, along with leaning and spiraling torsos. Do Tomlinson’s explanations and illustrations signal a new approach, a different style, or just additional possibilities for the performer?

Taking both his written description and the engravings into consideration, we will explore the following lines of enquiry and embodiment:

• The concept of épaulement, or shading of the shoulders, expressed on different planes of action: vertical, horizontal, and sagittal.
• Initiating points of the circular action of the wrists and elbow
• Moving from the distal ends of the arms (fingers/wrists) versus moving from the spinal column.
• The different shape and weight of the arms when the elbow is hanging versus lifted.
• Dropping the whole arm in making a circle vs. keeping the elbow lifted.

And finally, we will put this port de bras into action using basic dance phrases.

Caroline Copeland, Great Neck, NY, USA

Caroline Copeland is the Associate Director of the New York Baroque Dance Company, appearing with the troupe at the Drottningholm Theater, the International Händel-Festspiele Göttingen, Guggenheim Museum, and Potsdam Sanssouci Music Festival. She is a dancer and choreographer at the Boston Early Music Festival where choreographic credits include Campra's Le Carnaval de Venise, Händel’s Almira, Monteverdi’s Il Ritorno d’Ulisse in Patria, and Steffani’s Niobe. As a soloist, Caroline has collaborated with many groups around the US and Europe including Nordic Baroque Dancers, The New Dutch Academy, Juilliard415, Cantata Profana, and Mertz Trio. Her choreography has been presented at The Metropolitan Museum of Art, Lincoln Center, The Kennedy Center, The Public Theater, and the Philipszaal in The Hague. She is on the dance faculties of Hofstra University and SUNY Purchase Conservatory of Dance and a guest lecturer for Juilliard’s Historical Performance program. She holds a BA in Dance/Goucher College and MFA in Dance/Sarah Lawrence College.

 Discovering the Congo Minuet
(Alan Jones)

This workshop will introduce participants to one of the curious mutations of the minuet in the late18^th and early 19^th centuries. The Congo Minuet was most often danced by a single couple as a divertissement in the second half of the ball, to give guests the chance to rest between contredanses. Documented in France and Spain, it was especially popular in French- and English-speaking lands of the New World. Our sources reflect this geographic spread, and the dance’s transformations over time: Brives (Toulouse, 1779), Saltator (Boston, 1802), and the anonymous Dance Book T.B. 1826, compiled in a still undetermined English-speaking country. The musical accompaniment will be the “Minué Congo,” found in two anonymous, undated manuscript collections at the Biblioteca Nacional, Madrid.

Alan Jones, Paris, France

Paris-based researcher and choreographer Alan Jones has given papers and classes at Burg Rothenfels on a number of occasions. Having performed Baroque dance widely in North America and Europe from the 1980s into the early 2000s, he now gives priority to choreographies of the late 18^th and early 19th centuries, principally those of the United States. A frequent collaborator with the New York Baroque Dance Company (Catherine Turocy, director), he recently realized a suite of American dances for the company, including the Congo Minuet; this project was conducted in collaboration with Julia Bengtsson, and with support from the Centre National de la Danse. In addition to papers at Burg Rothenfels, he has presented at conferences hosted by the City University of New York, the court theater of Český Krumlov, and the Centre de Musique Baroque de Versailles, among others. He is presently laying the groundwork for a website chronicling all the dancers, ballet masters, and dancing masters active in the early United States, along with the repertory they created. Contact: Diese E-Mail-Adresse ist vor Spambots geschützt! Zur Anzeige muss JavaScript eingeschaltet sein..

La Gavotine - Variation on the Gavotte de Vestris

The Gavotte de Vestris enjoyed a rare longevity for an eighteenth-century dance, lasting well into the twentieth century. It was originally a solo performed by Auguste Vestris, choreographed by Maximilien Gardel, in the comic opera Panurge dans l'Ile des Lanternes, by André-Ernest-Modeste Grétry, first performed by the Académie Royale de Musique on January the 25th 1785. La Gavotte de Vestris has been performed many times by different dancing masters, mainly in a version for one couple, with variants or arrangements and variations for several dancers (Jean-Etienne Despréaux, Michel Saint-Léon, Carlo Blasis, Edward Alcott Théleur, Gustave Desrat, Friedrich Albert Zorn, Eugène Giraudet, Georges d'Egville...).

The manuscript Dance Book T B. 1826 (2026 will mark the 200th anniversary of this manuscript) contains a version for three dancers and a variation for four couples. The workshop is an opportunity to discover La Gavotine, a dance for four couples based on the principle of a quadrille using the “solo” parts of the Gavotte de Vestris.

Irène Feste, Arcueil, France

A dancer, choreographer and teacher specialized in early dance from the 16th to the 19th century. She trained in Baroque dance with Christine Bayle and her company L'Eclat des Muses. She has performed with several companies in France and Europe (Danses au (Pas)sé, Les Corps Eloquents, Divertimenty, Doulce Mémoire, Il Ballo...). She has choreographed for the theatre in productions by Pascal Ruiz and for the cinema (Les Trois Mousquetaires by Martin Bourboulon; Le Comte de Monte-Cristo by Alexandre De La Patellière and Matthieu Delaporte).
Her research focuses on the development of dance in the early 19th century, and has been awarded several research grants from the Centre national de la Danse: on the treatises of Jean-Henri Gourdoux-Daux, the notebooks of Michel Saint-Léon and on the quadrilles of Jean-Etienne Despréaux and his system of choreographic notation, La Terpsichorographie. This research was supported by the Centre National de la Danse, the Institut National d'Histoire de l'Art and the Bibliothèque nationale de France.