Schottische Dance Essay

Introduction

The Schottische dance ranks among the best new dances with immemorial antiquity, generally preferred for its traditional ties to the Polka. As one of the most ancient dances, it is considered a combinatory dance that comprises "two movements" in its earliest description. The dance is made of the circular hop and polka, constituting an agreeable variety of two ancient movements. While the time required to make the steps is more or less the same as the Polka, the Schottische dance is easily acquired and much slower (Breathnach, 1977). It can be taught in a few minutes because the simple round dance is suitable for juveniles. Nonetheless, it is not considered a "true polka dance" owing to fundamental differences between the two as the dances develop. The performance of the dance entails the gentleman taking the initial scotch step to both sides, beginning with his left foot thus 1,2,3 then hop, step to the right side counting eight steps. The gentleman is then to turn the lady round twice, counting one hop to 4 hops, after which the lady executes similar steps, starting with the right side.

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History and Origin of Schottische Dance

The Schottische originated in Bohemia around the 1850s and was initially introduced into public ballrooms in a position where two partners face each other throughout the dance. In the 1890s the open position was introduced for the 1st part of the dance and closed positions for the schottische turning part, a form that is practiced in the contemporary schottisch ballrooms. The origin of the schottische dance can be traced back to the ancient Victorian era. It was regarded as an integral folk-dance craze, which was considered a staple in the 19th century. As the schottische migrated into other countries, the dance found its way into various nations and cultures, developing followings among the enthusiasts of folk music and entire European dance traditions (Powers & Enge, 2013).

Theatrical Components of the Dance

As regards music, the schottische is considered a slow 2/4 time or a 4/4 time. Historians believe that hundreds of schottische pieces of music are still kept in sheet music and library collections today. Some authors, however, argue that the dance's musical form can also take on a 6/8 tempo. Powers and Enge (2013) describe the more energetic 2/4 time, the 8-bar dance which entailed a glide, followed by a couple under and over, then raising of the right foot and placing one's instep against the left leg's calf. According to them, the turning step and hop constituted the full second half.

The dance has significant room for variations and improvisations, for instance, the change that necessitates an open hold of the arm of the gentleman around the waist of a lady. In the 1st two beats, the couple faces the center of the room, facing the exit of the room at the 2nd beat, followed by a ballroom hold for the subsequent turn. The music ideal for schottisch dances ranges between 74-82 bpm, with 78 as the sweet spot tempo (Powers & Enge, 2013).

When dancing to schottische, the dancer performs dynamically and expressively by shifting weight effortlessly from right to left leg, and in the anticlockwise turn maintaining shapes that communicate intended meanings and mastered counterbalance. Hence the use of effort, space, body, and form in different ways in the first round, and second half. Concentrated effort and care are required in paying attention to the movement of the gentleman to avoid collision (treading upon the lady's dress and toes) as the dance follows precise time in both the circular and hop movements. The use of space depends on the step being taken in the first and second half of the dance, turning inwards or outwards the ballroom, and especially during the anticlockwise turn around the room. Choreographers advise the schottische dancer ought to train the body to perform with expression and both internal and external focus (Schrader, 2005).

Hence the lead partner, through bodily intent and expression, focuses on moving the body first, then the feet beneath to be in perfect harmony, both physically and emotionally, with the partner. The dance entails much space for variation and improvisation, allowing the partners, especially the lady, to have fun " at the moment" and explore through controlling and intentional performance coupled with appropriate dynamics. The dance entails multiples of 8 bars, one couple repeat and set, and a single round the ballroom set (Powers & Enge, 2013).

Influences of the Dance

The introduction of the dance had immense impacts on the social and religious practices of respective audiences. The hot Schottische, for example, was born in the US as a hybrid between ragtime and newer schottische versions composed by renown rag-time composers (Buddy Bolden and Thomas Allen). The spread of the American Jazz music, a genre that was much celebrated in the social circles, was influenced by the success of the newer schottische version, especially in New Orleans, where you could seldom find a club not playing music ideal for schottische dances between partners who, in most instances, met in the clubs as strangers. The remainder of the 20th century saw the dance broaden its influence in the social circles, becoming an integral part of the Western dancing culture, especially promenade dances. In fact, its similarity with polka dance moves fostered relations between country western fans and the Schottische as well as bluegrass and folk enthusiasts (Dodworth, 1913).

Politicians and high-ranking members (echelons) of the society used to meet in the schottische balls and dances, when Britain was considered to be in its heyday stage (Dodworth, 1913). For instance, the Bath Carnival Committee organized the British Empire Ball at the trendy Grand Pump Room, where more than a quarter of the Royal members attended and danced to music by the Herr Duys Band. In the Shakespeare Ball held in 20th June 1911 at the Robert Albert Hall, the political representation of over 4000 royal princesses and European Heads of State was prevalent with the band comprising of 130 musicians supplying music ideal for Schottische dance, especially the Highland schottische, the entire night fostering political allegiances and relations. The Valses dances were done in groups of three, interposed with 2-steps, Lancers and Quadrilles, followed by one step, then item 20 (Music Kelrow). The dance is still considered among prolific and influential dances of the 19th and 20th century whose performances epitomized the blending of various ethnic cultures helping shape the political and social relations of the era (Hartman & Muse, 2008).

Growth or Decline Changes in the Dance

Today, the schottische dance is considered universal. Later developments of the dance included another version known as "the Military Schottische" that first appeared in dance manuals sometime in the 1880s when dancing masters composed intricate variations of their styles for students. It does not necessarily require much practice like many other dances though when appropriately danced; it brings out elegance and pleasant movements (Powers & Enge, 2013). Contemporary schottisch is danced much faster, compared to the original time taken between steps. However, the 20th century saw its introduction in the United States and adapted to local cultures melding into a hybridized ragtime dance. The older version of the dance had nonetheless begun vanishing from ballrooms with few occasional echoes such as the Castle Schottische (1910) that were still considered fashionable (Breathnach, 1977). Newer schottische dancers have a prevalent affinity to Reggae music and continue to influence and promote line dancing in various modern forms of country music. Modern dancers imitate Waltz steps in place of the hops; however, the dance is seldom practiced in more fashionable and classy circles.

Similarities and Differences Between the Schottische and Other Dances

Although the schottische dance comprises two movements-the circular hop and polka, it does not qualify as a 'true polka" because fundamental differences ensue as the dances develop. Notably, though, historians and dance experts record that both Schottische and polka use four counts, requiring a step, a close-step and a step in their first three counts (Breathnach, 1977). The Schottische necessitates one to hop squarely and deliberately in the 4th count while the polka takes a rest at the 4th count, followed by a quick hop as a form of preliminary to the 1st count of the subsequent measure at the very end of the preceding beat.

The Waitz dance, on the other hand, originated in Austria and Germany in the 18th century and it entails a scandalously close-touch between dance partners. Whereas the schottische promotes for limited touch, allowing touching at arm's length, the waltz involves close contact with the man's arm around the lady's waist. Though it spread amongst the privileged members of society, the dance was adopted by working-class members and rural communities. Although waltzing requires 4/4-time music like the schottische, it entails various variations such as cross step (mixer), Veleta, reverse waltz. In the cross-step waltz, the dancers change their partners in a sequence of 8 bars, and the music has to be a cross-step tune with 8-bar continual phrases.

However, in the reverse waltz, the lead faces forward LOD rather than facing outward the dance hall (Powers & Enge, 2013). The Waltz dance is termed a smooth movement of the shoulders, using the space in a parallel form with floor instead of up and down movements, along with a line of dance characterized by rising and fall actions with primarily seven steps. Its time signature is , and its necessary steps are counted as "1-2-3; 1-2-3" danced to 90 bpm musicals with three beats per measure (Marshall, 2012).

References

Breathnach, B. (1977). Folk music and dances of Ireland. Mercier Press.

Dodworth, A. (1913). Dancing and Its Relation to Education and Social Life: With a New Method of Instruction Including a Complete Guide to the Cotillion (German) with 250 Figures. New and Enl. Ed., with an Introduction by T. George Dodworth. Harper & Bros.

Hartman, G., & Project Muse. (2008). The history of Texas music. College Station: Texas A&M University Press.

Marshall, H. W. (2012). Play me something quick and devilish: Old-time fiddlers in Missouri. Columbia, Mo: University of Missouri Press.

Powers, R., & Enge, N. (2013). Waltzing: A Manual for Dancing and Living. Redowa Press.

Schrader, C. A. (2005). A sense of dance: Exploring your movement potential. Leeds: Human Kinetics Europe.