1. 16 th and 17 th Centuries DANCE IN THE COURTS

2.  -16 th century Europe saw many changes including the emergence of a money-based economy, rising of strong monarchs, religious and political wars and tensions between social orders  Late Renaissance period in Europe  France-religious and political struggles, but ascended to golden age  England- Political struggles (constant changing of powers)  Queen Elizabeth I  James I  Charles I  Charles II  James II  Protestant Reformation: European politics became dominated by religious conflicts  Michelangelo, Leonardo da Vinci, William Shakespeare, Machiavelli HISTORY IN EUROPE DURING 16 TH CENTURY

3.  King Louis XIV ruled France and was known as the Sun King  This time in France was known as both the Baroque period and the golden age  Baroque dominated the 17 th century in art and culture (Baroque- artistic style that used exaggerated motion and clear detail)  England and France became the fashion leaders of the world HISTORY IN EUROPE DURING THE 17 TH CENTURY

4. IMPORTANT HISTORICAL DANCE FIGURES OF THE PERIOD

5.  Queen Mothers to France  Helped with the production of Le Ballet-Comique de la Reine – the first ballet in Europe  Came from a powerful Italian family, and when we married French royalty (Henry II), she moved her court from Italy to France and brought the Italian ballet with her.  She used dance to distract the French courts from political activity so she could rule the country CATHERINE DE MEDICI

6.  Enjoyed producing and performing court ballets  Composed music  Enjoyed performing comic roles  Had an all-male dance company (men would perform female roles)  Set the stage for his son Louis XIV and the promotion of dance in France KING LOUIS XIII (13 TH ) OF FRANCE

7.  Reigned from 1643-1715  Dancer and patron of the arts  His most famous role was le Roi Soleil which means “Sun King” and this was how he became known as the Sun King  Began dancing at the age of 12 and stopped at the age of 31  He commissioned more than 1,000 ballets establishing and fostering the development of ballet in France KING LOUIS XIV (14 TH ) OF FRANCE

8.  Brilliant dancer in the court of Louis XIV  King’s dancing master and superintendent of ballets  He is credited with the clarification of the five positions of the feet for ballet and a notation system for dance that was never published PIERRE BEAUCHAMPS

9.  Dancing master, historian, and priest  Wrote the Orchésographie THOINOT ARBEAU (JEHAN TABOUROT)

10.  Was a French ballerina and the first professional female dancer at the Paris Opera  First female professional dancer  Performed in the first ballet which allowed women to dance – Le Triomphe de L’Amour (20 other female dancers)  Performance was a huge success- novelty to have women dance  She was called “Queen of the Dance” MADEMOISELLE DE LAFONTAINE

11.  One of the first female choreographers  First woman to choreograph a ballet in which she also danced (Pygmalion) MARIE SALLE

12.  Performed in 78 ballets and operas  First dancer to wear slippers instead of heeled shoes  Allowed leaps that would have been difficult, if not impossible, in the conventional shoes of the age  First to wear a calf-length skirt (the start of accommodating the costume to the dancer)  First ballerina to wear ballet tights MARIE-ANNE DE CUPIS DE CARMAGO

13. Couple dances were more popular than choral dances COURT DANCES OF THE PERIOD Four Part Suite: Allemande, Courante, Sarabande, Gigue

14.  Couple Dance  Began in Germany and replaced the “pavane” from Renaissance dance  Performed in a slow 4/4 time signature  Slow and Flowing  Dancing couples remained engaged in conversation ALLEMANDE

15.  Originated in Italy (Catherine de Medici)  Couple dance  Wooing Dance  Name of dance comes from Corrente- means stream in Italian  Danced with fast running and jumping steps  Each couple held hands to move forward and backward or dropped hands to face each other or turn COURANTE

16.  Originated in Spain  Solo dance  Performed with castanets by women  Highly sexual pantomime, with undulations of the body, hip movements, flirtations  Slow, sedate processional dance (France)  Country dance performed by 6-8 couples facing each other (England) SARABANDE

17.  Lively Dance in Triple Time  Lively Footwork and Stampings  Performed by both Nobles and Peasants GIGUE

18. DANCE DESIGNS, ACCOMPANIMENT, DRESS/ ADORNMENT

19.  Formations of dancers were influenced by the hall and stage space, the number of people in attendance and the musicians  Formations included geometrical floor patterns with symbolic meanings and the letters of the alphabet or the king’s initials DANCE FORMATIONS/ DESIGNS

20.  Music directly corresponded with dance  Music was written and developed specifically for ballets ACCOMPANIMENT

21.  Gigue  Sarabande  Allemande  Courante PUT THE DANCES IN ORDER THAT THEY WERE TYPICALLY DANCED

22.  Elaborate and elegant dress for both men and women (ballroom and performances)  Costumes were designed based on the silhouette of the times and character the dancer portrayed  1 to 1 ¼ inch heels were added to shoes in 17 th century- affected people’s balance and posture  Nobility wore scarlet heels on their shoes ADORNMENT/COSTUMES

23. POPULAR DANCES, BALLETS, AND DANCE LITURATURE

24.  Dance Manual written in 1588  Contains careful detailed, step-by-step descriptions of 16 th century and earlier dance forms  Written in the form of dialogue between the author and a student  Example of dances: pavane, gavotte, allemande  Dictated musical forms that directly associated with the dances  Illustrations of dances and foot patterns  Outlined principals that later became the 6 positions of the feet  Also included social behaviors and manners ORCHÉSOGRAPHIE

25.  Costumed horsemen rode their horses in designs and patterns  Performed for prestigious weddings and ceremonial welcoming of monarchs EQUESTRIAN BALLETS (HORSE BALLETS)

26.  Established in 1661 to develop polite and courtly dance  Established by Louis XIV  Personally supervised what dancing masters codified in order to defend his favorite art against changes made my inexperienced dancers ACADEMIE ROYALE DE DANSE (ROYAL ACADEMY OF DANCE)

27.  First ballet produced in Europe  Presented by the Queen Catherine de Medici to honor her daughter-in-law  Incredible Theatrical feat for its time  Based around the legend of Circe- the Greek enchantress  Became model for ballets produced in other courts and countries LE BALLET- COMIQUE DE LA REINE “THE COMIC BALLET OF THE QUEEN”