Shall We Dance? The Romance and the Glamor!

In the early days of ballet, introduced in 1681, dancers' shoes had heels but the gradual change to flat slipper shoes allowed greater freedom and stability. The first pointe shoes did not appear until the C19th when ballerinas began to balance on their toes - formerly, the dancer was lifted by mechanical means or by dance partners. The pointe shoe in its modern form as recognized today, was introduced at the beginning of the 20th century. Ballet shoes are personal to each dancer, custom made for the individual foot - a complicated process involving canvas, papier-mache and a thick brown glue, before being baked for 14-15 hours then covered in satin.

Born in Sweden and trained in Paris, the great nineteenth century ballerina Marie Taglioni was feted for her ethereal embodiment of the Romantic period. At the peak of her popularity, 'Taglioni mania' swept Europe and all manner of things, from stagecoaches to cakes were named after her. When she retired in 1842, a group of her fans purchased an old pair of her shoes for 200 roubles, then cooked and served them in sauce - and ate them!

Many of the most famous ballets share with opera a curious common theme in tragedy: star-crossed lovers and a romance which is never going to end well. In ballet, both leads tend to expire before curtain fall, whereas in opera, the heroine more frequently pulls the shorter straw, expiring beautifully, but rarely before a final aria, lamenting ill treatment by her lover.

"The great ballerina Margot Fonteyn now shares her own knowledge of dancing and dancers to give careful, intelligent, personal advice to all children about to embark on the study of dance, and to all parents hoping to guide them." She was considered the world's best ballerina of her time.

Fonteyn began her greatest artistic partnership with Rudolf Nureyev at a time when many (including the head of the Royal Ballet, Ninette de Valois) thought she was about to retire.

Originating in the French dance halls of Montparnasse, the cancan was aptly known as the 'chahut' (literally, uproar).As with the introduction of the waltz, which we now regard as the epitome of sedate and decorous dancing, the chahut shocked society which was scandalized by the close body contact of both men and women dancing in quartets. The first 'stars' of this dance form, the rock and roll of 1830s Paris, were the high-kicking men who competed to be the most athletic, modelling their moves on the acrobatic manoeuvres of the time. When women began to copy the men, their high kicking revealed more than intended!

We can just tell, from her pert expression, that this lively little lady will be full of fire and can-can spirit

In contrast to the thrills and frills of Montparnasse,the multi-layered Flamenco is the traditional song and dance of the flamencos (the gypsies) of Andalusia in southern Spain. The percussive footwork and finger snapping is an integral part of the dance, interwoven with the song forms and guitar music of the region which in turn incorporates historical Moorish and Indian influences. The flamenco dance is but one of the three integral parts which are the art of flamenco: The 'baile', or dancing, the 'cante' or song, and the guitar playing.

The Flamenco music and dance became popular in the early 19th century as café entertainment but appear to have its origins in the late eighteenth century. By the beginning of the nineteenth century, there were several flamenco schools in Seville, each teaching its own interpretation of the art. The dance form and steps will vary, interpreting the music and the song. Often the dancer will stand motionless at the start, drawing the emotion into herself before slowly allowing it to be expressed. The flamenco dance is a sophisticated art form, the dancer expressing highest emotion but always controlled, giving the impression that the passion is dangerously on the edge of breaking its bonds but somehow always contained within the explosive potential of the drumming feet and elegant balletic arm movements.

The 21st century tourist will see the dance in some form but will be fortunate indeed if they are privileged to witness it in its most passionate, complicated and sophisticated rendition.

Love this pair of cloth folk doll!. They are Klumpe or Klumpe type. She is a daring and dangerous Flamenco dancer-he a dashing matador! Really wonderfully costumed dolls in original condition. The best part is their hand painted facial expressions.

Although it may now seem quaint, even a curiosity from the far distant past, an etiquette was strictly observed at social gatherings which included dancing, whether at grand balls or small country dances, and this formal code continued to be followed long after the second world war period. In the Georgian and Victorian eras, no lady would be expected to accept an invitation to dance from a gentlemen to whom she had not been formally introduced. But, having been presented, it was considered ill-mannered to refuse an invitation to dance if not already committed to another partner. However, the gentleman is sternly cautioned that an introduction at a ball did not entitle him on following days to claim her acquaintance!

One of the most charming rituals was the use of the dance card, fashionable and necessary accessories for society gatherings across Europe and America. From simple card to luxury ivory and precious metal booklets, the dance cards might be given out at the start of a ball, printed with a list of the dances scheduled next to which could be written each man's name as he reserves her company for that dance.

Imagine a time when the elite and Royals of Europe strolled the promenade of the old Palais Royal (Richelieu's Palace in Paris), chatting, enjoying a garden table lunch or dinner, attending theatre, and shopping in the very upscale boutiques along the promenade. The Palais Royal remains today a wonderful place to visit, and when there you can fairly feel what it might have been like.

This splendid example could perhaps have been a French homage to the American Independence, as the card case dates to just after the American Revolution and features the symbolic Eagle and start-spangled banner.

In Strasbourg in July 1518, a woman stepped out into the street and began to dance - and didn't stop. Several days later, a hundred other people had felt compelled to join her and, by the end of August, more than 400 dancers filled the streets, whirling in an unending mad flurry of steps. The authorities believed the only cure for this madness was to encourage them to dance it out day and night.

They built special platforms in the guildhalls and paid musicians to accompany them. Within days, many died from heart failure and exhaustion. Finally realizing the affliction was not going to burn itself out without intervention, the afflicted were loaded onto carts and taken to holy shrines for healing. Gradually, the mysterious epidemic declined.

Although not the first instance of this curious outbreak of compulsive dancing, which had occurred previously in Europe, from Belgium to Luxembourg, the Strasbourg incident was the best documented. Several explanations have been offered for this strange phenomenon, from ingestion of hallucinogenic fungus to mass hysteria. Modern theories suggest the townsfolk were in a trance-like state induced by great psychological stress at a time of famine, which coincided with a series of local disasters, encouraging the belief they were within the grip of evil spirits. Chief among these was the belief that if anyone provoked the wrath of Saint Vitus he would send down plagues of compulsive dancing.

This Italian folk dance has its origins in another mania in 1630 that affected the townsfolk of Taranto in southern Italy. Bitten by a wolf spider, the toxin brought on a combination of extraordinary symptoms in which stupor alternates with a violent and compulsive urge to dance for several days in an attempt to drive off the venom. The dance survives today in various forms across the south of the country although the name has now changed to pizzica.

That was the dismissive judgment following Fred Astaire's first screen test for RKO. Did they ever make a mistake!

Fortunately for movie history, he was signed to the studio and went on to form the legendary partnership with Ginger Rogers, making nine films together in the 1930s. Who can be immune from the incomparable magic they produced on the silver screen?

The Fred and Ginger 'partnership' separated in 1940 with Ginger going on to be one of RKO's biggest stars while Fred continued making movie musicals with several different partners including Rita Hayworth in 'You'll Never Get Rich' in 1941 and 'You Were Never Lovelier' in 1942. Fred danced with Gene Kelly for the first and only time in the revue 'Ziegfeld Follies' in 1945.

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