The national Czech dance is polka. 19th century ballroom dancing

And dancing, what is characteristically expressed in their work? Which dance is characterized by wide, heavy steps, and in which the most characteristic movement is a step with a jump, which must be performed easily? To what extent has the Czech polka gained worldwide fame?

The emergence of song and dance creativity among the peoples of Czechoslovakia dates back to ancient times. Already in the XI-XIV centuries musical culture was here for high level. It was represented by the music of the privileged classes, based on knightly romances, and folk music, permeated with bright national melodies and rhythms.

Singing and dancing in the Czech Republic were accompanied by playing bagpipes and violin. The folk harp was once popular, and later the flute was added. IN early XIX century, orchestras appeared in the Czech village. They included violins, horns, cymbals, clarinets, flutes and even double basses.

On the basis of folk music, musical culture and the richest dance art. Folk songs and dances were performed on stringed (lute, Czech Slavnik) and sound (gaida and duda) instruments. Cheerful, melodic folk music has inspired more than one generation of Czech and Slovak composers. World famous the names of B. Smetana, A. Dvorak, V. Novak are used, many of whose works are based on beautiful folk songs and dancing. Czech dances are extremely diverse and differ significantly from each other. Czech dances are characterized by lightness and liveliness, but at the same time smoothness and chastity.

Some men's dances are characterized by wide, heavy steps. In addition, they often feature springboard springy movements, jumps, and various types of moves. These movements are not complicated, but they are conveyed strictly in character this dance. Czech dances are mostly paired and mass dances; people perform them by moving in a circle counterclockwise by any number of couples.

The original form of all Czech dances, ritual and non-ritual, is circular. Ancient circle dances were for women, men and mixed. From circle dances dances called sharpening arose. Their characteristic features are the pair spinning in place as the main movement and improvisation.

Polka is an old Czech dance. The main movement of this fun dance consists of half steps connected by a prefix. The most characteristic movement is the jump step, which must be performed easily. The dance is usually opened by one couple, followed by the second, third, and finally everyone dances. Year of creation: 1834 The Polka is a fun dance from Bohemia, which is danced in either an open or closed position with a 2/4 rhythm. Polish origin - Czech peasant dance from eastern Bohemia (now part of the Czech Republic). The historical chronicles of Bohemia claim that the dance was invented by a village girl, Anna Slezak, in the town of Labska Tynice in 1834.

One Sunday she was listening to (or singing) Czech folk song: "Strycek Nimra Koupil Simla" (Uncle Nimra bought Simla - white horse) and came up with those jumps that are in polka. Anna named the invented steps "Madera" because of the speed and cheerful nature. The dance appeared in the dance halls of Prague in 1835. The name of the dance (pulka) - in Czech - “half”, in the sense of half a step, meaning a quick transfer of weight from one leg to the other. In 1840, Raab, a dance teacher from Prague, danced the polka at the Odeon theater in Paris and had great success. Parisian teachers seized on new dance, began to teach it in all salons and dance halls.

The tradition of balls in the Czech Republic lives on in the 21st century. Unlike other countries, not only the cream of society, but also ordinary citizens dance at balls here. The ball season usually begins in February, when church calendar The time of fasting ends. Today these deadlines are not strictly observed, so balls are held in December.

The ballroom polka arose from Czech folk dance. As is usually the case with a dance that has had great and long-lasting success, the polka greatly influenced the formation of the ballroom repertoire. Polka gallop, cotillion, and polka mazurka appeared. The Polish woman has firmly entered into dance creativity many peoples. The dance changes, acquiring a national coloring, but the combination of mobility and strength always remains in it. male dance with the flirtatious grace of a woman. There are Hungarian, German, Swedish, Finnish, Polish, Brazilian polkas. Most dances in Estonia, Latvia, and Lithuania are based on polka. They live in Russia national forms Poles: temperamental Moldavian, reserved Latvian, unique and beautiful Belarusian.

For most Czech dances, women's and especially pairs' rotations are very typical. In many dances the culmination is a pair spin on simple steps, the so-called “obkrochak”. When performing “obkrochak”, performers stand in pairs facing each other. The young man holds the girl by the waist with both hands. Both the girl's hands are on the boy's shoulders. Starting the rotation, the boy takes a side step with his left foot, the girl with her right. The steps are performed simultaneously. The legs are bent at the knees. The performers move in a circle counterclockwise. The “vrtak” dance is also characterized by paired rotation in a circle, but it is performed on jumps. The Sousedska dance is smooth and waltz-like. It is built on spins in pairs and solo spins for women.

A ghost woman can be seen on the Charles Bridge in Prague. Czechs know that under no circumstances should you dance with her, otherwise you will not be able to stop and she will dance you to death.

The girl spins, and the young man seems to be twisting her. Czech dances are characterized by polka movements, and the polka is performed in different ways: by jumping, by raising the legs slightly off the floor, by simple steps, and so on. In addition, some Czech dances are complicated by the fact that the young man, having raised the girl high, rotates with her, holding her waist with both hands and extending his arms at the elbows. The girl, bending her legs strongly, presses them to her body and leans towards the young man. Musical size of Czech dances: 2/4, 3/4, 3/8. The musical and dance phrases are completely the same. Sometimes in one dance there are different musical meters.

For example, in the “Furiant” dance, musical meters of 2/4 and 3/4 are combined, and first, for three measures, the movements are performed three times in 2/4, then twice for two measures - in 3/4. There is no canonized form of construction in Furiant. It can be performed in pairs or threes. In cases where three people participate in the dance, there is a young man in the middle and two girls on the sides. The young man turns the girls towards him or away from him. In the stage version, one young man can start the dance. Holding a mug of beer in his hand, he, stepping widely and swaying slightly from side to side, can perform various types jumps, “stuffed cabbage rolls”, wide “pas de bourre” in 2nd position, thus challenging other performers to dance. In the dances “talyan”, “bublava”, “sykorka” the rhythm also changes from 2/4 to 3/4.

These dances are called “mateniki”, that is, confusion, since they change time signature. In some places in the Czech Republic, the oldest forms have been preserved intact folk choreography. The Chodsko region is especially famous for such dances. People still dance here to singing or bagpipes. The dances of this region are characterized by paired-mass circular compositions, steps from side to side, stamps or dismounts on both legs in the 6th position, a cross move is typical (the right leg is placed in front crosswise with the left), ending with three stamps

Municipal state-financed organization additional education"The House for arts and crafts for children"

Krasnensky district, Belgorod region

Lesson notes for the 2nd year group. choreographic studio"Dina-Dance"

Topic of the lesson: “Czech folk dance.”

Prepared and carried out

Additional education teacher

Education Deshina I.N.

Red-2017

Characteristics of Czech folk dance. Features of Czech folk costume. Czech polka – basic move and elements.

Purpose of the lesson: formation of a holistic understanding of the nature and features of Czech folk dance;

learning the basic movements of the Czech Polka dance.

Main goals:

In training

- give a holistic idea of the features of Czech dance using the example of polka;

Learn Polka dance elements;

In development

- develop creative thinking, the ability to fantasize and move in an imaginary space;

Develop ear for music, sense of rhythm;

In education

To develop the ability to work in pairs and in an ensemble;

Cultivate respect for dance culture other peoples.

Equipment used: radio, compact discs, flash drive.

Progress of the lesson.

Introductory part.

Org moment.

The teacher asks the children which dances are known to them. (children's answers). Then the teacher talks about the topic of the lesson. That every nation has its own history, its own music, its own dance and its own style of performance.

Warm up.

Children move on their toes in a circle, in a snake, forming one column, two columns, on their toes, on their heels. Students perform basic dance steps: jumping, galloping, horse running, jumping forward, alternately on the right and left foot, etc. Musical accompaniment at the request of the teacher.

Musical material is selected according to the nature of the dance, it is advisable to alternate fast music with slow.

Main part.

In the previous lesson, the children are given the task of working with the computer and finding information about the Polka dance.

The teacher complements the children’s story and says that Polka dance double, musical size 2/4, tempo - fast. That the Polka can truly be called an international dance and each nationality, having mastered the basics of Czech dance, introduced its own features and flavor into it. Polka is both concert and social dance. Choreographers stage a polka for demonstration on stage. And at parties, corporate events and balls, the polka can be danced with any partner to suitable music.

Czech dances are extremely diverse and differ significantly from each other. Czech dances are characterized by lightness and liveliness, but at the same time, smoothness and chastity.

Polka – old Czech dance. The main movement of this fun dance consists of half steps connected by a prefix. The most characteristic movement is the jump step, which must be performed easily. The dance is usually opened by one couple, followed by the second, third, and finally everyone dances.

The name of the dance comes from the Czech word půlka, meaning “half step”, since the polka rhythm requires moving quickly from foot to foot.

Polka has firmly entered the dancecreation many peoples. The dance changes, acquiring a national coloring, but the combination of mobility and strength always remains in it.male dance with flirtatious gracefemale . There are polka womenHungarian , German, Swedish, Finnish, Polish, Brazilian. Most dances in Estonia, Latvia, and Lithuania are based on polka. In our country there are national forms of polka: temperamental Moldavian, restrained Latvian, original and beautiful Belarusian.

Watching videos and listening to music “Czech Polka”
Features of the costume.

Learning dance elements.

Basic elements of the Polka dance

Polka is still popular today and is danced at competitions and dance evenings.

M/R - 2/4, 4/4, moderately fast tempo.

Preparatory and basic movements I.P. - Zp, 1p, 6p.

The most characteristic movement for polka is a step with a jump, which is performed lightly and “airily” with accents on jumps, with a different manner of execution. Jump is the main thing constituent element polka boots, has several versions.

At first, the movements are performed in 6p (while making sure that the knees and heels are closed), then in 1p and in Zp (with P.N. and with L.N.). In this case, it is necessary to achieve abduction of the knees to the sides. The knees relax only after the heel is completely lowered to the floor. In the half-toe position, the foot touches the floor with the entire plane of the pad. The body must maintain a straight position.

Bending is performed repeatedly by P.N., then by L.N., and also alternately by P.N. and L.N.; according to ZP, the positions at the ankle are alternated in front and behind, the foot should be extended.

Bending the leg can be combined with raising the half toes: on the count of “one” - lifting, on the count of “and” - lowering. Subsequently, this movement is performed on one-eighth of a beat.

Steps (one beat). Zatakt: “and” - bending P.N. and lifting L.N. onto half-toes; “one” - step P.N. in place; “and” - L.N.’s step in place; “two” - step P.N. in place; “and” - L.N. is lowered into position. As the movement continues, L.N. remains in the position at the ankle and P.N. is lifted onto the half-toes as a beat movement.

Steps are performed alternately with P.N. and with L.N. Bending can be replaced by moving the leg forward, to the side or back with lifting into the air (reversed position, straight knee).

Steps are also performed with advancement, and the first step is performed forward, to the right (P.N.), to the left (L.N.) or backward. The second step is performed as a prefix step, the third step - in a given direction.

Jumps (one eighth of a beat). Small ones are performedjumping on low half-toes 6p and 3p.

On the spot, a turn (90°) is more often used, and a full turn (360°) is performed in four movements.

With advancement, the steps are usually performed to the side alternately P.N. and L.N. in a turn (180s) on each jump.

Polka steps are the main move of the dance, performed in 6p and in Zp with P.N. and L.N. In all cases, the off-beat movement is first performed.

Pa polkas for salary. I.P. - Salary This movement is used in the common polka. Performed on the spot, moving forward, backward and sideways, as well as in a turn.

Zatak: “and” - jump on L.N., P.N. is released into the air: forward when moving forward or standing still, back when moving backward, to the right when moving to the side. “One” - P.N. step forward; “and” - step-prefix L. N. in Zp back; “two” - P.N.’s step forward; “and” - L.N. bends and approaches P.N., the position at the ankle is not emphasized. When the polka continues, the off-beat movement of L.N. is performed.

Polka steps on the spot are performed according to a similar pattern, the steps are performed according to the salary.

The backward polka step begins with a backward movement on the beat, and the prefix step is performed in a forward step.

Polka steps to the side are performed to the right (P.N.) and to the left (L.N.). The prefix step is performed in Zp forward.

Polka steps in a turn are performed with rotation to the right or left on jumps. There is a slight turn in place (45°, 90°). With advancement, a half-turn (180°) is performed at each jump, and polka steps alternate forward and backward, right and left (with P.N. and with L.N.).

In polka according to the salary, it is necessary to ensure that all movements are performed inverted. Here it is especially important to achieve accuracy of positions. We must not forget that all steps are performed on low half-toes in the same way as jumps. The free leg is carried forward or backward, close to the supporting leg with the knee bent. When lifting your leg into the air, you should not throw it up. The abduction should be low and restrained. The knees and feet in the air should be straight.

Polka steps 6p. I.P. - 6p. The movement is performed in place, moving forward, backward and in a turn according to the step pattern. The off-beat movement is performed with a jump.

Gallop steps (one quarter beat). I.P. - 6p, Zp.

The movement is performed to the right (with P.N.) and to the left (with L.N.).

“One” - step P.N. to the right; “and” - step-prefix L.N. in 6p with a light jump from P.N. to L.N.

As you step, the ball of your foot slides along the floor. The knees are constantly relaxed. The sliding nature of the movement is emphasized by the fact that rocking up and down should not be noticeable.

In modern polka, the movement is often performed in 6 steps. According to Zpv I.P.P.N. is ahead when moving to the right, L.N. is ahead when moving to the left. During the extension step, the foot is placed backwards. The execution of the movement in 1p is not excluded. Tilt of the body in the direction of movement.

Canter steps can be repeated many times in one direction. To change direction, use a step in the direction of movement (count “one”) and a prefix (count “two”).

To quickly change direction, instead of a prefix step (count “and”), a prefix or stomp is performed without transferring the weight of the body.

The gallop can be completed with a step with the leg abducted on the heel (count “one”), followed by bending the leg to a position at the ankle behind (count “two”). At the same time, the squat on the supporting leg is maintained.

2.2. Initial version polek – Czech polka

A dance of free composition, widely using all the basic movements, positions and poses adopted in polka. The character of the dance is cheerful, cheerful, agile.

M/R - 2/4, tempo moderately fast.

Basic positions in pairs and hand connections

Open position (D - right).

A. P. R. (K) and L. R. (D) are connected in 1p (Fig. 2.1. a).
B.P.R. (K) and P.R. (D) are connected in Zp (Fig. 2.1. b).

B. P. R. (K) and P. R. (D) are connected in Zp, L. R. (K) and L. R. (D) are connected in front of K (Fig. 2.2. c).

Rice. 2.1.

G. Hands connected crosswise; L.R. (D) from above (Fig. 2.2. d). Closed position.

A. Hands are separated.

B. Both hands are connected in 2p, or P.R. (K) and L.R. (D) (Fig. 2.2. e).

B. P. R. (K) and P. R. (D) are connected in Zp (Fig. 2.3. e). L.R. (K) and L.R. (D) are connected in the same way.

B. Left. L.R. (K) and L.R. (D) are connected in the same way.

Rice. 2.3.

The opposite position.

P.R. (K) and L.R. (D) are connected in 2p (Fig. 2.4. i).

Free hands can be in the starting position. K can move his hand behind his back, D can support the edge with his handsskirts . In Zp, the hands should be rounded.

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Polka in open position (2 measures). I.P. - facing L.T., Zp (in front: K - L.N., D-P.N.).

1-2 bars: two polka steps forward (K - with L.N., with P.N.; D - with P.N., with L.N.).

Paired with. I.P. - open position (Fig. 2.1.a).

The movement is performed with a slight tilt of the head away from and towards each other.

Bypass K (4 cycles). I. P. - facing L. T., Zp (in front: K - L. N., D - P. N.).

Bars 1-4: four polka steps. K - on the spot, starts from L.N. with a gradual turn to the left; D - forward in a small circle along L.T., starts with P.N.K.P.: K - back, D - facing C.

Paired with. IP - open position (Fig. 2.1.a).

D goes around K in a small circle along L.T.K.P. - closed position. Hands can be separated, as well as connected in a closed position or in 2p.

Polka with a turn (2 measures). I.P.: K - back, D - facing C, Zp (in front: K - L.N.; D -P.N.).

1 measure: polka steps according to L.T. (K-with L.N. to the left; D - with P.N. to the right).

2 measure: turn (90°) (K - left; D - right) and polka steps forward along L. T. (K - with P. N.; D - with L. N.). K.P. - facing L.T. or to repeat the movement at the end, a turn (90°) is performed (K - right; D - left). K.P. - I.P.

Paired with. I.P. - closed position (Fig. 2.3. g). At the 2nd stroke, K and D take an open position (Fig. 2.1. a).

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Change of hands in lateral positions (2 measures). I.P.: K - face, D - back along L.T., legs in Zp (P.N. in front).

Off-beat: “and” - off-beat movement (K-s P.N.; D - with L.N.).

1 measure: polka steps according to L.T. (K - with P.N. forward; D - with L.N. back). Turn the body to the left.

2nd measure: polka steps according to L.T. (K - with L.N. forward; D - with P.N. back). Turn the body to the right. K.P.: K - back, D - facing C.

Paired with. I.P. - closed position, hands separated.

At the 1st beat, K and D take the right lateral position, connecting P.R. (K) and P.R. (D) (Fig. 2.1. h). On the 2nd measure, K and D take the left lateral position, connect L.R. (K) and L.R. (D), etc.

Solo turn D (2 measures). I.P. - facing L.T., Zp (in front: K - L.N.; D-P.N.).

1-2 measures: K-two polka steps forward along L.T. (L.N., P.N.), D - polka in a turn to the right with P.N.K.P.: K - face, D - with his back along L.T. As the movement continues, D performs a turn (180°) at the end to I.P.

Paired with. IP - open position, hands crossed (Fig. 2.2. d).

K performs the movement with little advancement. L.R. (K) and L.R. (D) are separated; D performs a turn under joined hands, moving slightly ahead of K.

D can perform a jumping turn.

Paired with. I.P. - open position, hands connected in 1p (Fig. 2.1. a).

D performs two steps with a jump in a turn (180°) to the left under joined hands. K.P. - closed position, hands separated.

Turns can be performed in more complex combinations. For example:

Turns D under the arms (4 beats). I.P.: K - face, D - back along L.T., Zp (in front: K -L.N.; D -P.N.).

Partner (K). Bars 1-3: three polka steps forward according to L. T. starts with L. N.

Partner (D). 1-2 bars: two polka steps in a turn (360°) to the right (back with L.N.; forward with P.N.). 3rd measure: back polka steps with L.N. in a full turn to the left. 4th measure: step P.N. forward (K - along L.T.; D - against L.T.) and the prefix L.N. in Zp (K - forward; D - back).

In polka, a right turn is often performed.

1st measure: polka steps on L.T. in a turn to the right (K - with L.N. to the left; D - with P.N. to the right). K.P.: K - facing, D - back to C.

2nd measure: polka steps on L.T. in a turn to the right (K - with P.N. to the right; D - with L.N. to the left). K.P. - I.P.

Paired with. I.P. - closed position, closed position of the hands.

When performing steps, K and D walk around each other opposite L.T. On the 1st beat, the steps are wider for K, on the 2nd measure - for D. The hands do not separate, K and D must always be at the same distance from each other. At each beat, a slight tilt of the body is performed according to L.T.

Turns in pairs can be repeated many times.

Gallop steps. I.P. - 6p. Performed in various positions in pairs and with turns.

Canter in closed position (2 beats). I.P.: K - back, D - facing C.

1st beat: two steps of gallop according to L.T. (K - left; D - right).

2nd measure: step along L.T. (K - L.N. to the left; D - P.N. to the right) and a prefix in Zp forward (K - P.N.; D - L.N.).

The gallop is performed with a slight tilt of the body in the direction of movement. The gallop can be performed against L.T., in this case K performs the movements of D, and vice versa.

The arms can also be joined in a closed position.

Canter steps can be performed at any odd number beats and finish with a step with a prefix.

Gallop with turn (4 beats). I.P.: K - back, D - facing C.

1-2 measures: three steps of gallop (K - left; D - right). At the end, a turn (180°) is performed (K - left to L.N.; D - right to P.N.). K.P.: K - facing, D - back to C. 3-4 beats: three steps of gallop (K - right; D - left). At the end, a turn (180°) is performed (K - to the right on P.N.; D - to the left on L.N.). K.P. - I.P.

Paired with. I.P. - closed position, hands connected in 2p.

At the end of 2 measures, the connected P.R. (K) and L.R. (D) are carried forward, L.R. (K) and P.R. (D) are separated, K and D take the opposite position (Fig. 2.4 . And).

Connection No. 3 (16 cycles). I.P. - closed position, hands connected in 2p (K - back, D - facing C).

1-2 beats: canter in a closed position against L.T. 3-4 beats: canter in a closed position against L.T. 5-8 beats: two polkas with a turn. 9-12 measures: bypass K. 13-16 measures: two turns in a pair. With the first step, K and D take a closed position, a closed arm position. K.P. - I.P.

Connection No. 4 (16 cycles). I.P. - closed position, hands separated (K - back, D - facing C).

Measures 1-4: transition with a back (to-behind-to). K.P.: K - face, D - back to C. 5-8 bars: transition with your back (before-behind-do). K.P. - facing L.T., open position, hands connected in Zp (Fig. 2.1. b). 9-10 measures: solo turn D. 11-12 measures: turn in pairs. 13-16 measures: repetition of movements 9-12 measures. K.P. - I.P.

Connection No. 5 (16 cycles). I.P. - closed position, hands in a closed position (K - back, D - facing C).

Bars 1-4: two turns in a pair. K.P. - I.P. 5-8 measures: gallop with a turn. K.P. - face according to L.T. Open position, hands connected in 1p (Fig. 2.1. a). 9-11 bars: polka in open position (P.N., L.N., P. Ntakt: solo turn D on jumps. K.P. - closed position (K - face, D - back along L.T .), hands are separated. 13-14 measures: change of hands in lateral positions. 15 measures: repetition of movements 13 measures. 16 measures: joint turn on jumps from a lateral position. K.P. - I.P.

Connection No. 6 (16 cycles). I.P. - open position facing L.T., hands crossed (Fig. 2.2. d).

Final part. (5 minutes.)

In the final part of the lesson, movements are performed to restore breathing, while the positions of the legs and arms are repeated.

The teacher asks whether the children liked the lesson and what new things they learned. Thanks the children for their efforts.

Bow. Leaving the hall.

List of used literature:

1. Balsevich V.K. Zaporozhanov V.A. Human physical activity. - Kyiv: Health, 19с.

2. Balsevich V.K. Concept of alternative forms of organization physical education children and youth // Physical Culture: upbringing, education, training No. 1. - P.23-25.

3. Kryazh V. N. Gymnastics, rhythm, plastic / V. N. Kryazh, E. V. Vetoshkina. – Minsk: Polymya, 19с.

4. Lisitskaya T. S. Rhythmic gymnastics / T. S. Lisitskaya. - M.: Physical education and sports, 19 p.

5. Lifits A. Rhythmics:tutorial for secondary and higher studentspedagogical educational institutions / A. Lifits. - M.: Academy, 19с.

6. Stepanenkova E. Ya. Theory and methodology of physical education and development in rhythm lessons / E. Ya. Stepanenkova. - M., 20s.

7. Tarasov N. I. Classical dance/ N. I. Tarasov - M., 19 p.

8. Filatov S.V. From figurative word- to expressive movement / S. V. Filatov - M.: Pedagogy, 19 p.

9. Franio G. Toolkit on rhythm / G. Franio, I. Lifits. - M.: Music, 19 p.

10. Uralskaya V.I. The birth of dance / V.I. Uralskaya. - M.: Soviet Russia, 19s.

In Russian in the 19th century program dance evening- the number and sequence of dances - varied depending on: the courtiers usually danced the polonaise, waltz, French quadrille and mazurka; at private balls the dances were more varied. Dramaturgy developed from a solemn, decorous polonaise to a playful cotillion.

Some dances appeared and disappeared, others changed - both in the pattern and in the technique of execution, and at certain periods of the era, a particular dance, as a tribute to fashion, could be the most popular. It should be noted that in the repertoire of each dance master there were dances of his own composition.

Polonaise
Passed over from the 18th century to the 19th, the polonaise - or Polish - always opened the court. Everyone took part in the ceremonial dance-march, where everyone had to show themselves in a favorable light. In the second half of the 19th century, the polonaise opened balls at merchant and silver weddings, as well as at children's balls.
In the first pair there could be a conductor with his lady, or the owner of the ball with the most honorable guest (the hostess of the ball in this case was in the second pair with the most honorable guest). At official balls in the second half of the 19th century, the emperor and empress could be the first couple, and in earlier times the first pair was the emperor with the eldest lady or the one he decides to honor, in the second - the empress with the Grand Duke or a special guest, and the remaining pairs were built in a pre-designated order (in accordance with the Table of Ranks and social etiquette). At a private ball, the emperor performed in the first pair with the hostess of the ball, the empress with the host of the ball - in the second pair.
The polonaise was long, so late guests could join in the dance. The sequence of execution of dance elements could be indicated by the dance master, and often the first couple took on this role - they set certain figures, which were repeated by everyone else. Over time, the dance became simpler, becoming more like a ceremonial walk with a minimum number of figures. The polonaise could consist of several rounds, no more than three, during which the pairs broke up, forming new ones.
The performance of the dance was not limited to one hall - a string of Polish could go to other rooms. During the polonaise, the custom of “beating off the lady” was also in use, especially popular at Moscow balls - the gentleman who did not get a lady ran up to the first couple and, clapping his hands, beat off the lady for himself, the first gentleman went to the second lady, the second - to the third, etc., the last gentleman, left without a lady, either walked away or ran to recapture the queen of the first pair.
Polish could precede dinner, when all participants, without stopping the dance, headed to the dining room.

The most romantic, intoxicating and dizzying, the waltz was the second dance, and could also be the opening dance at a private ball. It is believed that the waltz originated at the end of the 18th century, and throughout the 19th century, and even now, this dance is loved by many.

Fascinating, capable of arousing sweet dreams and longing dreams, something between coquetry and passion, between childish play and a deep sigh, a waltz for a long time was considered free and indecent, created a comfortable environment for explanations, and the touching of hands made it possible to pass notes.
In Russia, the waltz was danced for a long time and quickly, you could waltz for two or three rounds, you were allowed to leave the dance before the end of the music - you could sit down, and then join again in the next round.
There were several varieties of waltz, the most common of which were the German waltz in three steps - a calmer one, and the French, more lively - in two steps. They also danced the Hungarian Waltz, the Viennese Waltz, and the five-step waltz. At the end of the 19th century, the waltz-gallop, waltz-minuet appeared...

French quadrille
In the first thirds of the XIX century, this dance was one of the most popular at the ball, and... reaching widespread use in the 1830s, it could be danced several times in an evening.

At the beginning of the nineteenth century, the square dance consisted of five figures and required technical mastery of performance: the dancers performed the steps with dexterity and grace, and for this it was necessary to have great dexterity in order to dance the square dance with dignity and earn the approval of those present.
By the end of the 19th century, the evolution of the French quadrille took place: couples lined up in the form of a column, and not in the form of a square (where pairs are built on the sides of a square), there were six figures in the dance and the technique of performance was simplified. Quadrille became a rest after light dancing: slow, calm movements relieved excessive dizziness and increased blood circulation caused by waltz and polka.

Polka
In aristocratic salons in the early 1840s, the Czech dance - polka - became widespread and recognized. Despite its wild popularity, which temporarily eclipsed even the waltz, the polka was not danced at court balls.
During the performance of a polka, the conductor should allow only a few couples to dance at the same time, so that they can show their skill without being constrained. Initially, the polka was performed with constant figures; by the end of the 19th century, the figures were simplified or disappeared, and new variations and hybrids of the dance began to appear - polka-tramblant, polka-gallop, polka-mazurka.

Mazurka
The success of this dance came in the 1810s - a fast mazurka with fast pace and complex steps were the culmination of the ball, and usually last dance before dinner.
The leading role in the mazurka belonged to the gentleman - he chose the figures, movements and transitions, and the lady obeyed his impulses. Each participant had to be creative and improvise without breaking general pattern dance.

The “bravura”, or Krakow, style - characteristic of provincial balls - was distinguished by its sweeping and free execution. Here the gentlemen showed strength, determination, gallantry, charmed and conquered their ladies, who demonstrated weakness and fragility.
The salon mazurka, refined and refined, smoother and calmer, was recognized by dance masters as the only correct option, while during the dance there was no opposition between masculine and feminine, as in a bravura performance. In the 1820s, the French (secular and amiable) style of mazurka was replaced by the English one, with languid and lazy movements of the gentleman, which was associated with the fashion for dandyism.
The mazurka continued for a long time: some couples performed the figure shown by the manager and his lady, others watched them or led small talk, called “Mazurochka chatter”. Participating couples could skip dance figures to quench their thirst or discuss a topic. Mazur conversations made it possible to legally communicate with the opposite sex, which had great importance and provided the opportunity for love confession. Various figures were common in the mazurka, including the choice of a partner, and preference in favor of someone could be considered as a sign of special favor.
At the end of the 19th century, the mazurka was gradually replaced by the cotillion and the monster quadrille (an ordinary quadrille, between the figures of which various light dances are inserted). Over time, variants of the mazurka were created, such as the waltz-mazurka and the quadrille-mazurka.

Cotillion
The play dance, which usually concluded the ball, had many figures, which included elements of the most common and popular salon dances: waltz, mazurka, polka.
To the cotillion, as well as to the mazurka, gentlemen invited ladies they knew well.
The cotillion began with a waltz round in a circle - all the other couples followed the manager and his lady, and when the last of them completed her round and returned to her place, other dance figures were used - often from easier to more complex.

Dance masters came up with more and more new cotillion figures, involving various household items(chairs, fans, flowers, hats, etc.) or cotillion accessories (flags, balls, firecrackers, papyrus paper snowballs...).
Young girls were advised to keep themselves very restrained and in some figures not to allow themselves to make movements that were not in good taste.
The cotillion, very relaxed, was not intended for court balls: representatives of the royal family and noble persons usually left the ball immediately after dinner, without taking part in the noisy and entertaining hours-long dance-game.

Polonaise, waltz, French quadrille, polka, mazurka - these dances were the main ones at Russian balls, although they were not limited to dance program. There was a gallop - a playfully fast dance with a carefree nature of performance, which could end a square dance or the evening itself. In the first third of the 19th century, the following were common: matredour, grossvater, anglaises and ecosaises, tampet, krakowiak, a la Greque, Russian quadrille, English quadrille, quadrilles on the themes of ballets, operas and romances. IN mid-19th century, the Lancier appears - a dance that caused a stir at balls due to the fact that it was danced differently by everyone. Padecatre, padégras, Hungarian, minion, chacon, alikaz, pompadour, etc. - dances late XIX and the beginning of the 20th centuries.

Solo dancing
There were solo, or brilliant, dances, performed by one or more dancers.
In the first third of the 19th century, the following were common: Tyrolean waltz, Cossack, matlot, minuet, gavotte, tambourino, fandango, vestal...
Throughout the 19th century memoir literature two solo (demonstration) dances are mentioned: Russian dance and pas de shawl. Pas de shawl - arose during the period of passion ancient culture, the dance is performed with a light gauze scarf, which must be gracefully draped, so grace and smooth hand movements were important in the performance. The dance usually involved from one to three dancers - they performed to music from famous ballet they created beautiful ballet groups, took graceful dance poses, tossed shawls, caught them, threw them over their heads, wrapped them around their waists, etc. In women's institutes, the pas de shawl was performed as a group dance.

Finally, from the aphorisms of the 19th century. “The quadrille corresponds to sanguistic characters, the gallop is bilious, the waltz is choleric, and the polka is exclusively the property of nervous and passionate people.”