Medieval Dancing

“And there is more to it than this, for dancing is practiced to reveal whether lovers are in good health and sound of limb, after which they are permitted to kiss their mistresses in order that they may touch and savour one another, thus to ascertain if they are shapely or emit an unpleasant odour as of bad meat.  Therefore, from this standpoint, quite apart from the many other advantages to be derived from dancing, it becomes an essential in a well ordered society.”                    -Thoinot Arebeau (trans.)

    The Society for Creative Anachronisms has brought back to life a skill and past time from over 500 years ago…dancing.  They have researched, studied, analyzed, and adapted information from mere scraps of history.  Much information comes from well-written and straightforward books, such as John Playford’s “The Dancing Master” and Arebeau’s Orchesography, while most of the research has centered around non-traditional sources of study; tapestries, paintings, traditional dances, etc.  This has led the SCA to develop a fairly extensive set of dances from the medieval period that any can enjoy and many can master.

    Unfortunately there is no way to be certain that these dances are, indeed, correct.  Since the SCA is a non-profit, primarily recreational, and secondly educational organization, the focus is not on accuracy, but enjoyment.  However, thousands of independent people and groups have done the same research and come to very similar conclusions.  Each dance has its variations, each song it’s derivatives, but one thing is common to all involved…fun.

    There are many hundreds of regional dances and styles, much like dialects of a language, most of them can be grouped into three main groups; Old English Country, Middle East, and Italian.  These represent the major cultural centers of the world during the time period of 1300 to 1600 AD.  There are distinct differences and numerous similarities between these three styles of dance.

    All three forms of dance have similar steps.  The list of steps isn’t very long; double, single, set, turn and the side step.  Each of the three main forms of dance use these four steps, with slight variations, to make up the bulk of middle age dancing.  These terms come from the English Country style, whereas the Italian and Middle Eastern styles have different names for the same steps.

    The bulk of Italian dances are designed and written to be shown.  They usually consist of a single couple doing complex step patterns and fancy upper body movements.  Ballet appears to have some origin in this mode of dance.  Italian dances require stamina, accuracy, strength, agility, and much practice in order to perform.  In addition, both partners must know exactly what to do in order to perform at all. 

    Middle Eastern dancing is similar to Italian in that they are written to be performed at social gatherings in front of other people.  Quite often they are solo women’s dances that can be done by as many as will.  The major difference between Middle Eastern Dancing and the other two is that Middle Eastern Dancing is very flexible.  There are rarely set steps and patterns to any particular piece of music.  There are, of course, traditional dances that go with specific music, but that is by no means the dominant form.

    Middle Eastern Dancers take their cues from the music, and perform various steps in time with the music.  Often there may be as many as ten or fifteen dancers dancing at the same time.  They use similar styles, but rarely are any two doing the exact same steps as any other.  This probably arises from the fact that a woman’s ability to dance was a major consideration in her value as a wife and mother.  Therefore, part of the purpose of dancing was to stand out, and doing everything the same as everybody else would prevent that.

    By far the most familiar culture and style of dancing to your average European descendant is English Country Dancing, sometimes referred to as Old English Country Dancing.  This style of dance came from the feudal civilization of Knights, Peasants, King Arthur and Charlemagne.  This period is more commonly known as Medieval Europe or the middle Ages.

    English Country Dancing is different form both Italian and Middle Eastern Dancing in a variety of important ways.  Where Middle Eastern and Italian dances are more for show, English Country Dancing is, almost completely for the entertainment of the dancers themselves. 
Where Italian and Middle Eastern Dances work best at large gatherings, the English Country Dances can be done with as few as five people (four dancers and a minstrel) to as many as can fit on an open field.  Three different types of English Country Dancing exist in order to encompass almost every form of social event. 

    These are: 
-Two couple dances
-Line, or progressive, dances
-Circular dances.

    Each type of dance can be used almost anywhere, but some make more sense in certain settings than others.

    Two-couple, stationary dances consist of four people, split into two couples, taking steps very similar to each other and remaining in the same approximate area.  Two examples of these are, “Rufty Tufty” and “Heart’s Ease”.  As in every English Country Dance, the two-couple dances allow two individuals to meet and interact in a controlled setting.  In fact, these dances are also known as the ‘flirty’ dances.

    Line, or Progressive, dances are generally for as many as will.  In some dances couples form one or more long lines and proceed to dance to a very specific tune.  In others, there are no specific couples, and the men and women simply form a line an away they go.  These sorts of dances have less emphasis on flirting, though that aspect is certainly still present, and are more suited for large groups to simply have fun.

    The third main type of dance is the Circular Dance.  These probably originated from groups of traveler’s dancing around a fire-pit after setting up camp.  As with all English Country Dances, there is a basic melody that can be played with any instrument available, or perhaps sung.  In circular dances the dancers form a large circle and the dance usually consists of spinning the circle, or moving in and out of the circle.  One example of this form of dance is “Selenger’s Round”.  As with Progressive dances, these are generally for as many as will.

    All of this the SCA has recreated from nothing more than analyzing a few books, tapestries, and cultural traditions.  There is very little record of how the dances were performed, when they were presented, and why they were created.  Much of what historians believe is subjective reasoning based on what information is known.
There are, in fact, a few published books from the age of the renaissance that have helped scholars immensely.  Among these are John Playford’s “The Dancing Master” and Arebeau’s Orchesography.  John Playford’s “Dancing Master” was written approximately 1651 AD and is one of the best sources for information concerning song and dance of the time.  The book contains approximately fifty dances, each with a notated melody to go along with it.  “The Dancing Master” has been revised and reprinted numerous times over the course of history and some copies are still around.

    Quite often dances are referred to in the literature of the time.  Unfortunately, as now, these dances are more often than not assumed to be common knowledge.  As such, historians know of many dances that there is little or no explanation of.  Through careful reasoning and debate many of these have been divined through an analysis of current dances, cultural traditions, and what information we do know of the time period.  Many of today’s dances could have, and probably did, originate from some form of English Country Dancing.  For example, square dancing almost certainly originated as a variation of the circular dances of medieval Europe.

    Beyond both of these situations, a third arises.  Sometimes the SCA, considering it is an entertainment organization, completely creates its own dance and song in the style of English Country Dancing.  They use the same instruments, steps, form, etc.  Care is taken to ensure that these new creations are not confused for original dances.  Some groups within the SCA welcome these new dances; others are more puritan in their desire to recreate the lifestyle of the period.

    Through much research they have been able to not only recover hundreds of songs and dances that would have been lost, but they also were able to bring them back to life by teaching them to other people.  In addition to the dances, the SCA has recovered numerous skills, talents, methods, practices, and many other aspects of medieval life.  This knowledge is used in many ways both within and outside the SCA.

    There are hundreds of regularly scheduled events around the world in which members meet and attempt to recreate what life was like.  Invariably they take on costume and nomenclature appropriate to whatever period they are attempting to mimic.

    Two examples of such events are “Pennsic” and “Border War”.  During these events people practice armed and unarmed warfare, using weapons of the time of course.  They also practice skills, such as blacksmithing and cooking, in the ways unique to the period.  Hundreds of people attend these events each year and they are organized by an “Aristocracy” of individuals who have taken on such titles and positions as Barons, Heralds, etc.

    While there are many events hosted by the SCA that encompass almost every aspect of medieval life, there are numerous events that are dedicated to teaching and performing the dances exclusively.  Among these events is the “Terpsi Chore At the Tower” annual event.  This event consisted of, as with many others, a way for anyone to learn the skills involved, and a time to try out any skills they may have learned.  At “Terpsi Chore IX” (2003) fully half the day was dedicated to the education of any who wished to learn of everything including Italian Dances, Middle Eastern Dances, and Old English Country Dancing.  The teachers consisted of people of expertise and experience, including some Doctorate historians!  After a full six hours of classes covering almost a hundred separate dances, the presiding Autocrats hosted a formal ball and feast.  At this ball and feast any and all were able to perform their favorite dances, experience new ones, and entertain themselves with watching the endeavors of the others.  This sort of event represents the core of SCA purpose and function, to teach and enjoy aspects of the medieval period.

    In addition to hosting events to enjoy and educate, the SCA also takes an active role, if not a primary one, in the research and chronicling of the Middle Ages.  Many PH.D Historians are members of the SCA and many SCAdians (what they often refer to themselves as) actively write papers and reports that they then submit to historians.  In this way the SCA not only fulfills a fantasy for it’s members, but also takes an active part in improving man-kinds understanding of its past and origins.

    English Country Dancing has come in one large circle.  From it’s conception in the medieval period through the variations of time and region, to the re-enactment of the SCA, English Country Dancing is an interesting and enjoyable pastime.  Anyone can dance, anyone can learn.  Even with all the difficulties in finding accurate and concise sources, the SCA has succeeded in restoring a part of our history.  Through dancing and music we can become closer to our ancestors and have a better understanding of their lives.