Let Them Dance

Recently, I was privy to a discussion about music. Specifically, the question was about whether or not original composition was encouraged in the SCA and whether the Laurels considered it. Now, I am not the person to really offer comment on that. Why? Cuz very simply, I ain’t no musicologist! Thinking back to my earliest (torture!) music lessons, it became apparent to me right off the bat that little-black-dots on a page just make NO sense with my brain. Yes, a good musician can instantly see where the black dot is on the bar and figure out what note it is. Not me. I don’t know if it is a spatial perception thing or what, but it does not/will not/cannot work with my brain. But what DOES work for me is dance. And because the two art forms are both performance arts and do have some (not all, but some) similarities and overlaps, I will offer up my commentary on dance.

Within the SCA, there are a few different schools of thought about dance. On the one extreme, we have people who are 100% purists. They believe that the ONLY dances that should ever be done in the SCA are strictly and specifically the ones that we have seen passed down in the manuscripts of history. The music should be the same. The steps should be the same. No variation, other than what was discussed in the manuscripts. Oh, and no Playford! Nothing after the publication date of 1600. On the one hand, there is no question as to the authenticity of doing performance in this manner. But on the other hand, are we shutting the door on creativity and fun?

Then you have the exact opposite extreme. Some people believe that if it has somewhat of a historic(ish) flair or feel to it, and is just incredibly fun, we should be able to do it. On the one hand, this really muddies the water in terms of how performance would most likely have been done and tends to confuse and/or miseducate those people who might not know any better. But on the other hand, people get up off their butts and dance to it and have fun.

Admittedly, my thoughts on this are not as extreme as they once were as (let’s face it), I am really not active in dance like I once was. Years of teaching dance and leading dance and performing dance has resulted in a very broken guppy. I have pretty nasty arthritis in my feet. Both knees have been operated on. I can still dance selective ones here and there if I’m feeling up for it. But I’m not the immortal that I once thought myself to be. But after much contemplation and rumination over the years, I reached one conclusion that I have used to guide me in my pursuit of historical dance: For me to teach/learn/encourage the dance in an SCA context, the dance absolutely MUST have two qualities: It must be fun to dance; and it must be either an authentic historical dance or choreographed in a documentable historical style. So what does this mean? This means that I don’t dance the Quadran Pavan. Yes, it is a historical dance (or at least outline of a dance) from Tudor England. But on the other hand, it is drop-dead-dull, as are many of the Inns of Court dance (if they are performed exactly as they are described). OK, so what about just doing fun dances? Not so fast. We have many “dances of the apocalypse” as snarky dance instructors throughout the known world have referred to them. And yes, they are fun. I like dancing the Angus Reel. I like dancing the Korobushka. I like dancing Hole in the Wall. But guess what? They are not, are not, are not, ARE NOT dances that reflect a period style or choreography. And while doing the JitterBug is fun, as is West-Coast Swing or Waltzing; it doesn’t belong in a game dedicated to Medieval/Renaissance recreation any more than a Victorian ball gown does.

Now, one thing that I do believe is sadly under-represented in the SCA is the art of original dance composition. Here’s the thing – we have a lot of dances out there that, in and of themselves, are simply bare-bones. Take the Quadran Pavan, for instance. As described in the manuscripts, the dancer basically just moves in a simple square pattern. But does that really mean that is how it should have been performed? Despite the change in times and clothing, I find that hard to believe as it is Just That Dull. So perhaps some embellishments might make it a bit better. And if a modern reenactor were to use that as a springboard for a fun dance, but still in keeping with the period mindset, I think it would make a great project. Then, we also have dances that are incomplete where we have music, but no steps (or vice versa). OK… so play. Take those broken pieces and extrapolate in a period manner to create a unique work that *might* have existed in some similar form in that time period.

I know some people in other kingdoms who are excellent at creating original dance composition and/or performances that are based upon period styles and technique. But honestly, it is something that I haven’t seen a ton of in the SCA, and I find that sad. While yes, it is easy to go off-track, I think the idea of original design in artforms is just awesome! And that doesn’t just apply to performance. I love to see people create unique and original clothing of their own design based upon period colors/textures/fabrics/techniques/etc. I think it is incredible to see someone create a unique and custom-designed embroidery based upon mix-and-match elements from extant example. You end up with something uniquely beautiful while also paying tribute to the historical masters of the past. This is where the 21st century merges with the 15th. And I find it nothing less than beautiful and inspiring!

So yes. Play. Create. Study. Learn. Apply. And by all means, while you are still young and able, DANCE!