Mazur-mazurka dance manuals
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KLEMM 1884 MOSCOW This Russian translation is of Klemm’s 1882 manual from the German. The order of step explanations is the same as Cellarius so we need not devote much space to it here, except to point out that in his Pas Glissé there is a definite stamp-down on count three. And this is a real Polish step-movement for the Mazur. Why does Klemm have this? Maybe, because in lived in Leipzig which is close to the Poland and he may have seen Polish dancers? In his Pas de Basque the third count is done in first position and not as in Cellarius’ third position. STUKOLKIN 1885, 1900, SAINT PETERSBURG Stukolkin was a known Social Ballroom teacher for much of the latter 19th century in Saint Petersburg. He was also a professional stage dancer in of Saint Petersburg. Before we turn to Stukolkin’s manual let us look at some experiences he had with Polish Dance. Stukolkin, as well as others, witnessed the Mazur danced by Polish dancers as early as 1851. The Russians knew and appreciated, at least for the stage versions, the difference between the Polish and Russian dancers manner of performing the Mazur. We can illustrate this with citations from an article written by a Saint Petersburg’s reporter in 1851, on the occasion of the engagement of Polish dancers in Saint Petersburg. 19 First, let the reporter tell us what impressed him about the character of this performance of the Mazur: “At the end of Le Nozze di Figaro, all of the singers retired behind the scenes and on stage rushed four nimble couples of dancers: the men in blue with silver embroidered greatcoats and caps, the women also in Polish national dress. The mazur started, passionate and full of enthusiasm, a fiery mazur adorned with all of its various figures and poetic poses, full of grace and ravishment, sometimes on the edge of true bravery and even debauchery. The skillful danseurs cleverly stamped their feet and the pretty ladies passed among them full of enthusiasm. Wonderful! Extremely beautiful! The effect was complete, the audience ecstatic. Shouts and applause were so loud that one could not hear the music. . . .this magnifcant mazur had been, as has already been said, a complete surprise—a very fine surprise! 20 Let us look at the adjectives used in his review: passionate, enthusiastic, fiery, grace, ravishment, bravery and debauchery. By “debauchery” he probably meant the erotic-sexual attraction of men and women—maybe, just natural playfulness or allurement. Now this was a theater performance, by the leading “character-dancers” of Warszawa, who were brought to Saint Petersburg by the invitation of Nicholas I as a present for his wife. 21 Against what standard could this reporter and the theater-goers have measured the way this was danced? They only had, apparently the performances of Russian dancers and their own experiences with the Social Ballroom Form of the Mazur: the Quadrille-Mazurka. Members of the audience, who had received instruction in the Quadrille-Mazurka, could participate in the Ballroom Form, but they then as now, could not approach the level of intensity and skill of execution that a professionally trained dancer achieves; this is especially so, when a dancer is recognized as being at the level of a “Mazurysta,” as a number of the Polish dancers were or would become. But what did Russian dancers have to say? Two Russian dancers, who latter wrote dance manuals which included instruction in Mazurka dancing, did dance with the Poles. Forty years after 1851 one of the Russians dancers, Timofei Stukolkin, wrote: “In the beginning of 1851, the tsar Nikolai Pavlovitch wanted to please the tsarina Alexandra Feodororona with a surprise. Therefore he ordered give cavaliers and five ladies chosen from the best dancers in Warsaw to execute the so-called Blue Mazur, which got its name from the color of the costumes worn. They were Kwiatkowski, Popiel, Meunier, Majewski, and Gilbert. Of the ladies, I only remember the names of two: Kotlarewska [Koćmierowska] and Damse. During one of these performances, when they were playing some opera—I don’t remember the title—the curtain went up during one of the intermissions to the astonishment of the audience(there having been no announcement on the posters) and our guests made their first appearance. They executed this national dance of theirs in a really masterful way. The blue mazur appealed to the tsar so much that he ordered it to be repeated in a particular way: four Polish chevaliers with Russian ladies and four Polish ladies with Russian chevaliers. The success of this mixed execution rose above all expectation. Our dancing of this delightfully beautiful and showy piece pleased and excited the audience so much that the applause could be heard backstage where we were already beginning to stamp our feet. The applause grew louder and louder until reaching its fortissimo as couple after couple ran out on the forestage. Among the Russian dancers who took part in this event with me I remember Alexander Piszo and Alexander Szamburgski.” 22 But what about particulars of the Dance? Besides the “Blue Mazur” they also danced, among other things, in a second Polish Ballet “Wesele z Ojców.” Although its story and dancing is set in the rural Kraków region of Poland it does contain folk-style like Mazur dancing. The distinction between these forms of Mazurs was noted by some: Stukolkin in particular. “The Poles showed us that the mazur in these two ballets must be executed in different ways.In the first with nobleness and grace, in lordly style; in the second with fire, stamping of feet, and throwing caps high in the air—in short, in folk style.” . . .Alas! Now [1895] this distinction in executing the mazur is completely ignored by the majority of dancers [i.e., the Russians], even those who specialize in them.” 23 Stukolkin refers here to the manner of dancing the Mazur on the stage, by professional dancers. What he probably means is that they mix the rural, gentry-peasant type, the “Obertas” with the upper-class Noble style or Aristocratic Ballroom style. When it comes to dancing the Noble style we can point out that many of our dance teachers have warned students against this mixing: however, as in much of life, how one does something is more important than what one does! It has to do with elegance of movement, motion, and character—and not everyone has these qualities—unfortunately. On the other hand, the rural or rougher Forms remind us of the origins of virility, of power of a lust for life and joy of Dance. All one needs to do is to maintain its spirit and élan for the other Forms of the Polish Mazur: Ballroom and Stage.
I had the opportunity to see the Mazurka danced by an old jubilant (a man of Polish family) on his jubilee. There was the Promenade of the Mazurka, the like of which I am sorry to say I have not seen in many years: without pretentiousness, with a simple Pas de Basque the Gentleman and Lady circled around the room—this was a Magnate starting to dance. It was necessary to see how he led the beautiful Lady, how rapturously he admired her and, without any selfishness, presented her [as they danced] so that others could admire her. Exquisitely, delicately, softly, without any noise or sharp, awkward movements [of the body or arms] he delighted all of us.
Then there are general remarks about the music and divisions of steps for men and women. Although he states that the Mazurka steps have no special names, he calls them “Mazurka steps,” he then uses the very same French terms and also their order as did Cellarius, except that he did not his the term “Pas Glissé,” as Petrova did not (1883). He does tell us that that this step-movement is to be done on the toes, which really means that the weight is to be on the front part of the foot or the ball of the foot and also that the feet are to be “turned-out” as is done in Ballet. There are to be no abrupt jumps or risings of the body. Then Stukolkin turns to a lengthy description of the woman's steps. He gives us three.
2 Pas de Basque 3 Pas de Boite You will recall that the Chasse and Chasse-like Gliding step-movement have been completely analyzed in our other work on the Mazur-Mazurka. 26 Since he goes into the timing of the step we shall repeat fragments of what he said about it. Ladies dance the Mazurka with the usual Chasse . . .In the Mazurka the Lady moves lightly, evenly, being graceful with her body movements. Soft and light movements are her best adornments. . . .[while] in the guidance of the Gentleman the Lady glides or runs on the parquet, inspiring the energy of the Gentleman with her calm movements. She is a complete contrast to his boldness and swingingness. With her proud carriage she dominates the Gentleman as a tsarina of his intentions . . . Sometimes it is permissible [for the Gentleman] to click his heels but only now and then. Now for the details of attempting to dance the Chasse in the Mazurka, according to Stukolkin. The Chasse step of the Mazurka may be [musically] divided as follows: the first motion starts with the right leg— long, the second one, with both legs at the same time— short. Thus, the first movement takes (2/4) and a little more (2/4+1/8), the second movement takes the third quarter and even less (1/8). This can be expressed arithmetically as follows: 1st movement (2/4 = 4/8+1/8); 2nd movement (1/4 – 1/8 = 1/8) which is 6/8 = 3/4s, Musically— this is a dotted half-note followed by an eight note which equals three quarters. The shorter the second movement is [made] the closer it conforms to the Mazurka tempo [since] the stress is on the third quarter. . . . In dancing the Chasse the stresses are made on the third quarter: one, two, THREE; one, two, THREE; . . . To do this step on bended knees is similar to creeping [or crawling] on the parquet [Ballroom floor] and this is unpleasant to look at; thus the movements must be made with the legs being quite stretched [almost straight]. Only when done in this way can you have a lightness to your movements. Remember how Petroski and others complained about the intrusion of steps being used in the Mazurka which were not part of the Polish or original Mazur? The usual culprits are French dance teachers or anyone who wants to distinguish himself from other dance teachers. This Chasse is a definite borrowing from the French Quadrille. Of course, in the Quadrille it is a perfect step-movement, since it is a 2/4 time Dance as is the step. We have thoroughly explored and experimented with this step (as we do with all step-movements) the result of which is that it is difficult to fit this into the Mazur-Mazurka, but not impossible. 27 We included Stukolkin’s long description of this because of the care he took in describing it musically. There are parts of Stukolkin’s explanation which are valuable, in particular, that the “quality of lightness,” comes from dancing on straight legs (more or less). This is applicable to almost the entire range of Mazur-Mazurka step-movements, especially to the more Ułanski-Polish Military style of dancing for the men. It is also helps one to distinguish the difference between “sliding” from “gliding” step-movements.
So now we turn to the woman’s second step, the Pas de Basque. It is the usual description except that the leap should be minimally done and that the stepping is done on the tip-toes. Stukolkin then apparently clears up what the “probezhka” ПРОБЕЗКА step was. He states that it is just a single measure in a four measure sequence moving forward and consists of clicking the heels together three times to the tempo of quick, quick, pause, slow. So it is not really a running step-movement, of and in itself, but is just heel-clicking done at the ending of the step–sequence whose nature is, that of a “running,” moving forward, even though the first three measures are the Pas Glissé done by the men. We have already elsewhere described this fourth measure as “Koguciki” in another work. These are wonderful adornments for the men. But as the next Russian dance teacher shall reveal this is not the Probezhka! The remainder of Stukolkin consists of the usual Mazurka features: Hołubiec Couple Turn and figures. CHISTYAKOV 1890 SAINT PETERSBURG Chistyakov’s manual is important for two reasons: it has photographs and it explains what the Probezhka is.29 Let us turn to the step as described by him. As with Stukolkin, this is the man’s second step. “2-е ра мазурки для кавалеровъ: пробнжка. ” “Делается па-ле-баскъ, сь заметнымъ прыжкомъ на первой четверти и съ резкимъ, отрывистымъ исполнен емъ третьей четверти. Дамы исполняютъ при этомъ па-де-баскъ — плавно.” 30 The second step for the Gentleman: Probezka. The [Gentleman] does a Pas de Basque with a slight leap on the first quarter [beat] and with a sharp, abrupt action on the third quarter. At the same time the Ladies do the Pas de Basque smoothly, evenly [quietly]. So this is what it is!—it is just the man’s variation with an accent on count three which is mentioned in Cellarius and Zorn. So how did Stukolkin lead us astray? It seems to be in his usage of the term “pas.” He uses it to mean for him a complete step-movement, such as in a Pas de Basque and as an individual step so that a phrase such as “three passes and probezhka” can be interpreted in two different ways: one of which I did. However, both of these interpretations, as objective dance movements are correct; they both existed in Historical time and the “Koguciki” still is very much alive today! The Cellarius’ Pas de Basque has fallen by the wayside. On the other hand, maybe Stukolkin simply mis-named it.
The Ladies can do the Pas de Basque, but also can dance Chasse with a separation of three equal times, with the right foot first, moves with a long, smooth one; the second —when the left foot slightly moves,—is smooth; third— the right — is short and abrupt; these steps the Ladies do without any jumps, smoothly gliding on the floor. Keep in mind that Stukolkin’s first edition was published in 1885, five years before Chistyakov. Is it a coincidence that Chistyakov seems to follow Stukolkin? Chistyakov manual is a little more pedagogical sounder than Stukolkin as it is for a school and gives a progression of lessons according to the school classes and comments about teaching. And this brings us to the photographic evidence in this manual. Unfortunately it does not show steps: only couple positions using male students in the photographs. Here is one of the photographs which shows how the Waltz couple position has influenced the Polish Hołubiec Couple Turn. (You will re-call the Polish drawings of this.)
In the open couple position the Lady holds her gown with her free hand. DE-KOLNYARA 1890 MOSCOW According to his title page De-Kolnyara was a Ballet master in Moscow. This is the seventh corrected edition of this small handbook. (The first edition may have been published in 1866.) It is a book of Ballet Stage Character or National Dances with instructions for some Ball Dances which it purports to teach in nine simple lessons. Lesson nine is the Mazurka. Her remarks come from at least Petrova. There is nothing original here. ZORN 1890 ODESSA Our source for Zorn is his German manual of 1887 and its later English translation. There was also a Russian translation which appeared in 1890. Zorn taught dance in the city of Odessa. Zorn follows Cellarius except that the order of his steps is different. He did recommend that the term Pas de Basque be replaced by Pas Courant as this is a better description of its running nature. YATSKOVSKI 1891 KOSTROMA We were happy to obtain the only manual entirely devoted to the Mazur-Mazurka in the Russian language. 32 But then we were disappointed when upon examination it proves to be an almost complete copy of Mestenhauser's 1880 edition of 100 Figure Sequences for the Mazur! There may even be echoes of Lipiński’s Mazur manual of 1878. Yatskovski’s title translates as “100 Figures for the Mazurka” and is practically all Mestenhauser. Do you remember that Mestenhauser mentioned that his book was copied? At least this is a back-handed compliment to Mestenhauser in his life-time. The place of its publication, Kostroma, is not too far from Moscow, so maybe, we can think of it as being in the purview of Moscow and was satisfying a dance need of the area around Moscow. Other than this it throws no new light on the Mazur-Mazurka.
This author’s name comes up in source references of Russian manuals. We have not obtained this manual. Most likely it is just copies of the manual of the dance teacher of Paris, Gawlikowski, a known dance teacher of his time. His manual was just Cellarius. STUKOLKIN 1894 SAINT PETERSBURG This is not one of Stukolkin’s re-prints but a separate pamphlet of sixteen small pages.33 It is a collection of five figure-sequences for the Mazurka in Quadrille form. But why did Stukolkin write this? Let him speak to us: “Вышуская въ свегъ новый салонный танецъ «Кадриль-Мазурка», считаю необходимымъ выяснить причины, побудившия меня пополнить крайне бедный и устарелый репертуаръ бальныхъ танцевъ.” 34 Just what induced me to write this new salon Dance “Quadrille-Mazurka”? “Веселящаяся публика наша совершенно охладела, какъ къ французской кадрили, такъ и къ другимъ, мелкимъ танцамъ и если въ целый вечеръ протанцують одну-две кадрили, то какъто неохотно, безъ всякой заботы о правильномъ выполнении фигуръ и должнаго соблюдения тактовъ музыки, превращая такимь образомъ этотъ прелестный танецъ, сущесгвующий почти двести летъ, во что-то неузнаваемое. Причину этого упадка и охлаж дения, конечно, надо иекать въ томъ, что кадриль устарела веселяшаяся публика ищетъ чего-то новаго.” Our public Society has become rather cold to both the French Quadrille and other fine, small, little dances. Even if during an entire evening they dance one or two quadrilles, however somewhat unwillingly, neither having any care to do the figures correctly nor [dancing] in time to the music, thus a charming Dance which lasted for two hundred years has been transformed beyond recognition. The reason for this decay and coolness is that the quadrille has become old and the public is looking for something new. “На балахъ и танцовальныхъ вечерахъ теперь только и танцуются съ удовольствиемь и съ полной охотой—это valse a trois temps и мазурка…И вотъ, этотъ последний, всеьми излюбленный танецъ, весьма редко можетъ пройти оживленно, ровно и красиво, такъ какъ разнообразная публика, частио по разсеянности, частию по непониманию фигуръ, ходовъ и движений, въ большинетве случаевъ путаетъ эти фигуры и самый опытный распорядитель теряетъ всякю возможность провести мазурку ровно, гладко и оживлснно. Между темъ, танецъ этотъ любимъ всеми и стоитъ оркестру или таперу дать сигналъ, какъ все общество н перерывъ торопится занять места.” Now at Balls and dancing evenings it is with pleasure and whole-hearted willingness that only the valse a trios temps [three count Waltz] and the Mazurka are danced. And now, even this last [Mazurka], which is favored by everyone is [also] not done smoothly and nicely because various members of the public whether by absentmindedness or due to not knowing the figures, makes a jumble of these figures step that even an experienced dance leader or director cannot make the Mazurka go smoothly. Meanwhile this Dance is loved by everybody and the orchestra or pianist has only to give a signal for a Mazurka and the entire company is in a hurry to take places for it. This is a wonderful testimony to the excitement of the Mazurka, but of course, it has to be learned. “Прямое желание, помимо обновления репертуара бальныхъ танцевъ, дать возможность исполнятъ зтотъ излюбленный танецъ безъ заурядной путаницы, навело меня на идею составить предлагаемую «Кадриль-Maзурка». При составлении танца я имилъ въ виду сделать его, во-первыхъ, не очень сложнымь, а во вторыхъ, удобнымъ для исполнения въ любомъ по количеству обществе.”
In making up the Dance, I have intended firstly, to make it easy, and secondly, make it so that it can be done by any number of couples. How did Stukolkin intend to do this? By making his basic starting point two couples. This can then be done by small numbers of people and in multiplies of two couples. The steps he mentions are the same as described by him in his previous manual. He gives his street address where, presumably students of the Dance can go to be taught. SHCHAVURSKIY 1895 ZHITOMIR R. Z. Shchavurskiy was a dance teacher of the schools in the town of Zhitomir. Zhitomir is in the former Polish Eastern lands and had a substantial Polish population. His manual, really a guidebook, is only one of three specific Mazurka manuals in the Russian language; however, it is only a small booklet manual of figure-sequences with their French names for the figure actions. 35He mentions steps but without explanations. Here are some of his remarks. Firstly, from his two prefaces:
The Dance’s character: “Если мазурку ведетъ опытный танцоръ, то она оживляетъ общество и представляетъ приятную картину, что, вирочемъ, въ значительной стеиени зависитъ отъ самыхъ танцующихъ, такъ какъ мазурка, кроме хорошаго дирижированья, требуетъ также много грации, ловкости и самоуверенности.” 36 If Mazurka is led by an experienced dancer, then it enlivens the Social Occasion and presents a pleasant picture, this however, to a significant degree, very much depends upon the dancers, because in addition to good leading, the grace, skill and self-assurance of [dancers] are required. The author does list steps: “Ра основныхъ въ мазурке—четыре, а именио:
Впросемъ, въ настоящее время, мазурка такъ разработана, что можно считатъ около двенадцати па, употреебляемыхъ въ мазурке. Дамы должны делатъ толъко лва на: pas marche и pas boiteux,—a кавалеры, болъшею частъю, выше указапныя четыре па.” The Mazurka has four main steps, namely:
However, at the present time, the Mazurka has developed so that it has twelve steps. The Ladies has only to make two steps: pas marche and pas boiteux,—the Gentlemen, mainly, the above mentioned four. Then, follows his remarks about how to lead or direct a Mazurka and his entire figure-sequences. As you can see from the above that on the strength of the mentioning of the “Pas de Sisol,” Shchavurskiy probably knew Mestenhauser’s manuals—so why did not he just recommend Mestenhauser’s manual to his students?: pride, professional jealousy, competition among dance teachers? Cost would be important since Mestenhauser’s is a large book and Shchavurskiy’s is just a pamphlet. It is worthwhile for us to, today, to re-call some of the rules which Shchavurskiy gives for the Ballroom for the Mazurka. The Ladies have to be invited at the beginning of the dance event for the Mazurka. To notify the assembled people that the Mazurka is to be the next Dance the orchestra gives two signals with no more than five minutes between each signal. The Mazurka actually begins two or three minutes after the second signal is sounded. At the same time as the second signal the director-leader announces, “Messeurs, engages vos dames,” (Gentlemen, invite your Ladies). At the second orchestral signal all the Gentlemen go to the Lady they are to dance with. Commands are to be given in a clear, loud voice but it is not respectful to shout. If the person leading the Mazur is also dancing then this pair is considered to be the first couple. If this person is not dancing he is to be ready to correct any confusion which may arise and re-start the Mazurka. One of the nice things that Shchavurskiy has done is to have interwoven the dance commands into the body of his figure-sequences. And also to have provided us with additional evidence that Mestenhauser’s book was know in his own time: the other evidence being Yatskovski in 1891. |
