Mazur-mazurka dance manuals

This is a small manual ³⁷ which describes only the figures of the French Quadrille and of the Cotillion. The Mazurka was one of the dances which could be done with these figures. The author L. G. Chalif states the he was a member of the Imperial Ballet of Warszawa and a Ballet teacher there. And yet he had nothing to say about Polish dances!

Chalif give us a sample Social Ballroom Dance program. ³⁸ There are thirteen dances listed as follows:
First Waltz

French Quadrille

Polka

Waltz

Waltz Mazur

Varsavian

Waltz

Galop
(Intermission)

Polonaise

But there is something else that is interesting about him. In 1915, a Louis Chalif, published a dance book in New York bearing the imprint of the “Chalif School of Dance” of New York City. Apparently this is the same person. Furthermore an original copy of Mestenhauser's 1901 Mazur book was donated to the New York Public Library by this dance school! It was this very book which contributed to the present author’s journey into the wonderful and beautiful adventure of the Mazur-Mazurka.

F. Raevsski’s manual is modeled if not a plagiarized copy of Stukolkin’s 1885 manual. ³⁹ So we shall not repeat previously cited items but there are some different things in Raevsski which are worth mentioning one of which is right on the title-page. There he states that he was a dancer at the provincial theaters of Russia. So maybe he can point out differences between the “provincial Mazurka” and that of Saint Petersburg.

“Дама всегда должна находиться на перпвомъ плане, а не позади; кавалеръ долженъ какъ бы любоваться ею и наслаждатъся грациозностью ея движений, а въ то же время давать возможность любоваться и другимъ.” ⁴⁰
The Lady must always be placed slightly ahead [of the Gentleman] and not be behind him; the Gentleman is in admiration of her and enjoys the gracefulness of her movements and at the same time presents her so that others may admire her.

“Па мазурки легче показать на деле, чемъ описать ихъ; . .

“Вообще, мазурка больше выигрываетъ въ своей прелести, если ее танцуюъ военные: красота мундировъ и шпоры, которыми необходимо по временамъ позвякивать, увлекательно действуютъ на танцующихъ и зрителей. Многие штатские даже нарочно лодвязываютъ шпоры, чтобы отчетивее акцентировать этотъ восхитительный танецъ, разумеется, не злоупотребляя ими и не стуча безъ нужды. Не своевременный стукъ ими неприятно действуетъ на слухъ и, кроме того, сбиваетъ съ такта.”

This is another manual by a professional dancer.⁴¹ It is not a thorough instruction book. It has the feel of being a rush-job.

He states that the Pas Glissé, given in all of these manuals as the man’s step, is the easiest to learn.

Like Raevsski’s manual it has illustrations of dancers in the Polish-Rural-Szlachta-Gentry dress for the Mazurka, which was and is the stage-dress for Russian Operas and Ballets.

Here we present comparative drawings from both authors: they show the Hołubiec Couple Turn.

RAEVSSKI 1896 TIKHOMIROV 1902

A. K. Otto’s manual of 1902 ⁴² is perhaps a defining moment, in the history of Russian dance manuals, in its description of the basic step, since it is not the Pas de Basque. We here present Otto’s description in his original order. He first started with the following drawing of the open couple position for the Mazur-Mazurka. (Notice that the man is carrying his hat in his left hand. This prevents him from showing, that is to say, prevents him from easily leading the Lady.)

The first step for both the Gentleman and Lady is the same; with the only difference being that the Lady starts her right foot, but the Gentleman with his left foot. [This means that from the starting couple position both start with their “outside foot.”] This description is for the Gentleman starting with his left foot.

1. 
   On count one slightly lift the left foot a little off the floor placing it, by sliding it forward, and at the same time that the left foot is slid forwards the right foot is also slid forwards, so that with the sliding of the right foot forward place [now] the left on the floor, so that the right foot will be forward of the left foot which is to the rear of the right foot.
   

2. 
   On count two there is a pause;
   

3. 
   On count three place the left foot in front.
   

The next measure has opposite footwork: both the Gentleman and Lady do this step.

We have already examined and discussed this pause on count two in other works of ours. See the complete thoughts of ours under the title of the “Basic Running Mazur Step” or under “Some Important Historical Variations” or anywhere the Pas de Basque in mentioned in the Mazur or Mazurka.
“Для дамы требуется только превое па мазурки, а для кавалера больше, т. е. Пять па.” ⁴⁴
For the Lady it is only necessary to do the first step of the Mazurka, but the Gentleman more are required, that is, five steps.
In all of these steps there is a “pause” on count two. In both Londyński and Otto the steps are the same: only the figures are different.

Now where have we had this variation before? We remember that it has a long lineage in the in the remarks and manuals of Saint de Leon, Hłasko, and Staczyński: these all before 1847. But an even more interesting discovery, first to be brought to the attention of the world now, is that this description is the same as that of the Polish author, Bołesław Londyński who has the same description as does Otto.

However, the first edition of Londyński’s book is 1905—after that of Otto. Could the Polish author have copied the Russian manual? Perhaps he did, but there was not any need to, since the same descriptions are contained in the earlier works of both the Polish authors Rochacki and Mestenhauser. In his 1921 edition, Londyński states on the title-page that he has conducted interviews at the finest dance schools about the dances. This implies that we have a contemporary window into the dance practices of the inter-war years, in at least Warszawa.

What Londyński does have is a nice illustration which gives a hint of how this step should or may be done. Here is the illustration.⁴⁵

This can be interpreted as being the first part of count one, except that it starts with the man’s right foot, or “inside foot,” which is the way that most Polish dancers do start.

This illustration was not given by Londyński to show us a step but to show us the proper couple position: just as Otto did. The Gentleman no longer seems to carry his hat with him, but this is not true, since in another drawing in Londyński, he is holding his hat!

PETROV 1903 MOSCOW

Petrov mentions Stukolkin’s remarks about the Mazurka. He also states that is not add for the general public but he does give limited instructions for the Ballroom version. ⁴⁶

Petrov seems to give us two variations of the Pas Glissé—there are several; however, his descriptions are not clear enough for us to definitely distinguish between them. We have completely described them in our own work. ⁴⁷

He reopens the “Probezhka-Debate” all over again by identifying it with the Pas de Basque with the accenting cut-out on count three and as a “heel-beating-cutting-out” exercise [my quotation marks and interpretation] presented here:

This is just the same as Stukolkin.

The capital city of Latvia is Riga. The Mazurka section in this small manual ⁴⁹ is only two pages long and is of no consequence except that indicates that the Dance existed in the sphere of Russian influence.

This book, as with most of the manuals from the 1900s, gives more space to the newest of the couple dances, than of figure dances like the Mazurka. ⁵⁰ This one has the distinction of having on the cover a “cake-walking” couple. It has short descriptions similar to Petrova (1883).

It was only with the demise of the Russian Imperial World and the ending of World War II that a Social Ballroom dance manual published in the Soviet Union finally recognized what the Polish Basic Running Step was and is today. ⁵¹

While still using the term “Mazurka” the first step tells us everything, “Легкий бег,” which means a, “Light run”— the Pas de Basque has vanished. Even though we have known the true nature of this movement from personal experimentation, practicing with teachers and study of the Polish manuals in particular, we present the Russian description for the record.

Here is described one measure.

“На счет «раз» cделать небольшой шаг вперед правой ногой, слегка приседая на ней. Левую ногу через первую позицию провест вперед, в четвертую позицию (нога выпрямлена в колене, носок опущен вниз).” ⁵²

On count one take a small right step forward, lower your weight, as in sitting, somewhat on that right leg. At the same time, bring the left leg forward, ahead of the right foot in fourth position (left leg straight, toes downward).

Let us take a look at what was happening in Poland from the dates of publication of Mestenhauser's manuals: 1878-1901. This also covers the bulk of our Russian sources, for all practical purposes, which are from 1871 to 1902. They were all, apparently, from their own pages, teaching the Pas de Basque.

During this time what was Mestenhauser teaching and what was Poland dancing in the Mazur-Mazurka? Mestenhauser gave two variations of the running-type step: “pa Marsze mocne” and “pa Marsze suwany.” Both are subsumed under the general title “Pas Marche.”

The first is, after the initial leap forward on count one, followed by two stamps done in place. This is done by men as a rhythmical ornament. (This can be done by male spectators who thereby are adding to the spirit of the dance.)

The second variant, the “pa Marsze suwany” is of particular interest to us as it deals with the puzzle of the Basic Step as we try to answer the question what was and is the Basic Mazur-Mazurka Step and how should it be done? We shall give here a short description of it for a single measure. It starts with the weight on the left foot.
Count 1 make a low leap forward onto the right foot,

Count 2 push the left foot directly forward,

Count 3 drag the right foot directly forward,
What is more than equally important was how it was used. We cite Mestenhauser:
“Pa marsze suwane, jest jedno z użyteczniejszych pa mazurowych, czy to w tańczeniu linjami prostemi naprzód, czy też w tańczeniu obrotów tak krzyżowych, jak i kołowych wielce jest przydatne, oprócz tego, w tańczeniu tyłem inne pa się nie nadają, jak tylko pa marsze suwane.”
Pa marsze suwane, można także tańczyć posuwisto z mało widocznemi podskokami, jak w solo; szczególniej damy z korzyścią mogą takowe używać.” ⁵³
Pa marsze suwane, is one of the most useful Mazur steps, whether done going directly in a straight line forward, or in couple turns or in crossing-figures, also in large circles it is suitable, [and] besides this, since the other steps cannot be easily done backwards, as well as the Pa marsze suwane can be done.
The Pa marsze suwane, can also be danced sliding-glidingly with little leaps which are not noticeable, as in a solo; particularly Ladies, may with advantage, do it this way.
Since Poland was part of the Russian Empire it was common for Russian officials, soldiers, business men, etc. to travel to Poland during those years—but, apparently not her dance teachers—otherwise, we would have seen this description of this Running Step in the Russian manuals—or would we?

Maybe it was an Aristocratic basis against the Polish Mazur-Mazurka? But the Polish Aristocracy was just as exclusive and haughty as the Russian Aristocracy. Could it have been a pure Nationalistic basis? We doubt that since many Poles, dancers included, went to Russia.

Recall that Zorn stated that the Pas de Basque was the step of the Aristocracy and that the sliding Pas Glissé was the step of the middle-class. How can this be proven or disproved? Were not the last Tsar and his family the Aristocrats of the first order of the Russian Empire? We shall now offer Historical visual-video evidence to disprove it.
1912 THE MOTION PICTURE FILM OF THE GRAND DUCHESSES DANCING THE MAZURKA
How we wish that we could have a filmed record of people dancing the Social Ballroom Form of the Polish Mazur or Mazurka with details of what the steps were and how the step movements were done. (Figures are not any kind of problem.) This would be a dancers or dance scholars dream!

But we do have a film record! Fortunately the last Tsar was a photography enthusiast. Besides still photography there exists motion picture film of his family circle—in particular, of his daughters dancing the Mazurka! What a potentially exciting discovery this! Let us turn now to those still photographs which allow us to see the steps used. ⁵⁴

The probable date of film is July 22, 1912.

1

There is no closing of the feet on count three—this is not the Pas de Basque of Cellarius.’

2

3

4

5

6

7

8

9

10

11
So what step is this? It is the Bieg or the Basic Running step as described by a long line of Polish dance teachers starting with Hłasko, Staczyński (remember his Pas Simple?), Mestenhauser, etc. But even earlier than the Poles was Michel Saint Léon’s 1830 description.

We repeat—it is not the Pas de Basque.

What can we say then?

1. 
   That they both existed but that the Pas de Basque disappeared in Poland by the mid-19th century.
   
2. 
   That the Pas de Basque also disappeared in Russia by about 1910 since we know that the Tsar’s daughters and niece were dancing the Simple Run by 1912.
   
3. 
   That both the stream of Polish and Russian Dance manuals support 1 & 2 above.
   
4. 
   Retuning to the idea of a Class-bound analysis we could surmise that at the beginning of the 19th century the Aristocracy favored the more Ballet school-taught “fussy” Pas de Basque as opposed to the manner of learning or dancing the Mazur among the lower Nobilities. This also applies to the Hołubiec Couple Turn, for which they substitute Tour sur Place and its different way of doing it. This shows the influence of Ballet masters. (Perhaps we should think of the Minuet being replaced not only by the Polonaise but also by this form of the Mazurka.)
   
5. 
   Since the Russian sources, practically all following Cellarius, give the first step as Pas Glissé, this as the effect of over-shadowing the Pas de Basque for the men. In addition most state (as does Mestenhauser also) the Pas de Basque is the women’s step as is also the Pas Chasse. How did this come about? Is this Cellarius’ influence? He wrote of this step, “This step is called the Mazurka step, because it is the most usual and is unceasingly repeated, either alone or in combination with other steps.” He was correct according to what he personally saw. What he saw was dancing done by experienced, practiced dancers from Poland and not beginning dancers. (There is a secondary question. Just where did he did he see the Polish Dancers? Probably, at the Hotel Lambert in Paris.) Seeing the Pas Glissé so often led him to list it first in his manual, but as we have stated elsewhere, this is one of the ornamental step movements of the men and is not the Basic Running Step movement, either in its simple form or as the Pas de Basque. The manuals of Cellarius and his imitators should have started first with the Basic Running Step.
   
6. 
   As stated elsewhere all evidence via the Polish manuals of the 20th century (excluding Mestenhauser’s 19th century reprints) and Hłasko (1847) start teaching the Mazurka Mazur with the Basic Running Step. Polish Dance schools of yesterday and today do exactly the same—naturally, since the pedagogically sound method is to go from the easy to the difficult. After the Basic Running Step, comes the “fancy” difficult step movements, such as heel-clicking, sliding, etc.
   

Now it may be that the Russian authors or-dance masters did not teach the way they wrote. They probable did teach the simple or Pas de Basque first; however, we cannot really say from their remarks.