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In Alsace, like in any region, the dance played
above all a social role, bringing men closer to divinities. But this ancestral rite was formed, through the
centuries, by the contribution of new faiths (such as Christianity) and by
cultural influences emanating from numerous undergone invasions. Since 1918, because of the progress of
communications of all kinds, Alsace gradually lost its sense of identity:
music and traditionnal dances were then relegated by the times and rythms in
style. But in some isolated villages, parents and
grandparents still remember rustic holidays when inhabitants were invited to
dance to the rythms of polkas, waltzs, mazurkas, scottisch, rhinlander and
even « quadrille ». These themes, inspired for the most part by
Central Europe after the fall of Napoleon's Empire, have been through several
changes during their migration before being adopted and transformed by the
distinctive Alsatian temperament. So, our directory includes: - the waltz, native of Austria,
supplemented with stamped, slid steps or with pastourelles (circle waltz,
violet waltz, split waltz) - the polka, of czech origin, with its variants of polka tournee and polka piquee (polka of the conscripts, polka of the babies, polka from berlin) - The mazurka, coming to us from Poland,
with a particular style given by the « varsovienne ». - As for the scottisch, it's the heir of the
former « german » and the « gavotte », known and adopted since the
Middle-Ages by the Court of France. Close to the Scottisch, the rhinlander, deepened
by the addtion of the « polka tournee ». Let's change wind for the « quadrille », which
comes to us from the Court of England. Its precious style, its curtseys,
explain its development in the small provincial towns where the settled
bourgeoisie who also liked noble dances like the «gaillardes», « Allemandes
», and « pavanes»... What shall we say about the more rustic dances
such as the « Chibreli» and the different variants of 7 jumps and 7 steps
known here and there? Recollections of more former tradition, they were
certainly preserved, thanks to the reforming flexibility of the Alsatian who
frequently added to it times of waltz and polka. These few examples of ancestral dances , coming
from more primitive sources led us to a study and to more detailed research
for the rythms and for the music accompanying them. This progress towards underestimated aspects
allowed us to discover a dance step, an ancient tune with the typical rythm
or some choreographic figures that we put together by respecting either
geographic origin, or the theme at hand. So, - the dances of Lower-Alsace ( the North of
alsace) where the famous round dances of the Hans em Schnokeloch, a dance
reserved for the Jewish community of Seebach, is found with the 4 steps of
the region of Donon, Bouxwiller's beechnuts crackers... - The dances of Higher-Alsace (of Sundgau)
representated by melodies dating from the Renaissance (the saranband), the
Middle-Age ( «Branle des Bergers») and more primitive still like the
salamander (round sun dance)... - The
dances and the songs during the charity collection organized by the
conscripts at different times of the year ( on Schrove Tuesday, Easter
monday, and on Pentecost Monday). - The game-dances, in the dominant playful aspect,
become integrated ammong the young people of the village and also the
conscripts: this social class likes especially the confrontations, the
showdowns, the endurance competitions and one meets the dance of 7 jumps, the
stick dance- Let's not forget the dance of the haymaking or the
harvest, the purpose of which was to glorify the work of the farmer by
realistic representation (such as the reaping, the raking) symbolically
represented. If the dance was for our ancestors a rite allowing
them to communicate with the divinities, certain customs turned out useful to
improve these relations. So the «winter» chased away by the madmen masked,
for carnival is still represented in certain villages of the Sundgau, by a chap
dressed if rags or in straw, as the « Butzemummel » or the « Hirtzgiger »
dragged by the conscripts taking their collection for Shrove Tuesday. On the other hand, during the rustic holidays
(Messti) of Lower- Alsace, former rites of fertility, brotherhood and
allegiance in the clan continued through the dance of the cock. But how does one get closer to the divinities?
Certain persons possessed for it a particular gift: magicians and witches
were alternately sought-after for to cure certain troubles or mostly chased
and even burned alive, because considered as fortunetellers and wizards. If the Alsatian implored
the goodness
of heaven, nevertheless he didn't forget to be grateful: any harvest ended
by the reaping of the sheaf of happiness (« gleckhammpfala ») constituted by
the 9 most beautiful ears cut in honour of the Holy Trinity. To immortalize and make known these various rites,
rich in symbols, we inserted them into our dances in the form of scenic
games. Without music, it's useless to speak about dances. Let's notice that it also underwent notable variations: through centuries succeeded one another on our soil, hurdy-gurdies, bagpipes, flutes, oboes, violins, clarinets, accordions diatonique accordions, and brass instruments at the end of 19th century. The brass orchestra, although too much taken on an aura
today, represents only a short stage of the musical evolution in Alsace. This explains the choice of our instruments:
accordion, flute, violin allowing the variety of the known styles. Music and dance are forms of entertainment which the Alsatian knew how to appreciate. Others, of more domestic character, added to it. So, during the long winter evenings: - one sang songs of love, separation, allegiance,
homesickness... - one told stories, anecdotes, tales and legends,
and even poems... These ways of expression, this popular speech
deserve not to be forgotten. So, we want and we try to make them live... |
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Please , send an E-mail in francis.ackermann@sundgauvia.fr.fm for any question or remark concerning this Web site.Copyright © 2001 SUNDGAUVIA
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