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Вальсы : Veleta





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Каталог танцев







Вальсы : Veleta

Источники изучения: материалы ФСТ-7
танец рассчитан на любое количество пар, стоящих по кругу
Хореограф: Фабио Моллика
Автор описания: Ольга Фиалко
Последние изменения: 13.05.2007
Комментариев: 4

Схема танца:

Исходное положение – в открытой паре, лицом по линии танца

1 часть (8 тактов)
Такты 1-2 балансэ по линии танца с внешних ног: с поднятием соединенных рук до уровня плеч и небольшим разворотом спинами. С внутренних ног – разворот vis-à-vis. Партнеры отпускают руки (К - п. Д- л.) и берутся другими руками.

Такты 3-4 2 глиссе по линии танца, левая рука кавалера и правая дамы – соединены.

Такты 5-6 балансэ против линии танца с внешних ног: с поднятием соединенных рук до уровня плеч и небольшим разворотом спинами. С внутренних ног – разворот vis-à-vis.
Такты 7-8 2 глиссе против линии танца, правая рука кавалера и левая дамы – соединены.

2 часть (8 тактов)

Такты 1-2 2 па вальса trois temps

Такты 3-4 раскрываясь, пара делает балансэ по линии танца с внешних ног, с поднятием соединенных рук до уровня плеч и небольшим разворотом спинами. С внутренних ног – разворот vis-à-vis.

Такты 5-6 2 па вальса trois temps

Такты 7-8 прогрессия


Написал(а): Yoko | 18.11.2010 в 18:26
Создан в 1899 г. (это как-то Артур откопал):

Написал(а): Алексей Мачехин | 18.11.2010 в 19:17
Ну и, раз пошла такая пьянка, вот к нему музыка.

Написал(а): Артур | 27.01.2014 в 13:16
VELETA WALTZ. AKA – "Valeta (The)," “Valeta Waltz.” English, Waltz. G Major. Standard tuning (fiddle). AABB. "The Veleta" (Spanish for "weather vane") was composed by Arthur Morris (Leeds, Yorkshire) in 1899, who also choreographer a special sequence dance to go with it that remained popular on programs for many years. There are many forms of the tune and dance, and various spellings of the name, and it was quite popular in Britain and Canada. Scottish accordion player and bandleader Jimmy Shand recorded it as “Valeta Waltz.” It was also recorded in 1929 by Scottish accordionist William Hannah.

Написал(а): Артур | 27.01.2014 в 13:22
Ссылка на текущий момент не рабочая, но у меня осталась копия статьи..

Forming in 1892 the British Association of Teachers of Dancing commenced running annual competitions to discover new sequence dances and as a consequence of this the first of the created or ?choreographed? dances came into being. Several new quadrilles such as the Hussars (1894), Carnival (1895), The Gordons? Square (1898), Princess Ena Quadrille (1906) and the County Cotillion (1907) were also invented.

However quite significantly the Veleta Waltz, the first perceived choreographed sequence dance, was entered in 1899 but it didn?t win a place. The music publishers Francis, Day & Hunter, noted its potential and with the co-operation of the arranger Arthur Morris, it was re-vamped and introduced as a new dance in 1900. The Veleta was not really the first of the competition dances. One example is the Victoria Cross of 1898 by James Finnigan. According to F. Mainey (Old Time Dancers Handbook) this dance is exactly the same as the Military Two Step which Finnigan?s daughter brought out in 1904.

Nevertheless in popular opinion the Veleta is accepted as the dance that set the pattern for the popularity of many of the new ?choreographed sequence dances?. Some of these included the Fylde Waltz 1902, Military Two Step 1904, the St Bernard Waltz (1904), Eva Three Step 1904, the Boston Two Step 1908, La Rinka 1908, Doris Waltz 1909, Latchford Schottische 1909, King?s Waltz 1913, the Maxina of 1917, Bradford (progressive) Barn Dance 1919 and the Royal Empress Tango 1922.

The Parma Waltz of 1920 doesn?t appear to have survived in England. But it certainly became popular in Australia along with the Pride of Erin(1911) by the 1930s. The date of origin of the Pride of Erin remains obscure in its native Britain, but the late Shirley Andrews had evidence to suggest it was 1924. Significantly all of these early dances in Britain were still described step by step with the five balletic feet positions on the toes. These new sequence dances were popular in the dance teachers? academies but were not sensations in the manner of great dances of the world when they were first introduced:- i.e. the Waltz, Polka, Mazurka, Quadrille, Lancers, Schottische and Varsoviana or the modern Foxtrot, Tango and Quickstep.

However the revival of Old Time dancing in the 1930s and subsequently in most decades thereafter established a sound footing for simple to follow sequence dances in which ordinary people could easily participate and enjoy. In the first instance many of the dances that had survived up until the First World War were re-introduced to the Ballroom under the Old Time umbrella. Generally the Country Dances didn?t make it although Victor Silvester and others like Michael Gwynne, Sydney Thompson and F. Mainey included the Dashing White Sergeant, Circassian Circle, Eighthsome Reel and Spanish Waltz in their Old Time Dance books of the 1940s and 50s. Mainey also gave a description of La Galopede stating it was within living memory. However the sets; Lancers, First Set, Caledonians, Waltz Cotillion and Alberts were all prominent along with the Polka Mazurka, Polka, Schottische, Barn Dance and Varsoviana. At the time of the First World War the newest of the sequence dances like the Eva Three Step tended to be eclipsed because Modern Ballroom Dancing had just taken off. The modern dances were the new time setters. The older dances of the earlier 20th century, although overshadowed, had established the pattern of the modern sequence dance even though their particular steps were still on the toes in the five balletic feet positions.

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