Circle dance

Throughout the world, people seem to always have known circle dance. The circle symbolises equality. It’s a very simple symbol, since there can be no precedence in a circle of dancers.

The same principle applies to the Knights of the Round Table, for example. Although, let’s face it, Arthur and Lancelot fared a little better than Bors and Agravain…

The circle dance is a very common form in traditional dances in Europe and elsewhere.

In this article, I’d like to introduce you to the different types of circle dance. I’ll also give you a few tips on how to dance well and fit in with the dance.

Important note: this article focuses on Europe. I won’t talk about dances from other continents, simply because I don’t know them, or know them very well. Circle dances obviously exist outside Europe too.

Being a French native speaker, I write in English as good as I can. Please let me know if you sot any error. thank you!

Simple circle

The round is the oldest surviving form of collective dance.

It is the form of the bransles, described by Thoinot Arbeau at the end of the 16th century. It is generally accepted that the bransles evolved over time and became the circle dances of Europe, from the Provençal farandole to the Serbian kolo, via the Breton hanter dro.

Each individual, facing the centre, dances the same thing as their neighbours, holding hands.

In these individual dances, where everyone dances the same thing, belonging to the group is of paramount importance. The spirit of community is fully expressed; the dancer can feel part of something bigger than himself.

Did you know?

People often wonder which way to turn.

The answer is simple: where does dancing come from? The Danube is an important border in traditional European dance.

Most of the dances originating west of the Danube turn clockwise (to the left): Catalan Sardana, Breton An dro, Walloon Cramignon, Renaissance Bransle…

East of the Danube, the dances turn counter-clockwise: Romanian Hora, Bulgarian Oro, Greek Zonaradiko, Turkish Horon…

The Hungarian dances themselves are divided into Dunantul (Transdanubia, to the west of the river) and Transdunantul… The csardas turns in two different directions!

Some tips to dance in circle

Now that we know which way to turn, I give you a few tips against common problems while dancing in a circle.

• Potato-shaped circle : Make sure you pass exactly where the dancer before you has passed. That way, the circle will not warp into some weird oval.
• Joining the dance : When joining a pre-formed circle, aim for the spot where the dancers are the most spread out. That way, you’ll have enough room to dance and you will not bother your neighbours. If the circle is open (chain), join the end of the line.
• Dancers are packed or too spaced: If your arms are too stretched, get closer to the center. If you get compressed, get further from the center of the circle.

Arms

V-arms : Arms by your sides, slightly apart, hands clasped with your neighbours. Your arm and that of your neighbour form a ‘V’. This is the usual position for Renaissance (16th century) bransles in particular.

W-arms: like the V position, but with your hands raised to shoulder height. Your arm and the arm of the person next to you form a ‘W’. This is the usual position in many Romanian dances, among others.

Depending on the place, you can also hold each other :

• by the belt (for example in Serbia) ;
• by the little fingers (particularly in Brittany);
• on the shoulders (some Greek dances);
• arms intertwined, in front or behind (Bulgaria)…

The possibilities are endless! I’m sure you’ve heard of other arm positions too!

A tip for the arms!

For your own comfort, make sure you are well aligned on the circle. Otherwise, you’ll quickly get cramps and pain.

To ensure everyone’s comfort, everyone needs to carry their own arms. There’s nothing worse than having to support a dancer who is literally slumped over your arms. Don’t let your arms weigh down those of your neighbours.

Finally, stay relaxed and don’t tense up.

Avoid squeezing the hands of other dancers too tightly.

If you find it difficult to follow the movements of your arms and feet at the same time, let your arms go, without locking them, and concentrate on your feet. Your neighbours will take care of your arms, and it won’t hurt them if you keep your arms relaxed.

Hand over or under ? The Haddock’s paradox

When you’re just starting out (and sometimes even afterwards), you often hesitate about how to join hands. Here, exclusively, is the miracle solution for avoiding that awkward moment when you’re looking for the most comfortable way to shake hands.

‘Support the previous and lean on the next.’

So when the circle turns to the left (that is, in Western European dances), we’ll give the left hand from below, to support the dancer in front of us, and the right hand from above, to rest (slightly!) on the dancer behind us.

And of course, we’ll do the opposite for dances that progress to the right. And that’s it!

Dances for a circle of couples

The circle can be formed of couples, instead of individuals. In the circle of couples, male and female dancers alternates all around the circle. The lady sit usually on her partner’s right side.

That kind of formation can be found in historical dances (Brando di Cales, Italy, 15th c.) and in folk dances (Li danse Di Dj’va, Belgium, Maraîchine – Vendée).

The number of couples can be fixed (Fine Companion, England, 17th c. is a dance for 4 couples), or unlimited (as in Pepper Black, England, 17th c.)

From my observations, this kind of dance don’t turn in any direction. In all examples I’ve seen, the moves are symetrical (you do to the Right what you did to the Left), so the circle does not turn.

Double circle / Sunbeam position

Sometimes, the couples are not forming one circle but two. So the partners are sitting next to each other, with men on inside and ladies on outside. Like sunbeams, if you like. The double circle also usually rotates anti-clockwise.

Note that few historical dances are described in this position, but many are practised in this way at dances today: this prevents the couples (who normally move freely around the room) from colliding during the dance. For example: Le pas des aviateurs (1911).

That double circle position is common in traditional and folk bal dances: Gay Gordon and its many avatars (gigue, chapelloise, Aleman’s Marsj, etc…), La Benjamine (Belgium), Kas ha Bar (Brittany)…

Some dances alternates the “simple circle” and the “double circle” position. For example the folk version of the Circassian circle. The first part is a simple circle (dancers go to the center and back), while in the second part, couples are promenading in double circle position.

Procession or double circle?

Be careful not to confuse dancing in procession with double circle. A processional dance consists of couples following one another (in rows of two). Examples include the Dérobée de Guingamps (Brittany) and the Renaissance pavan.

The difference is that the group of dancers moves from one point to another. For example, Arbeau says that the musicians sound a pavan tune to lead the bride to the church.

Today, processional dances are often performed indoors. The head of the procession joins its tail and it is difficult to tell the difference between a processional dance and a dance in double circle.

Sicilian circle

Many dances from mid-19th century are said to be “in double circle” or “in Sicilian circle”. The latter name derived from the very famous Sicilian circle.

Each couple face another couple, and thos groups of 4 form a circle. After a repeat of the dance, all couples progress forward and meet a new couple to dance with.

Some examples: Soldier’s Joy , Spanish dance (both from mid-19th century.)…

Note that there is no roles (active / inactive couple) in that formation.

Dance masters, know that all longways duple minor set can be performed in Sicilian circle. It doesn’t help to gain dancing space, but it make the dance easier, as the couples do not change numbers.

Some tripl circle exist too, where lines of three dancers face each other and form a circle, as in Dashing White Sergeant (Scotland), Rustic Reel (mid-19th century), etc

Mixer

“Mixer” refer to a dance, usually in circle, where the dancers change partners. That allows, as the title suggests, “to mix” the dancers. Those dances are useful to break the ice during a ball.

Mixer only refer to the mechanisme of changing partners. So the mixer can be a circle, a double circle or even a sicilian circle.

In that way, cotillions from 19th century are mixer dances. The Round Two-step (1903) and the Paul Jones (1890-1914) are typical round mixers.

Folk dances also know mixer dances: La Bastringue from Quebec is a good example, as well as Yellow Cat’s Jig, by Jim Gregory (1982). And of course the folkbal version of Circassian circle – not to be confused with the 19th century version, which is a Sicilian circle (yup!).

Conclusion: circle dance

This concludes our overview of the different ways of dancing in a circle. From simple rounds formed by individual dancers, to Sicilian circles with complex figures, we’re looking at the whole history of social dancing.

Here is an attempt to classify circle dances:

• Simple circle dances: from the Middle Ages to the 17th century, then in the traditional repertoire
• Dances in pairs on the circle: counter-dances from the seventeenth century, then in the traditional repertoire
• Dances in double circle: de facto for the sequence dances of the the beginning of 20th century
• Dances in procession: from the Middle Ages to the seventeenth century, then in the traditional repertoire
• Sicilian circles: since the 19th century
• Mixers: certain dances have always allowed you to change partners

Thanks for reading! If you have any other tips or information, leave me a comment, I’ll be happy to read it.