{"id":2174,"date":"2025-01-13T07:16:55","date_gmt":"2025-01-13T06:16:55","guid":{"rendered":"https:\/\/www.histoiredebal.com\/?p=2174"},"modified":"2025-02-16T13:36:17","modified_gmt":"2025-02-16T12:36:17","slug":"the-allemande-through-centuries","status":"publish","type":"post","link":"https:\/\/www.histoiredebal.com\/en\/2025\/01\/13\/the-allemande-through-centuries\/","title":{"rendered":"The allemande, a dance throughout centuries"},"content":{"rendered":"\n

The allemande is the smurf <\/em>of historical dance. Not because it is small and blue, no. But because that word can refer to many dance and dance moves.<\/p>\n\n\n\n

What is “allemande” exactly? And it many name variations: allemanda<\/em>, almain(e)<\/em>, or alman(d)<\/em>.<\/p>\n\n\n\n

Whether you’re into Renaissance or Baroque dance, you’ve probably come across this dance before. If you’re familiar with the traditional Walloon repertoire or the French contredanse, you’re no stranger to the term. And I can see the square dancers smiling, they know exactly what an \u2018allemande\u2019 is.<\/p>\n\n\n\n

Is the allemande such a joy to dance that it’s been appropriated by every repertoire? Has this dance crossed centuries and borders to become the first dance to be globalised?<\/p>\n\n\n\n

Let’s get to the bottom of it here and now!<\/p>\n\n\n\n

I wrote this article with the invaluable help of Patrick Riez, a specialist in Walloon dances. Yvonne Vart<\/a> also helped me by sending me her book on Dubois. Many thanks to them all!<\/em><\/p>\n\n\n\n

Being a French native speaker, I write in English as good as I can. Please let me know if you spot any error. thank you!<\/em><\/p>\n\n\n\n

The allemande during Renaissance<\/h2>\n\n\n\n

During the 16th century, the allemande is a processional dance<\/strong>, that looks quite like the pavan. Couples follow each other, performing single and double steps. Those steps are not exactly the same as in the bransles<\/a>, as they finish with a pied en l’air<\/em> (or gr\u00e8ve<\/em>), and not with a closed foot. The rythm can be binary or tertiary.<\/p>\n\n\n

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\"La
The gr\u00e8ve or pied en l’air according toThoinot Arbeau,
Orch\u00e9sographie et Traict\u00e9 en forme de dialogue (\u2026)<\/a><\/em>, Jean des Preys, Langres, 1589.<\/figcaption><\/figure>\n<\/div>\n\n\n

In France: Orchesography<\/h3>\n\n\n\n
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\u00ab L’allemande est une dance plaine de mediocre gravit\u00e9, familiere aux Allemands, & croy qu’elle soit de noz plus anciennes, car nous sommes descendus des Allemands. \u00bb<\/p>\n<\/div>\n\n\n\n

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\u2018The allemande is a dance full of mediocre solemnity, familiar to the Germans, and [I] believe that it is one of our oldest, for we are descended from the Germans.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Thoinot Arbeau, Orch\u00e9sographie et Traict\u00e9 en forme de dialogue (\u2026)<\/em>, Langres, Jean des Preys, Langres, 1589.<\/p>\n\n\n\n

The major author for Renaissance danse, Thoinot Arbeau, only tells a few words about that dance, as it offers \u00ab guieres de diversitez de mouvements<\/em> \u00bb (only few diversity in the moves).<\/p>\n\n\n\n

Arbeau mentions that the young male dancers sometimes “steal” a female dancer, by taking them away from their rightful partner. That same principle exists in the dancing tradition in Brittany, with the aptly-named “D\u00e9rob\u00e9e” (of Guingamps, of Montcontour…). D\u00e9rober <\/em>means to steal.<\/p>\n\n\n\n

Arbeau disapproves of that habit of stealing partner, that \u00ab peut engendrer des querelles & mescontentements<\/em> \u00bb (\u2018can lead to quarrels and displeasure’). I think that’s exactly what someone who’s had their dancer stolen too many times would say\u2026 you be the judge \ud83d\ude42<\/p>\n\n\n

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\"Allemande
Anonyme, A dance in Augsburg<\/em>, circa 1500. An example of processional dancing during Renaissance.<\/figcaption><\/figure>\n<\/div>\n\n\n

In England : the Old Measures<\/em><\/h3>\n\n\n\n

The allemande is also found in England, in the (Old) Measures<\/a> (1570 – 1675 approx.). The Measures were processional dances performed during the festivals and ceremonies of the Inns of Court<\/em> – the English law schools. Shakespeare <\/strong>(1564-1616) mentioned the Measures in several of his plays, including Much Ado About Nothing<\/em>.<\/p>\n\n\n\n

Most of the Measures are allemandes, as Old Alman<\/em>, Madam Sosilia Alman<\/em>, Black Almaine<\/em>\u2026 The spelling varies a lot: Alman(d)<\/em> ou Almain(e)<\/em>, but the word is obviously derived from the French word Allemande<\/em>.<\/p>\n\n\n\n

Why is this dance, which supposedly originated in Germany, known under a French name in England?<\/p>\n\n\n\n

We can probably conclude from this that the dance was performed by French dancing masters, or in a version seen at the French court.<\/p>\n\n\n\n

This German in procession was no longer in use at the end of the 17th century. There was room for another Allemande.<\/p>\n\n\n\n

The allemande during the Age of Enlightment<\/h2>\n\n\n\n

The “crossed” allemande by Pecour, and the country dance<\/h3>\n\n\n\n

In 1701, Raoul Auger Feuillet publishes a dance titled \u00ab L\u2019Allemande. Dance nouvelle <\/a>\u00bb (sic). That is a lively dance, in 4\/4, choreographed by Guilllaume-Louis P\u00e9cour, on a music by Lully. The used steps are the ones from the baroque repertoire.<\/p>\n\n\n\n

That theatrical dance, created on stage by Mr Ballon and Miss Subligny, knows a huge success. That’s why the choreography was published, with the objective to turn it into a ballroom dance.<\/p>\n\n\n\n

You’ll find many videos of that dance on the web. I recommend that one<\/a>, quite interesting as it compares the Feuillet-Beauchamp notation, the step names and the dancers.<\/p>\n\n\n\n

The appeal of that dance is the original position of the dancers during a part of the dance. Feuillet’s notation – yet revolutionary – doesn’t allow to render taht position of the arms. He must resolve to engrave the dancers in position. That figure will then be known as “tour d’allemande<\/em>“, then only “allemande<\/em>“.<\/p>\n\n\n

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\"allemande
Tour d’allemande according to Guillaume-Louis P\u00e9cour,
L\u2019Allemande. Danse nouvelle (\u2026)<\/em><\/a>, Feuillet, Paris, 1702.<\/figcaption><\/figure>\n<\/div>\n\n\n

Such was the success of this figure that it became the 8th entry in the French contredanse, which came into being at the same time. Contredanse choruses also regularly used the allemande turn.<\/p>\n\n\n\n

What’s so German about this dance?<\/p>\n\n\n\n

Well\u2026 in fact\u2026 nothing<\/strong>?<\/p>\n\n\n\n

Pecour’s choreography is typically French in its form and steps.<\/p>\n\n\n\n

The arms position said “\u00e0 l’allemande” is maybe (vaguely) inspired by some allemande passe. But then, remotely. I’ll come back to it.<\/p>\n\n\n\n

Pecour’s allemande knew a gret success during the first half of 18th century. But all good things must come to an end, and a new allemande already shows up in Paris.<\/p>\n\n\n\n

The allemande \u00ab with passes \u00bb<\/h3>\n\n\n\n

A new allemande arrives in France around 1760; in England in 1768.<\/p>\n\n\n\n

That one doesn’t feature any allemande turn \u00e0 la P\u00e9cour. So, if P\u00e9cour took inspiration from a Germanic dance, he missed a detail somewhere. The newcomer pushes the previous allemande in the background. P\u00e9cours allemande is then known as “French” or “old allemande”.<\/p>\n\n\n

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\"8e
8th Allemande passe , by Dubois, dans A. Riou, Y. Vart et al., Principes d\u2019Allemande de Mr Dubois (\u2026),<\/em> Lyon, 1991.
It is indeed a different figure as the Pecour’s one, look a the arms!<\/figcaption><\/figure>\n<\/div>\n\n\n

The newcomer is for sure from Germany<\/strong>. It is made of passes and turns that are still constitutive elements of the L\u00e4ndler<\/em>, a folk dance from Bayern and Austria. You know, the L\u00e4ndler, Maria and Capt. Von Trapp’s dance<\/a>?<\/p>\n\n\n\n

The new allemande is more of a “arm dance” than a “step dance”.<\/p>\n\n\n\n

As you can see, the partners stand very close to each other. That proximity give the allemande a hint of scandal when it arrives in France.<\/p>\n\n\n\n

This dance is often compared to rock’n’roll, in that it’s a couple dance that leaves a lot of room for improvisation. As in rock’n’roll, your partner can easily dislocate your shoulder with a sudden movement \ud83d\ude42<\/p>\n\n\n\n

Here too, the dance is being exported to England and Italy under a French name. Once again, I suppose the French dancing masters have been there.<\/p>\n\n\n\n

The German or allemande contredanse<\/h4>\n\n\n\n

The same period saw the emergence of a hybrid style, a mixture of allemande (with passes) and French country dance, known unofficially as \u2018German country dance\u2019.<\/p>\n\n\n\n

It adopted a 2\/4 or 3\/8 time signature, typical of the allemande \u2018\u00e0 passes\u2019. The figures are borrowed from French country dance, but the typical German arm turns and passes play an important role.<\/p>\n\n\n\n

The \u00ab allemande \u00bb figure in England<\/h2>\n\n\n\n

Now, everything gets tangled.<\/p>\n\n\n\n

A figure named “allemande” appears regularly in the English dance instructions from 1769, and until the 1830s. The instructions vary a lot: impossible to find a reconstruction that would follow all the descriptions of that figure. Three movements exist under the name “allemande” in the English sources:<\/p>\n\n\n

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\"Jean-Baptiste
Jean-Baptiste Pater, La Danse<\/em>, 1st half of 18th century.<\/figcaption><\/figure>\n<\/div>\n\n\n

Pecour’s crossed version<\/h3>\n\n\n\n

From at least 1772, the crossed allemande slips into the English country dance, probalby via the cotillion, very en vogue at the time. Thomas Wilson still describes that move in 1818 in his Quadrille and cotillion panorama<\/em> : he calls it the “Quadrille allemande<\/em>“.<\/p>\n\n\n\n

Allemande as a underarm turn with one or two hand(s)<\/h3>\n\n\n\n

James Fishar describes two versions of the allemande in 1773. In the first, the partners hold hands crossed (right hands linked above left hands linked). In that position, the lady turn under her partner’s arms.<\/p>\n\n\n\n

A variation on that move is: the lady turns under her partner’s arm. So the same move as the forst, but with only one arm. That second version is the most common. In French we would talk about pastourelle<\/em>.<\/p>\n\n\n\n

In 1822, G.M.S. Chivers calls that underarm turn “allemande”. The same year, his nemesis, Thomas Wilson, describes the same move and calls it Pas d’allemande<\/em> in his Quadrille and Cotillion Panorama<\/em>.<\/p>\n\n\n\n

Yes, you read correctly. In the same book, Thomas Wilson describes two different moves with close names: “quadrille allemande” (P\u00e9cour’s version) and “pas d’allemande” (the underarm turn).<\/p>\n\n\n\n

Allemande as dosido<\/h3>\n\n\n\n

Thomas Wilson, him again, add another layer: in 1808, he describes the country dance allemande<\/em> as a simple dosido \/ dos \u00e0 dos: the partners go and pass each other, cross each other by right shoudler, step to the right side, and then go backward to their starting place. He explains is again in 1818.<\/p>\n\n\n

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\"Ligne
The different figures named “allemande” during the end of georgian era and the Regency.<\/figcaption><\/figure>\n<\/div>\n\n\n

I complain about Wilson, but I should not. His explanation is clear: in country dancing, the allemande <\/em>is a dos \u00e0 dos. In the quadrilles and cotillions, the crossed version should be used. Maybe the underarm turn if specified.<\/p>\n\n\n\n

Let’s add that the dancing habits evolve with time. Wilson himself says it in 1818:<\/p>\n\n\n\n

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\u201cIt must be remembered, that the Quadrille Allemande, and the Allemande now<\/span><\/strong> used in Country Dancing, are different Figures.\u201d<\/p>\nThomas Wilson, The quadrille and cotillion panorama (…)<\/em>, R. & E. Williamson, London, 1822.<\/cite><\/blockquote>\n\n\n\n

That sentence suggests that the dosido figure has recently been renamed in “allemande” in 1822. And that another country dance figure was once called by that name.<\/p>\n\n\n\n

Other authors are much more ambiguous, and one must be very attentive to the text to propose a reconstruction.<\/p>\n\n\n\n

The allemande in the folk dance repertoire<\/h2>\n\n\n\n

The word “allemande” also gained ground into the folk dance repertoires.<\/p>\n\n\n\n

Wallonia<\/h3>\n\n\n
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\"Naudy
Naudy E., Traditional attire in the province of Liege, vintage postcard, \u00e9d. Barre-Dayez.<\/figcaption><\/figure>\n<\/div>\n\n\n

In the East of Wallonia (Belgium), there are many “allemandes”, also called “amoureuses”. They probably originates from Germany.<\/p>\n\n\n\n

This region, which corresponds to the former principalities of Li\u00e8ge and Stavelot-Malm\u00e9dy, was for a long time part of the Holy German Empire. The principality of Li\u00e8ge was governed by several \u2018German\u2019 prince-bishops: Maximilien-Henri of Bavaria (1650-1688), Joseph-Cl\u00e9ment of Bavaria (1694-1723), Jean-Th\u00e9odore of Bavaria (1744-1763), to name but a few. So the link with Germany is solid and proven.<\/p>\n\n\n\n

Wallonian allemandes are danced in quadrettes (two couples facing each other) to music in 6\/8 time. Their favourite step is the pas chass\u00e9<\/em>: they are often described as \u2018lively\u2019.<\/p>\n\n\n\n

The pas chass\u00e9<\/em> of that dance earned it a funny nickname after the First World War: \u2018Chassez l’allemande!<\/em>\u2019 (Hunt the German one!) the old-timers used to say in derision.<\/p>\n\n\n\n

Carnets de m\u00e9n\u00e9triers<\/em> (minstrels’ diaries) also often use the expression \u201callemande gauche\u201d or \u201cdroite\u201d. Choreographers interpret it as a simple hand-turn.<\/p>\n\n\n\n

Square dance<\/h3>\n\n\n\n

In the square dance, traditional folk dance from the USA, the caller often calls for Allemande left<\/em>. There too, we should understand “hand-turn”. It is indeed the French word, as in “from Germany”. The theory that this expression is a derivative of the expression \u2018by hand\u2019 is incorrect.<\/p>\n\n\n\n

Conclusion<\/h2>\n\n\n
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\"James
James Caldwell, The Allemande Dance<\/em>, 1772, Lewis Walpole Library, Yale University.<\/figcaption><\/figure>\n<\/div>\n\n\n

The allemande has spanned the centuries. Or, to be perfectly correct, from the Renaissance to the present day, there have been dances called \u2018allemandes\u2019.<\/p>\n\n\n\n

One must acknowledge that it is very hard to imagine a relationship between:<\/p>\n\n\n\n