Paso Doble
| Paso Doble | |
|---|---|
| Technology: | Latin |
| Type: | Ballroom dancing , ballroom dancing , ballroom dancing |
| Time signature : | 2 / 4 -stroke |
| Tempo: | 58-62 TPM (116-124 bpm ) |
| Origin: | Spain |
| List of dances | |
The Paso Doble ( Spanish Pasodoble ) is a Spanish dance, but is traditionally assigned to the Latin American dances . It originated in Spain in the 19th century. It has been a tournament dance since 1945 and has been part of the world dance program since 1963 . The Paso Doble is a progressive dance, which means that you move through the hall while dancing.
The Paso Doble is the dance interpretation of the bullfight . The gentleman dances the torero , the lady represents the red cloth (called muleta or capa ), a flamenco dancer or the shadow of the torero.
history
Literally translated, Paso Doble means “double step”. It's a simple Spanish / Southern French couple dance with a simple step material on marching music . This folk dance , which can also be found in Latin America , spread in stylized form in other European countries after 1910. The music is enriched with elements of fandango and flamenco . The flamenco style emerged in the 19th century. Because of its expressiveness, which can be compared to that of the American blues , it is also known as white blues. The dance was choreographed in Paris in the 1920s, hence the French character names. Today the Paso Doble has been pushed into the background in Central Europe. Although it has been a tournament dance since 1945 and is taught in dance schools, it is rather poorly represented in public. There are only a few music groups that have it in their repertoire. Well-known pieces of music are Der Herr Torero by Maria Andergast and Hans Lang in the twenties and today's most famous Paso Doble España cañí ( España gitana , also known as Spanish Gipsy Dance or Gypsy Dance ) by Pascual Marquina Narro (1873-1948).
Characteristic
The Paso Doble is an exception in the Latin American dances. This can be seen in the posture, steps and the consistent phrasing of the figures. The dance is danced with the head held high, the shoulder blades pulled back and down, the weight shifted slightly forward, but by tensing the thighs the groin is brought forward, the center of gravity is behind the hips. Simultaneous tensioning of the abdominal muscles prevents the chest from moving upwards, i.e. from opening. The elbows are further back than usual, but because of the forward tendency, the distance in the pair remains the same.
Step-preparing hip movements as in Rumba and Cha-Cha-Cha are omitted; in the case of expansive steps, the heel is used instead, since Paso Doble is a marching dance; This does not mean that every step should be carried out with one beat and even less that the step would be carried out evenly over the time available - rather, there are accelerations within a step.
The posture of the gentleman represents the matador with his capa: arch of the back, firm tension in the rounded arms. There is seldom physical contact with the lady, for example in the axes. It would be illogical, because it would be life-threatening for the bullfighter to keep the capa close to his body.
The phrasing of the music of the Paso Doble is to be reflected in the choreography. At two points in the music, the climaxes, a static pose is assumed. At the beginning of a phrase, a so-called roll call is often danced to "one and", a sudden change of the stationary, higher posture into a forward movement (called an attack if this is done in the direction of the lady). Chasses are often danced. Arm movements are performed quickly and in a single, circular movement, i.e. not with the use of the elbow.
technology
Technique in the sense of step technique is not a central topic in the Paso Doble. Twists are noticeable. With regard to the position of the axis - due to the arc tension, it should be noted: It is largely outside the body of the lady and gentleman (makes room for the bull) and enables the position of these axes to be changed suddenly (avoidance of the bull). In addition, the axes are usually not perpendicular. When performing all the figures, it is important to remember what they should mean in the context of a bullfight. High jumps in the air, for example, do not make sense. Typical, however, is the raised position of the gentleman (on the high balls of the feet), both hands high above the head: ready for the fatal blow. Experienced dance trainers tell that they specially traveled to Spain to the bullfighting schools in order to better translate the essence of bullfighting into dance.
music
The music of the Paso Doble was originally in 3 ⁄ 8 time , later in 2 ⁄ 4 , 3 ⁄ 4 and 3 ⁄ 8 time . Only 2 ⁄ 4 time is used as dance music today . The speed is around 58 to 62 beats per minute. In tournaments you dance (according to the tournament and sports regulations of the German Dance Sports Association ) 60 to 62 beats per minute.
literature
- ISTD (Ed.): Latin American Paso Doble. London 1999.
Web links
- Paso Doble music on tanzmusik-online.de
Standard dances : slow waltz | Tango | Viennese waltz | Slowfox | Quickstepp
Latin American dances : Samba | Cha-Cha-Cha | Rumba | Paso Doble | Jive