*a Living dance is a 1st Generation dance that is still performed in the country of origin (or immigrant communities) as part of a social event like a wedding where others can participate (not for an audience) by people who learned the dance informally (from friends and relatives by observation and imitation, not in a classroom situation). For more information, click here and here.
**S stands for Song, a category I apply to part of the repertoire of recreational folk dancers. Songs are just that – songs, or sometimes merely melodies, that are well-known in their country of origin, but aren’t necessarily associated with any particular dance. They may be traditional folk songs, or pop songs written in the folk style, or ‘pure’ pop creations that are dance-able. People will dance to them, but there is no culturally agreed upon ‘traditional’ dance that is particular to that song, just as we don’t associate any particular dance with “Blowin’ in the Wind” or “Lady Madonna”.
Dance in Brittany
Text reproduced from Wikipedia “…throughout the second half of the 20th century, a revival of traditional Breton dancing has taken place, to such an extent that it can now be considered to be at the forefront of contemporary Breton cultural expression, along with the music which accompanies it.
Jean-Michel Guilcher distinguishes between five fundamental dances in the region of Lower Brittany. These are described as the “mother-forms” from whose ancient roots numerous variants have been developed, to such an extent sometimes that the original can hardly be recognised. These five forms are: the Gavotte, the En Dro, the Dañs Treger, the Dañs Leon, the Dañs tro Plinn.
An dro or en dro (Breton: “The Turn”)
is a Breton folk dance in 4/4. It is a form of a circle dance.
The dancers link little fingers in a long line, swinging their arms, and moving to their left by taking longer steps in that direction than when stepping right. In the generic case the arm movements consist first of two circular motions going up and back (at about chest level) followed by one in the opposite direction (down then front); these are done quite close to the body. This is then followed by a circle in the same sense as the last (down then front) but with full arm extension and extending behind the body. The cycle then repeats.
Steps
Stepping is on the beat throughout, moving to the left on the close arm circles and in place (or sometimes to the right) on the second two. The stance is upright, with soft knees. A full set of steps takes 8 times, divided in two half-steps:
- 1st half-step, 4 counts:
- 1st count: the left foot moves on the left
- 2nd count: the right foot joins the left foot
- 3rd count: the left foot moves again
- 4th count: the feet don’t move, the body still supported by the left foot
- 2nd half-step, 4 counts:
- 5th count: the right foot joins the left foot
- 6th count: the left foot marks time (up & down in one time)
- 7th count: the right foot marks time (up & down in one time)
- 8th count: the feet don’t move, the body stands on the right foot.
It is easy to do this dance within a short time of practice; this allows full beginners to quickly join the line during the festoù noz.
Customs
At a bal there will be several lines forming, with the leader leading his/her line in some pattern. The leader (person at the left-hand end of the line) will lead the line into a spiral or double it back on itself to form patterns on the dance floor, and allow the dancers to see each other.
An dro’s often have songs associated with them, and these are usually sung as a verse-chorus or call-response, with the leader singing the verses or calls. The musicians will sometimes play from the middle of the dance floor, and the dancers will then often form a spiral around them.
An Dro Retourné [Chañj tu] in France
The An Dro variation known as An Dro Retourné literally translates as “reversing An Dro”. It is traditionally danced to the song “Changerez Tu?” or it’s equivalent in the Breton Language “Chañj Tu”, so it is often called “Changerez Tu” or “Chañj tu”.
Lyrics: “Changerez Tu, Madelaine?” or it’s equivalent in the Breton Language “Chañj Tu”.
//J’ai neuf ou dix moutons dans mon ménage en haut //I have nine or ten sheep in my household upstairs
J’ai neuf ou dix moutons dans mon ménage en bas//x2 I got nine or ten sheep in my household downstairs//x2
Dans mon ménage en haut, dans mon ménage en bas In my household upstairs, in my household downstairs
chorus chorus
//Changerais-tu, Madeline, Madeleine? //Would you change, Madeline, Madeleine?
Changerais-tu, Madeleine, dors-tu?//x2 Would you change, Madeleine, are you sleeping?//x2
//J’ai sept ou huit moutons dans mon ménage en haut //I have seven or eight sheep in my household upstairs
J’ai sept ou huit moutons dans mon ménage en bas// x2 I have seven or eight sheep in my household downstairs // x2
Dans mon ménage en haut, dans mon ménage en bas In my household upstairs, in my household downstairs
//J’ai cinq ou six moutons dans mon ménage en haut five or six
J’ai cinq ou six moutons dans mon ménage en bas// x2
Dans mon ménage en haut, dans mon ménage en bas
//J’ai trois ou quatre moutons dans mon ménage en haut three or four
J’ai trois ou quatre moutons dans mon ménage en bas// x2
Dans mon ménage en haut, dans mon ménage en bas
//J’ai un des moutons dans mon ménage en haut one
J’ai un des moutons dans mon ménage en bas// x2 one
Dans mon ménage en haut, dans mon ménage en bas
Unan, dau, tri, pevar! Unan, dau, tri, pevar!
An Dro Retourné among recreational folk dancers
Yves and France Moreau are credited with introducing An Dro Retourné to recreational folk dancers, ca 1997. The music they used was from the album “Spiorad” (Spirit), Shanachie CD 78003, by Scottish-American singer Talitha Mackenzie.
For more information, click: https://folkdancemusings.blogspot.com/2014/01/an-dro-retournechanj-tu-brittany.html
Folkdance Footnotes 