In the fascinating Baroque era, an age defined by magnificent courts and lavish artistic creation, dance held a place of exceptional importance. None other than Louis XIV, the Sun King of France, stood at the very heart of this flourishing period of dance. With his passion for the art and his extraordinary talent as a dancer, he became a true icon of Baroque dance.
The era of Baroque dance generally spanned the reign of Louis XIV, who ruled from 1643 to 1715. This period was marked by a vigorous development of dance and an ever-increasing refinement of its techniques and styles. Louis XIV did not merely appear as a dancer; he played a decisive role in promoting and advancing the art form.
A significant milestone in the history of Baroque dance was the creation of the first system of dance notation by Louis’s dance master, Pierre Beauchamp. This notation, later published under the name “Feuillet,” marked a turning point in the recording and preservation of dance choreography. Containing more than 400 choreographies, it documented the movements and steps of Baroque dance so they could be preserved for future generations.
Baroque dance was characterized by high stylistic elegance and precise execution. Dancers aspired to perfect posture, graceful movement, and a harmonious fusion of music and dance. Dance masters played a pivotal role in this. They were not only teachers and choreographers but also advisors and artistic visionaries. With their expertise and deep understanding of the art, they refined techniques, developed new step sequences, and created ever more sophisticated choreographies.
Baroque dance was closely bound to courtly life and etiquette. The dances were performed not merely for entertainment but also to symbolize social status and hierarchy at court. The elaborate choreographies and aesthetic execution of the dances were signs of royal power and cultivated taste.
Yet the significance of Baroque dance extended far beyond the royal courts. Dance became an important part of social life and found numerous enthusiasts outside the aristocratic sphere. In bourgeois salons and at festive gatherings, dances in the Baroque style were performed, spreading dance culture across Europe.
Baroque dance left a lasting influence on the further development of the art of dance. The fundamental principles of bodily control, elegant movement, and musical interpretation developed during the Baroque period remain of great importance to dancers of many styles today.
Ultimately, Baroque dance was an art form that reflected the splendor of the Baroque age in all its beauty and elegance. The passion and dedication of Louis XIV for dance, along with the outstanding achievements of his dance masters such as Pierre Beauchamp, elevated Baroque dance to a truly royal art—one that continues to be admired and cherished to this day.
But to understand the „Baroque dance” —
its style, its development, and the role of dance and the dancing masters in the Baroque era —
one must take a somewhat broader view.
Style and Heritage
The French dance tradition of the Baroque era, shaped by its close connection to music and its refined training in movement, is without doubt a remarkable development in the history of dance. In contrast to the Italian Renaissance dance style, which emphasized individual steps and documented them in dance descriptions, the French style opened up a new dimension of expressive movement.
Already in Arbeau’s Orchesographie of 1588, we find the beginnings of this movement training, in which various mouvements and pas simples were combined into more complex pas composés. Yet it was only under the regency of Louis XIII that the Baroque style of dance began to unfold in all its splendor. After 1620, the music of the renowned Vingt-quatre Violons du Roy assumed a new, highly Baroque character, creating the perfect musical tapestry for choreographic masterpieces.
At that time, music and dance were inseparably linked, and many dance masters were also accomplished musicians. Pierre Beauchamp, one of the outstanding dance masters of his day, came from a distinguished dynasty of dancing masters. His uncle of the same name had already served as dancing master at the court of Louis XIII and was a member of the aforementioned Vingt-quatre Violons. This artistic fusion of dance and music was passed on to Pierre Beauchamp, whose position traced back to his father, Louis.
Jacques Cordier, known as Bocan, an esteemed dancing master and member of the Vingt-quatre Violons, was another leading figure of the French style. He is credited with dances such as the Baroque courante and the minuet. Through his renown and activity, the French style became known beyond the borders of France. He served as dancing master to five queens, thus spreading the French style to the court of Charles I in England as well as to Germany.
These influential dancing masters helped pave the way for the first publications of Baroque dances—though not yet in dance notation—in Germany by Johann Georg Pasch in 1659 and in England by Bray in 1699. Interestingly, these choreographies in England were always referred to as “French dances,” a telling indication of the extent to which the French style shaped the international dance scene.
In sum, French Baroque dance represents a unique system of movement training in which music and dance merge in perfect harmony. Exceptional masters such as Pierre Beauchamp and Jacques Cordier, through their artistic expertise and influence, played a decisive role in spreading the French style and establishing it as a vital part of European dance culture.
Her works live on to this day in the hearts and movements of dancers,
and her legacy shapes the history of dance in an unforgettable way.
The Varied Dance Forms of the Baroque Age
The dances of the Baroque era unfolded in a rich variety of expressive forms, which can be divided into two main categories with several subgroups. In the splendid halls of the nobility, social dances were celebrated, while on the stages, theatrical dances were displayed in all their fascination and precision.
Among the social dances were the elegant Danses de Bal, the noble Basse Danses (“low dances”), which enchanted audiences with their charm and grace. Also included were the Country Dances, known as English dances, which had their origins in rural regions. In listings of courtly Baroque dances, the Branle is often overlooked—a ceremonial opening dance at balls, led by the reigning monarch or the host couple. By the late 18th century, however, the majestic Polonaise had taken its place, opening balls with regal presence.
Theatrical dances, on the other hand, comprised the impressive Ballets and Entrées, as well as grotesque dances that fascinated audiences with their spectacular performances. From the Danses de Bal and Ballets, we have many records in the Beauchamp–Feuillet dance notation, published from 1700 onwards. These dances differed stylistically from the “low dances” such as the Bourée, Courante, and Menuet, which were expected to be mastered and performed by members of the court.
Characteristic arm movements were performed exclusively by gentlemen and are now known as “Menuet arms.” Ballets, by contrast, were presented only in appropriate stage costumes, accompanied by elevated arm movements. It is important to note that women were not permitted on stage until 1699; before then, all female roles were performed by men, in so-called travestie.
A major turning point in the development of theatrical dance occurred in 1670, when Louis XIV and, presumably, other nobles ceased performing ballets themselves. Just one year later, Le Bourgeois Gentilhomme introduced the French opera with interludes danced by professional performers—marking the birth of what we now know as ballet.
After 1730, with the advent of increasingly large opera houses, the Entrées and Ballets, with their refined but less visually impactful step techniques, were supplanted by expressive dance forms that evoked a deeper emotional response from audiences. Jean-Georges Noverre is considered the founder of expressive dance, which departed from the purely formal structure of ballet. Unfortunately, he was not an advocate of recording his choreographies in written form. Other dance masters, such as Ferrer, instead focused on large-scale formations involving many dancers, creating impressive choreographies with great visual appeal.
Following the major dance collections of 1704, 1709, and 1712, later publications contain hardly any records of Entrées or solos—apart from a few surviving manuscripts. Times had changed, and the dance world of the Baroque period was in constant evolution. Yet even today, as we trace the footprints of this bygone era, we can still experience a touch of the elegance and grace that found their fullest expression in the dances of the time.
The Baroque Dance Notation
For centuries, dance masters and choreographers strove to capture the fleeting art of dance in a lasting form. In the shadowy expanse of the 17th century, several attempts were made to record dances in symbolic notation. Yet, as fate would have it, only one of these approaches would stand the test of time and forever change the world of dance.
One such pioneer was the renowned dance master Behr, whose work led to an initial, rudimentary table of symbols. Behr was a man of unparalleled ambition, devoted to the task of portraying dance in a form that transcended the transience of the moment. His efforts were remarkable, yet it would be a different path that ultimately paved the way to success.
In the flourishing heart of the 17th century, the geniuses of the age—Favier, Lorin, and Rameau—graced the world’s stages, creating choreographies of breathtaking beauty. All sought to commit their works to writing in a way that could preserve the very essence of their artistry. Manuscripts emerged, filled with meticulous drawings and descriptions that conveyed dance in all its splendor.
The true turning point in the history of dance notation came with the introduction of the Feuillet system. A new era began as this elegant notation swept through the dance world, establishing itself as the preferred method for recording choreography. With flowing lines and artful symbols, the Feuillet system could precisely represent the movements of dance, immortalizing the richness of choreographic creativity in written form.
My own passion for dance led me to compose a small handbook, in which I share all my pedagogical and didactic knowledge of the Feuillet system. This handbook is available in our online shop and offers dance students and teachers alike a practical guide to learning this unique form of notation.
Yet, as fate sometimes dictates, the world of dance would once again be swept up in a technological revolution. Throughout the 19th and 20th centuries, additional systems of dance notation emerged, among them the well-known Laban and Benesh methods. These continued to contribute to the documentation of dance, but their popularity and use were ultimately overshadowed by the recording of choreography through video.
Moving images, capable of capturing the essence of dance with unmatched precision, gradually displaced written notation as the primary means of preserving choreography. The flowing movements and subtle nuances born of the interplay between body and space could now be recorded in their full glory and safeguarded for generations to come.
Nevertheless, we should never forget that the dance notations of past centuries form an important chapter in the history of dance. They stand as a testament to the artistic striving and dedication to forever capture the magic of movement. Although written dance notation no longer takes center stage today, the masterpieces of past generations continue to be admired and studied—an enduring source of inspiration for future dancers and choreographers who wish to lose themselves in the realms of dance.
The Allure of Baroque Dances
The world of Baroque dance reveals a fascinating spectrum of movements and forms of expression that engage the entire body. It is a dance style that is both sophisticated and accessible, one that can be learned and performed without extensive prior training.
The choreographies of Baroque dances are distinguished by playful elegance and rhetorical finesse in movement. Through refined sequences of steps, they convey not only pure motion but also deep emotion. Expressions of anger and despair are just as much a part of these dances as the portrayal of a tipsy dancer.
One particularly striking example is the Turkish Dance, in which Pasha Suliman seeks to impress his new lover. Awkwardly and clumsily, he attempts to perform before her, yet his corrections lead to the most demanding leaps. His beloved, in turn, charmingly parodies him in her solo response, and together they conclude the dance with power and wildness.
Another example is the Passacaille from the opera Armide, in which rage and love merge in a desperate struggle. The solo dancer is tossed about, physically embodying the intensity of emotion through her movements.
Engaging with Baroque dance nevertheless demands courage and ambition. It is an art form that calls for complete immersion, allowing oneself to be swept away by its complex choreography and expressive power. Only with strong dedication and a willingness to face its challenges can one grasp the true beauty and vitality of this dance form.
In an age where dance styles and techniques are constantly evolving, Baroque dance retains its unique charm and artistic significance. It stands as a homage to a bygone era, revealing the richness and versatility of the human body on the dance floor. By immersing ourselves in the world of Baroque dance, we embark on a captivating journey into the past and experience the powerful connection between music, movement, and emotion.
Country Dances, Contredances or Kontratänze
In the vast expanse of the past, beneath the veils of distant Britain, a tradition of dance began—one that would later become known as the English Country Dances. It is said that Queen Elizabeth I first introduced them to the royal court, yet it was not until 1651 that they were published in purely textual form, so that their elegance and grace might be preserved for posterity.
It was only around the year 1680, however, that a delegation led by the dance master Mr. Isaak arrived at the court of Louis XIV, bringing with them the secrets of these dance arts. The royal society was so enchanted by their charm and refinement that these dances quickly spread across Europe. From 1706 onwards, detailed descriptions and notations of these dances were committed to dance manuals, ensuring that their splendour and intricacy would be recorded for all time.
They were performed at magnificent balls and in the opulent halls of public assembly rooms. Yet they also found their place in the more intimate gatherings of noble society and the private celebrations held in grand homes. Today, we often encounter only collections of these Country Dances, yet their roots can frequently be traced back to dance instructions once published in newspapers. Much like a modern-day weekly fitness column, they were printed in a sort of early cultural supplement, intended to delight and entertain society.
From the English Country Dances there gradually evolved the French Country Dances, which in turn paved the way for the rising Cotillions and Quadrilles. Yet as the waltz steadily grew in fame, these once-beloved dances slowly but surely fell from fashion. A new era of dance had dawned, and the former constellations of social dance receded into the background, while the waltz captured the hearts of dancers.
Thus, time passes, and with it, tastes and fashions change. Yet in the hidden corners of dance history still rest the memories of those days when the English Country Dances captured the hearts of the nobility and set their feet moving in a surging dance of elegance. May they remain in the annals of the past, a living testament to a long-vanished era that once reigned over the ballrooms of Europe.
Pierre Beauchamp
In the splendid court of the Sun King, where the arts flourished and abundance reigned, a young dancer named Pierre Beauchamps emerged to forever change the fate of ballet. Born in 1636 in Versailles, France, Pierre was destined to join the great Mazuel family, whose artistic talent had adorned the courts of the French monarchs for generations. His future as a virtuoso ballet dancer seemed woven into this legacy.
From an early age, it was evident that Pierre possessed a unique gift for dance. By the age of eleven, he had already captivated the courtiers with his ethereal movements in the Ballet du dérèglement des passions at the Palais Cardinal. Each of his steps defied gravity, a celestial being wrapped in grace. His talent was so extraordinary that even King Louis XIV took notice and appointed Pierre as his personal ballet instructor. For nearly twenty years, Pierre danced alongside the young monarch, sharing the royal stage as their destinies became intertwined.
At the heart of Molière’s magnificent theatrical productions, Pierre found another stage to showcase his art. His cousin, the playwright, delighted in Pierre’s ability to embody characters with such depth and vitality. Together, they breathed life into the Comédie-Ballets, enchanting audiences with stories of love, joy, and magic. The illustrious theatre, later known as the Troupe de Monsieur, became a realm of artistic brilliance where Pierre danced while the stars of the court mesmerized the audience.
It was in these theatrical marvels that Pierre’s path crossed with Jean-Baptiste Lully, the master of music and dance at court. The enigmatic Lully recognized Pierre’s genius and enabled him to express his talents as a choreographer. Through masquerades and numerous other ballet productions, Pierre’s skills were celebrated and revered. Over the years, Pierre’s dedication to the art of ballet deepened. His eyes observed the pigeons on the streets of Paris, inspired by their fluttering wings and choreographed chaos. He unlocked the secrets of dance and defined the five fundamental positions as a testament to his passion for elevating the art form. With every movement he codified, ballet reached unprecedented heights.
In 1661, the Académie Royale de Danse was founded, a testament to King Louis XIV’s vision of ballet as a discipline worthy of respect. Pierre, the royal choreographer, guided aspiring dancers, shaping them with his wisdom and vision. Under his leadership, dance ceased to be a mere pastime and blossomed into an art form that enchanted and fascinated the masses. In a time of great change and artistic evolution, Pierre’s tireless dedication endured. Ballet overcame the confines of courtly life and opened itself to the public, gaining admirers from all walks of life. Women, once excluded from ballet, found their place on the stage, lending the art an unprecedented dimension.
In 1705, the great Pierre Beauchamps took his final steps on this earthly stage. His legacy, immortalized in the annals of history, left an indelible mark on the destiny of ballet. His codification of dance, passed down from generation to generation, enshrined his name among the beacons of the arts. Though he departed this world, his spirit of dance lived on, finding new expression in the works of his students and followers. The dance of Pierre Beauchamps, the visionary choreographer, continued its leaps and turns through the ages, forever captivating hearts and minds in the pursuit of beauty and grace. As long as ballet lives, so does the essence of Pierre—a shining star in the constellation of artistic brilliance.
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