NO:1MjQ·J FOLK DANCl
Trmlslated by
-
Cynthia Farr@d
October 27, 1975
Contcnt~
-
Introductory l-':aterial
ExplamJ.tion of Steps
Drulces ['J1d
Song~;:
liLa. Cour,1nt.e"
"Hon P~rc kyrii t un Pctet Bo':'::;"
"Branle de Villa.ge"
liCe Sont les G<:lrs de Senneville ll
"Branle Bac cha.n~le 11
UDurlmt les Guerres d' Outreme:c II
IlLa Sauti~re"
IIQtwnd Hon P~re H' A Hariee It
"La Lurette ll
-
"L'Amcmt Curieux lf
-
T'nc purpose of this project is to lJrovide music and explan<ltions for i'olk
dn..'1cCS so tha.t stud::mts, specifically French 5tu;Jonts, could lC.:lTn some Horman
d~ces
ir.1·Jort~mce
and songs Clnd the culturnl
Unfortunately, I
:12.3
una.ble to
S,JC
the riv11ces
of d;)ncc in Norm::t.l1dy in the past.
preform~i,
thus,
dance instruc-
tl1C
tiona nre entirely from the translations of Monsieur Colints book.
'!he information cont.?ined in this
Twenty-five
rrorm~n
Calvado:3, Normn...'11y.
Colin.
il5 trnnsla.tcd frOTil a book entitled
/
Dances, published in 1958 by Rene-P:lul Colas, in Bayeux,
T'ne dances
~'lere coll~ctcd
by Je.:nnc
l-!es~;2.ger
;-:..lld presented
'rho introductory material ;Jbout Horman dance ~"ltiS Hrittcn by
by Ed.Juard Colin.
~dnua.rd
p~per
;:'llsic for the first five d;mces
de NOrMandic, a 1nidisc record.
'l-TC'.S
tekcn from the record D3nses
Kusic for the last five
d~.nces H<lS
rccordod In.th
the il€lp of f}tio Ball St.::.tc Univcrr;ity nmsic students, Lisa l''tmston, flutist, Md
Nichele Smith, vocalist.
.-
this project.
"I,;; s
Dr. Hicks
We''::;
consulted concernine translations and fre. Gilbert
consulted concerning the clD.ri ty of the dane/) eA"})lan:J tions •
•
-
Or. Georgina !1icks 1md Dr. Cecile Gilbsl--t aJ.vised on
-,
In N6rmandy, documents vf.lich can furnish, with precision, tho information
necessary for
th(~ reviva~
of folk songs and dances, are rare.
People always
and dC'.J1ced a great deal in the past, but they did not write d01m "'hat they
how to do their
d~nces.
sane
S()ng
or
The songs and dances l'lhich were passed doml orally were
lost ruth the last singers, and it is the exception when one can find information
about the songs
2~d
dances from old people in the province.
Norman danc!:ls are for the most
part sung-rounds--round or circlG dc:..I1CCS done
to songs, not jU:3t instrumental accompaniment.
According to J. Bujeaud, vrho has
researched songs popular in the west of France, the round dance
Ha.S
done because of
its simplicity and because it Horks Hell i'ri th the songs. (1'Ielodies and Songs POpul2J:in the 'lestern Provinces, Vol. I, p. 30)
If one
reli~~s
on the indications furnished by J. Mangccnt, a printer in Caen
who, in 1615, published three Bongbooks uith ':'rords znd nmsic, the Branlo is the
type of dance Vh:.Cll charc:.cterizes the type of passtime popular in Normandy in the
17th
cent ury.
Campan, in his
these terms:
iliction~
of dance, edited in
1787,
speaks of the branle in
liThe br;::nle is a dance in Hhich sevorCll people dance in a Circle,
llhile holding hands and follovTing the tunes vrhich one plays."
defined it as £0J.lo"':5:
short tune ••• with a
Jean-J[\.cques Housseau
IItype of dance very gay, which is danced in a circle to a
refr~.in
at the end of each couplet. 11
The Dranle Vias danced for a long time in Normandy and did not disappear until
the end of the 19
-
th
century.
during the last century.
In Low Normandy the Branle of the
Vill~
'Has done
'!he inhabitants of the country danced it gaily to the
sound of a hurdy gurdy or an old Norman ba.g-pipe.
The fiddler
\-laS
often a shopherd
~
or a blind person 't-Tho went out into the country like a troubador, playing his
2
hoarse instrumen1i to earn his living or lodging.
He uas
a1~'J~ys
Helcome at 'Heddings
and celebrations of the village.
There were at one time nany types of branle."!.
They ;.!ere named either according
to the Hay they Here danced (simple branle, double br:!nle, or lir;ht double brc:nlc)
or after the region from "mich they CDno (brr-nle de Bretq~ne).
The other dances found in Normandy, such as the "Courantell the npastorelle, II
the "Jenlousy,1I or the "Promenade," all come from the branle.
'!he songs which accompany the dances are the most well lmo,m Norman varieties
which have been 1mblished.
Of course, the themes for these 50ngs are the same as
for thm,e found :Ln other provinces, so it is difficult to determine the origins
of a song for dcncing.
As Ch&.lpfleury said in the introduction to !'~:elodies and
Songs Po;:-)ular in the iveatern Provinces,
"Nothing is more dii'ficul t than to verify tho region in Hhich a popular
song was born; I often found the
SCJll1e
song 'Hi th a fm. r variations in
ten different provinces; sailors, peddla,rs, soldiers, journeymen, all
took the songs lvith them in their memories, trying to case homesichness
by repeating the couplets of their
villag~~.
Those who found the songe
graceful and pleasant kept them, accornmedated them to the dialect of the
region, somdtimes added a couplet, ch:mgcd another or modified a line,
and that is Hhy it is difficult to precisely est;1,blish the region
which gave birth to such
C01l1r.lon
poetry."
'!ho Norman 1:;oday does not like to sing much.
NOrIn:>.ndy has become a serious
region uhere popular celebrations are less el::borate and leS8 frequent.
celebr~tion,
The
the night ball, is now given its rhythm by the chords of an or-
chestra from a nHighboring town, which makes the good villagers dance "exotic"
-
dances.
As Eduard Colin said, Ir,-le
2Xe
far from the rejoicing of our fathers, who did
3
not need an orchestra 3Ild 1·rho drulced to the rhythm of their songs.
they turned,
~ustained
by the fervor of a. praise ,.rorthy violinist, 1-1ho made the
ribbon~ on his viol~. shc>..ke to the codonce of his bO~i."
In t.1'1.0 pc:.st, dance
,~<lS r.1U~:,
T:10rC po,;mla.r.
(p, 9)
Wwery~,!1ing
it is in dancing t:lat the countr:r folk manifest th~ir joy. II
L}l
Country Folk of the XVIII~ Centu~()
popular ple"'::mrnble :;ctivity.
assurance.
:~vcn
che~k3,
is a pretext. for dance •••
(LeroJ':
Norr.l9A
AccordinG to Leroy, d~ce w~s the most
the clmnsiest people found agility and sel!-
P30:)le also considerei it healthy to spend hours dancing in the open
air, I1nd one could see the good effects of such
rosy
They jUlllped,
~.,]l
.!.ctivity, as it gave participants
a sr.ti.J.e on the lips, and a gny sparkle in the eyes.
mople did not
~ways
'\·..:lit for a special occa.sion to dance.
on a. nice d.:!.y, t'lC shepherd of
the sa.":le tllle.
t.,~e
h"'mlet
.?~ono
gnve ::t boll and a comedy z.ctJ at
!'he boys of the villnge, the young
ever 'Fanted to f,.:lthered tOGether, C'nd they vi.od
lively round d,,J1(~es for a lonG time. II
"After vespers
c~md
r;i th
liv81y pca.sant HonKm, who
one
(Abbe Gnutier:
~other
t~1e
in dru1cing
Erway on Customs of the
Grove)
No gathering ended
~d thout
reltgious celebration ga.ve
d.mcing.
re~.son
lI:3ach season of the year, each important
for rejoicing.
One celebrated Nmf Ye<lX I s Day,
Epiphany, Bas tor, }k:y day, St. John 1 5 da:.,., the harvest, and above all else,
Christr.las."
(Leroy)
La fete des !'ois,,",-Epiphany--is the true Norman celebration.
celebrated with genuine pomp.
In
cer~ain
It was aluays
J
parishes, bonfires were lit, IIbur;Iees, "
fIld people danced rounds by the light of the fire.
(B-Ujeaud, p. 185)
For the tete de Jfui--May daY--H'hen fn2f;ots gathered from door to door by the
children of the villnge viere at la3t aS3embled arounJ the flowered Nay-pole, the
--
youngest or the oldost person in the cornrmnity, or the parish priest, threw a
flaming torci1 on t.he Hood and a
H~rlrling
round dance bp.f;:l1l <:\round it.
For the day of St. John, girls ;-nd boys made a circlet from
l~~ves
and fiow-ers
-
l'Jhe~
and hung this primitive crmm over the street.
organized
und~r
which is to
"St. John's cro''''11. 11
SA.Y
These
d::mcr:~
evening arrived, dances were
,·rere most often true round dances,
dances :1.ccomp.-:mied by singing but not by instruments; the rhythm
vras particularly obvious a..'1d guided the young men and
for swinging their a.I"mS in front or in
b~hind,
w men in for:mng tho circle,
for advallcinr, to,-rard the center,
backing out tOlV'ard the circumference, or turning
'\on. th more or less rapidity.
Gener~lly,
the others sang the choruses of
these
one singer skrted the verses and
picturesqul~
~,r{len
songs.
tvdgs, or bunche,3 of
fur~e
they had
~ll
d,~ced
for a good while,
t~ey
threw branches,
under the crmm and made a bonfire called a caudiot,
around ",hich they continued d.:mcing until time to go to bed. (Lecocur:
S!';:atcil of
the Norman :loodl,~)
The celebra:t.ion at harvest time brought d.-mce back to the villnge.
Once the
last ear of corn .:ns plDced on the corn stack, IIt!lC violinist got up on a pile of
-
sheaves, took his fiddle, rosined his bow, and beg3n a contre dance, nodding his
head to indicate the beat and crying out the figures.
the embraces.
Then the sign ..Ul.S given for
There was, betNeen da.Tlcers, an energetic
ri'lC'~ry
as to 'Tho ju,'nped
the highest nnd Hno marked the be.",~ mOf:t vigorously .,lith his heels. II (Dieudonn6
.Dergny:
Nmners nnd Customs)
Then c;;ma St. Catherine 1 B day, November
25.
After nass alld the meal, the
quo en of St. Catherine's day started the violinist and invited the young to dance.
It ,·ms she uho started the dancing a1'ld the young m:m she chose as a pc.rtner ha.d to
accept this honor, and the invitQtion to have supper. (Leroy:
l1~rriaGes
in
Normandy One Hundr~d Years Api!)
But
it was marriages
~Thich
best crea.ted an
atmospher~
of rejoicing and a
pretext for danc1ng.
-
.....
People danced before the wedding day when the bride's
tho bridegroomts house.
Everyone
~~s h~ppy;
at each
sto~,
trou~seau rla3
taken to
before getting back
into the wagon, t.hey danced a round on the path, at tho Dou..Tld of the violin.
Once
....
the trousseau
BtU!!
The day of
placed in the closet, they danced <ls:ain.
t.~e
marri;.ge, i.,-hen le;1ving the church, t;1ey d:mced
contre d..,nce bofore returning to the bride's :lOme to e:>t.
the
lnml
(~. )
who most uromptly offered his hand a.s her pm-tner.
<!.
rOlUld or a
The bride had to accept
'rnis contre da..r1ce '.:a.s
a prelude to :'he rejoicing of the evening -dhich follm..cd the lavish meals that
kept euC8ts at the table for hours.
After
t.~e
noon
ne~l ?~d
at the tMle and ate and drnnk again.
dler signalled by playing
do~~
a short pause, around five o'clock, people sat
somc~
Then crone the dance tIDe for 1:hich the fid-
flouri:3hes on his fidcUe.
1he bride danced the first contre donce vIi th the cook
~'1d
the second one with
her husbnnd: she t:,en had to dance vli th tho young men ,:.'10 contended for the honor.
Young and old st.:mped only to
~.p
dmm rapirlly a draught of cid8r or perry.
Often, part:icularly in the l1:mche Cl.r8a, an old la.dy gnve the signru. for the
dance to besin.
T'.n.e young vied with eC'.ch other if not in gruce, at least in viger
and lightness; t;1cir grruld parents and the older people l1la.de up the gn.llery of
spectators.
Thoso people diu not always remain spectators, because "reasonable
people of soriou:s becr"ing, prudent conversation, end mature age, quickly losing
their u::;uaJ. 5eriousness, beg211
jUl:1~)ine.high.
One went
fO~iard,
another lrent back,
walking in cadenee; one took the hand of another and turned her around him
t~-;o
or three times, at the risk of making her dizzy--doing a dance called the 't.n..ltz.
Soon the violini:3t, r.l:.Ucing his
fashion, dancers were replaced.
bO~T
vibrate, cried "for...;ard two others," and in this
This activity lasted until midnight.
plained about tlmir less for sev,=raJ. days ~-fter the ',redding."
article by Abel Hugo; lbnneC's p.nd Custome of
10,,, Normandv,
People com-
(Picturesoue Fr.w.ce,
Leonor Blouin)
Explanation of Steps
S~p
hop:
This step may be done ldth either foot, in a.'1Y direction.
actions are done in even tine.
Step on one foot, then
lifting the other foot into the air.
foot.
Pas
or cross hops:
on the swne foot,
The step ho:; lvhich follO\'1s skrts on the other
Counts would be 1 2, step--hop or 1 and 2 and,
crois~s
1\0p
TI'le tHo
SLmilar to ~~e step hop.
step--hop--~tep--hop.
The free foot crosnos in
front of the foot on which one hops, toe pointed, alr.:Iost touching the ground.
Pa.s de br,mle:
Similar to the step nap.
rr:'lC
free leg crosses behind the supporting
leg, at the height of the calf.
Pa.s Bala11ces:
Leanine the body fOTIo1'ard, step mld ho~' on the risht foot, extending
and raising the loft leg behind the bed:r.
Next step and hop on the left foot,
raising and eneadinE; the riGht leg for..;ard.
Pas coros doubles:
'!his step is siMilar to the grnpe vine step done in ffi3IlY
other dC'nccs, cg. the 1I}:nyimtl only it is done ill a stiff8r fashion.
the right, stcy right on the right foot.
step on the left foot.
Cross the left foot over tile right and
Step right on the right foot.
the right and St '3p on the left foot.
?'-:OVillg te
th~
Cross the left foc)t bohind
left, step left on the left foot.
Cross t!18 rh:ht foot in front of the left and stap on the right foot.
on the left foot.
Step left
Cross the right foot behind thc\left ~d step on tiN right foot.
The count for th:is stop uould be 1 end 2 ond,
Two step:
Hoving to
Begin:1ing on the right foot,
right, step right and pO.use.
close right, step loft,
pa.US!).
step--close--step--pause.
The next
st~p
~tep
~tep--cross
front--stcp--cross behind.
rig!1t, close the left foot to
til(~
beg:i.ns on the left foot, step left,
The count for this step ':rould be 1 and 2 and,
,-
La Court.nte
This dance Has still done around 190v in the department. of Orne, vThere .Ucn~on
is loca.ted ~md in the department of M<mche 'lhcre Cherbourg is located. Couples
form a single circle, faCing tho center, ladies to the right of the men.
music is in 6/5 nnd 9/8 time and there are
6 COWlts
The
4 measures of introduction.
Dancers join h~mds, take six walking steps to"l\l'<lrd the center of the circle,
progresoively raising the arms.
6 counts
Dmcers take 6 ,-Talking steps b<J.ck out from the center of the circle,
lowering the arms.
6 counts
It-;ach man takes the lady to his right and Bvdng8 her around to face him.
Partners grasp each other's forearms.
l1o-.ring in a counterclocladso
direction, dancers malce / one comDlete turn, moving around partners in 6
step hops which are like fast skips.
2 cOWlts
The man holds the lady's right 2.rm Hith his left hand and does 2 step
hops in place.
Tn~
lady continues in a
and makes a half turn in 2 step hops.
countercloc~{ise
direction
Tho lad..y who i;as to the right of
each man is nO't'l to his left.
6 counts
All join hands in the circle, and dancers tnke 6
~l[Qking
steps in a
counterclocletdse direction, starting on the right foot.
Begin the dance again innnodiately as the second couplet begins, 111 th no
pause at the end of the first couplet.
-
La. Courante
Tous las oiseamc: du genr I hUi'1'lain (tuicc)
Ont fait leu nid dans not l courtin
Refrain
Je ne veux olus bouere
A..l-J.! rendez-~oi mes clix ceus
Je ne bouerai plus.
Ont fait leurs nid3 d~tn5 not I courtin (twice)
Faut vaie slils chantent soir et rnatin.
ilo5 chcmtcnt soir at T;'latin (t~dee)
La. ccille a di t d<"-'llS son liltin.
Faut vue
5
1
La caille [10 di t :ian::; son latin (hlice)
Que les ho~~es ne valent rien.
girls and bOy3
girls only
Que les hOnL'":1es n3 valent rien (t1 dce)
Et les feIlIr1cs encore bien moins.
girls only
boys only
0
/
Et les femnes e:mcore bien moins (t,Jice) boys only
Pour los g<lrcons
il nlen dit rien.
oJ
-~
girl::; only
Pour les gDxgons il n 1 en eli t nen (t~vicc) girls only
Hais pour les fil1es il lea soutient.
boys only
The first three 'rorses .;Ire sung by girls and boys togethcr.
--
l':on P~rc Avai t un Petit Bois
1here are m.any versions of the love song ueed for tnis dance, particularly
in Upper Nomandy.
'!his version comes from the region of Honfleur.
arc sung by the girls and the refrains, lines beginning
are sung by the boys.
couples.
IID
'
'1'he couplets
ou veneZ-VOliS beU',rI
T'nere cC'n be any numbor of dancers and they need not be in
Dancers begin by forming a circle, facing the center of the circle,
holding hands.
The music is in 2/4 time and there are 2 measures of introduction.
4 counts Beginning au the right foot, take four lV'clking steps in a counterclock'tnse direction.
4 counts Beginning on the right foot, do h p-as balances.
4 counts Beginning on the right foot, take four l·ralking steps in a coulltercloc:cwise direction.
4 counts Beginning on the right :f'oot, do
8 counts
/
1~ P.E balances.
-
Beginrring on the right foot .. do 8 :Rae de branle.·.
Begin .again at the beginning.
After each pnrase of the dance, the
right foot is held in the air, ready to begin the next phrase.
-
¥~n
"Pere
Avait Un Petit Bois
Mon,.ner' aVQit un petit bois
D'ou vaneZ-VOllS bellI prom~n~r avec moi
11 y eroiss&it bien cinq eents noix
D' ou venez-vota belle, d' ou vaneZ-VOllS done
Dlou venCZ-VOU5 promencr vous pro~cncr la belle
D'ou veneZ-VOU3 bell' pronener ~vee moi.
II y eroissait bien cinq
e-?nt~ noix
D'ou veneZ-VOllS bellI •••
Sur,les cinq conts j'en nangis trois
D'ou venez-vous bellI •••
Sur,las cinq eent~ j1en manRi5 trois
Dlou venez-vous bell' •••
J'en fus m~ade au lit des mois
D'ou veneZ-VOUG bellI •••
J'en
D'otl
Tous
Dloll
--..
fus malade au lit des rnois
venez-vous bell' •••
mes parents m'y vennient voir
vanez-vous bell' •••
Tous mes parents m'y venaient voir
D'Oll veneZ-VOU3 bell' •••
~~JL5 mon ~i n'y ven~it pas
'D10u vonez-vous boll' •••
:Hais mon ami n ty ven~.i t pas
" vanez-vous .bel 1 ' •••
Dlou
au l i l y vicndrui t
" veneZ-VOllS
- bell' •••
O'ou
On m1 til. n!a.'1de
The verses :J.re ::rmg by the girls and the refrains (D' ou vanez-vous bolle) by the
boys.
Bran1e de Village
Da.l1cers fa(!e each other in couo1cs; couplot'! are side by side so that tuo long
lines are for.l..cd.
.Men and ladies should be alternated in the long lines so that
when couples begin the first movement, hal! of the group will movc in one direction
and the· other hc::lf l-1ill move in the Ol)posite direction, then the tH'O groups Hill
como back together.
The music is in
2/4
time and has
4 measures
of introduction.
Dancers salute each other at the end of" the introduction.
8 counts The man advances 8 step hops,
sl~ning
his extended arms in cadence.
The
lady, at the sa."'nc time, does 8 PM croises moving baclmard.5 and holding
her skirt 1-dth her h21lds.
8 counts
On
the first 2 counts, dancers jump 3 times and, Hith arms extended
overhead, clap hdllds 3 times.
Pause ~2 count.
Letting their arms fall
back to their sides, they do 6 pas de branle, turning around each other
--
by first passing right shoulders, then back to back, then left shoulders.
th
After the 6
RaB de brnnlc, they should be facing each other ready to
begin this action again.
~';nen
they pass beside each other, the man
truces (lff his hat mld the lady salutes by raising her right arm.
8 counts Repeat this action 1 more time.
Begin clgain at the beginning.
At the end, the last 2 measures lull be
much slot-fer 2nd the dance finishes with a salute.
People from different villages might execute variations of the pas de
branle.
Ce Sent les Gars d.e Senneville
Couples form a s:Ln:rlc circle, f;?'cing tho center, Fi t~l th,] lndies to tile richt, of
th" men.
Mu.oic is III
4
Hen do
counts
4
2/4 ti::,.c
step
hODS
2..11d
"there
ar2
4.
m'3.:1sur:cS
of introduction.
y\oiing toward the center, beginning 1-lith the right
foot.
4 counts
Hen do
4 stop
hons moving bock to thcir oriSinal positions.
During these eig:lt count,."
4.
counts
Ladies Jo
4.
l.:tdies sing and keep tU.1C, clapping hm1ds.
E~'s croi8~s, moving tmv:u-d the center of the circle,
beginning on the r:Leht foot.
4 counts
Ladies do
4 E,::)S
crois~s, moving bnck to their orit;ina1 positions.
During these eight CO"\lll1ts, men sing and keep
4 counts All joln !},,::nds and do h
-
p;:-s
de br;mle, beginning
moving nrotUld the circle in a
4 counts 1)ro;; hands.
Zach mcn hooks
to ri""ht elbo"i-m.
countercloc~dse
elbo"~s
1-rit.~
the right foot and
direction.
Beginning on the rir,ht foot, both go around pL'.rtner
I, counts
All join hnnds again and do
4
Drop hc;nds.
Each mem hooks
to left. elboHs.
clapping hands.
Hith the lady to his right, right elboHs
once in a clock,d::;c direction, doing
counts
til~e,
4X1S
elbo~rs
4 step hops.
de brcnle.
.rith the lady to his left, left elbows
Beginning on the right foot, both go around partner
once ir.. a counterclocbTise direction, doing
4
step hops.
Return t.o the circle formntion and prepare to stnrt ngain.
Co Sont Los Gars
Ce sont les ear.;; de Ser.neville')
Ah! Ce sont de bonz enfants
5
tHice
lIs out. fait fair' un navire
J'aimc In boll' endOl~ie
Pour ~ller ~u nnrcng bla~c
J'aimo In bell' en dormant.
La b;;;;u Navir' etCt.i t d' i voiro ]
st 10 m~t et~t d'~rGcnt
y av~it dc.us co navire
J' dJ:}::! la bc!lle PaL~Te
Un' jO'lm l fill' qui dor.nait taut
Jlaine la bellI en dormant.
La c2pitaine du
lu t la. main sur
Tout bonn, tout
JI ai,-rne Ia bellI
Vous n I ircz pas
J' aime la bell'
navire
1
so~ bas blanes)
tFice
t ..rice
be~u c~0it~inc
;'>l.:trjolaine
:::Jlus avant
.:::!1 dormant.
Vous nvez eu mon coeur en ge>.ge 1
I;;i pas eu votr' <'.r:~e:1t 5
L' gru.['1lt fouill' en sa bours'3tte
JI aime la bellI' Hariette
Lui tirl cent 'SCilS cora.Dt::mt
J I ai."11C la bell' 1m dormant.
J.1ais j
Tenez, tenez, rna mignonnette
VIla. pour la merB et l'en!'2l1t
:>:Tous llenverrez aux ecolo3
J'aime la belle Hicole
Am: -ecoles de Rouen
J' aime la bellI en dormant.
Votr' enfant ira nux ecoles
Aux ecoles de Rouen
11 priera Dieu pour son pere
J I rime la belle ~(ev~l'e
Et pour 5a mer I p«reillement
J l aL"11e l<:? bell' en dormnnt.
-
J
twice
De Senneville
Branle Bacchanale
'!he music for this br:mle Has
in Caen in
1615.
print~d
in a book by Jacques Hangeant, edited
Any nU1:lbcr of dancers can do this dance ;Jnd there are no partners.
Dancers form a single circle, all facing a countcrclockrrrise direction.
their
hands on their hips, women hold their skirts with both hands.
Hon put
The music is
in 2/h time ,nth 2 measures of introduction.
8 counts Starting on the right foot, dancers do 8
~ croises, advancing around
the circle in a counterclocklise direction.
4
counts
Da..'"lcer,s do 3 DClJ3 croises and take one 1-Talking step, eC'.ch making a
turn around himself in a clocktdse direction.
.3/4
Dancers will be facing the
center of the circle.
2 counts
Ikmcers join hands and do one
p~ ~
branIe to the right and one vE de
branle to tho left.
8 counts
Danccr~;
do
4
p~
courus doubles in a 'counterclockvdse direction, begin-
ning on the right foot.
(Do only 7;2 counts of the grapevine)
2 counts
Dancers do one pas de branle to the left and one ?as de branle to the rig(1t.
8 counts
Dancer~l
do
4 p~
the left foot.
cOurus doubles in a clocbTise direction, beginning on
(Do only
712
counts of the grapevine)
Dancers drop hands, turn to face the counterclockldse direction and
begin the dance again.
Dur2nt Les Guarres d'Outremer
'!he nmsic for
t.~is
edited in CfI.cn in 1615.
dance
Ha.S
also printed in the songbook of Jacques I-i[.nge:::nt,
'ilie words used c:tre those \\rritten by Oliver Basselin.
The music is in
The dance is clone by individual couples.
~
2/4 time and there ,,:re
measures of introduction.
4 counts
The man gives his right arm to the lady and puts his left hand on his
hip.
'The lady
giv~s
hor right arm to the man and they hold onto each
others' fore2.TITls • . She hold3 her skirt with her left
h~d.
Beginning on
the right foot for the man and the left foot for t::-te la.dy, the couple
makes one turn in a clockHise direction doing
4
counts
D,mcers release arms and f"lce each other.
4
step hops.
They do It :~ ~ branle.
The ma:n starts on the right foot ar.d puts his hW?ds on his hips; the
lady starts on the left foot ar.d holds her sldrt
4
counts
Same as
tIl~
'.;ith
both hands.
fil"st ..foUT counts only dancers hold left arms and turn in a
counterclock1dse direction.
4 counts
16 counts
Same as the second four counts.
Contin11ing to face each other, dancers do 2 step hops moving back mray
from each other,
5 short little vlalking steps
to~·:ru--d
each other and 2
step hops to'lJ<cr'd each other.
This entire movement is done 2 times.
The dance begins again at the
b~ginning
and continues as long as the
music continues, at the "i.'ill of the singers or nusicians.
~cceleratcs
during the last repetition and
tl-lO me:lsu.res to end 'iTith a salute
-
510,-15
The l1r-.lsic
do:m du:dng the last
-
Branle Bacchanale
,
;
Un compagnon s I E!st dcb.:l.uche
J I ai icy OUl une voix ch:mter
Chez son voisin slen cst nIle
JI ai j t ai j 12.i icy oui une voix souvcraine
J I:u icy oui. une voix ch~ter
JI ai j I ~U j I ni icy oui une voix souveraine
J I ai icy oui une voix clwnter.
Durant Les Guerres DIOutremer
-
-
.
Durant les guerr'Js d I outre mer une jeun I epousee
Par les soldats du D:i.eu d l Climer se trouve enlevee
La belli est rctrouvec mes 2rUB
La belli est retrouvec
La bell' est ret::'ouvGG meB amis
La bell' cst ret~ouvoo •
-
La 8autierc
Jc~, 'IJhich is the 26 th of June, tho shortest day
For the celebration of St.
of the year,
n
fire
~-l'al"J
lighted a.>Jd everyone dmiced Bround the fire.
the fire, ovoryone follOlred behind
t! le~der
who
carri~d
they d.:mced liLa Sauticre" on the way to the fire.
To get to
a torch to light, the fire;
This dcmce lias danced exclusively
by young people.
Dancers form couples and line up in one long double line; the ladies are on
the right of the: men.
.stich m<Jn places the left hand on h1$ hip and with his right
hcmd, takes the ltidy I S left hand.
4 counts
The lady holds her skirt ..Ii th
h~r
right hand.
Begin:1ing on the right foot, dmcera take four walking steps, swinging
the arr.1s.
4 counts D2ncers do four ju."ilP
110pS
in place.
4 counts Dancers take four ualking steps, Btnnging the erms.
2 counts
Jurnpo;'lce on both feet, ma1cine a
to the left for the ladies.
8 counts
1/h turn to the rir,ht for the men and
P<U'tners are facing each other.
Pause.
Nen hop to the right on the right foot, ui thout r,":bounding, then hop
t.o the left on the left foot, :l.gain \d.thout reb01mding.
At the same
time, ladies hop left on the left foot tllen right on the right foot
tnthout reboul1.dinij.
Tnis is repeated three more tines so that eight
hops are done in all.
back together
"
~md ju.":1.~)
making a l/h turn so they are again in position
_to"st:u-t the dm1ce again.
Begin the dance again.
-
On the eighth time, dancers bring their feet
-
La Sautiere
l-1on per' l1i' a donne un mari
Quatorz' et pis quat' font dix huit
La premier' nuit qu'avec lui j'couchis
S'il ne veut pas j'irai pour lui
Quatorze et pis quat' font. ciix 1mi t
Mon bon monsieur j'vous en r'norcie.
Refrain
Non bon monnieur j'vous en r'oorcie
Quatorze et pis quat' font dix huit
~~s j'prefcr' encor' mon mario
8t d~)Uz' et treize Iluatorz'
et deux font soi-ei-ze.
Ah! A'l!
OliZ'
La premiere nuit. qu' ::tvec lui j' couchis
Quatorze at pis quC'.t' font dix hui t
Remua.la. pailleet e 'endormit.
Renma la paille et s' endormi t
Quatorze at Tlis ouat' font dix hui t
J 'prins UllC 6pin:ile et je l' piquis.
J'prins une epingle et je l'piquis
Quatorze et pis quat' font dix huit
Mit sa culotte e~j s' cnsauvit.
Hit sa culotte e1:, slensauvit
Quatorz9 at pis qu.~t.' font dix hui t
Jlprins mon jupen j'cours apr';s Ii.
.
'
11'
mon Ju?on
J" coure a-pres
Qua!:,orzo et pis quC't' font dix huit
A la barribre je l'r~ttrapis.
J " prD1s
A 13. barriere je l' rattra~)is
Quatorze et pis quat' font dix huit
J'y fla..'1quis l'nez d,Jns les orties.
Jty flanquis l'nez deJlS les orties
Quatorze et pis c~unt' font dix huit
Lorsqu lun petit lTlonsietm passit.
Lorsqu'un petit monsieur passit
Quatorze e'l:; pis qu~t' font dix huit
Que f~8-tu belle
ten mario
a
a ton mari
Que fais-tu belle
Quntorze et pis quat font dix huit
Je veux qulil retourne dans mon lit.
Je 7eux qufil retourne dans mon lit
Quatorzo et pis quat' font dix huit
Slil ne veut pas j'irai pour lui.
-
This da.nce i3 a child I s circle d2nce done in the region of Alenyon at. t:1B
end of the 19
th
eentur.r.
Couples form a sinp;le circllJ, ladie.':; f2.cing out :md nen
facing the center of the circle, ladies to tue right of the men.
The nnwic is in
2/h tine with n 2 measure introduction.
4
counts
All join hands, ta.ke
beginn:~nr.
4
counts
4 Halking
steps in a countcrclochli::;e direction,
on tho risht foot.
Each couple, holding onto right h.:>ndn, dropping left h;mds, t~es four
walking ste;>s in a cloc101i5e direction, p:J.rtners turning around e:J.ch
othor
HO
that ladiea f."l.ce in n..L'1d men face out.
4 counts All dancers join h,mds and take four <Talking steps in a counterclockuise
direction.
4
counts
Again clro~)ping left hands, each couple makes a half turn in a cloch..... rise
direction in
4
counts
h
'Wc~lking
steps.
Holding both h:mds, arms crossed, facing e.".Jch oth,-;r, p;crtners tnke
w~lkine:
4
steps in a clock1dse direction, so that men are in the center of
the circle and the ladies 8.re outside, facing the men.
4 counts.
Still holding hands, d<.:ncers do
4 pas
de br2l1le in pIticc, men st.:!rting
,,11th the right foot and ladies st3rting with the left.
4
counts
Ea.ch ccuple ta.ke::;
that lCl.dies
Clr(~
4 lvalking
steps, turning in a clockwise direction so
in the interior
~nd
the men nre in the exterior of the
circle, still facing each other and holding hnnds, anna crossed.
4
counts
Finish Hith
4 pclS
de brE!nle in place, men starting "lith the right foot,
ladies starting iuth the left.
Be~in
again, reforming the circle during the first bC3t of the firnt
measure.
-
Quand Mon Pere M' A Hariee
Quand mon per' n I a marine
Par un boau jom'
Ql.l.and mon per' n'a mariee
Par un bonu jour
Un' brebis i1 rola do~~ee
Refrain
Belle demoiselle: de:':1cura d'jouga
A rastragou Cl.ra.djou:,;'?_
Ristigourt3. d I joug<>l3.ri ea.dou.
Un' brcbis toute
Par un bc~u jour
Un!'
br-:::bis toute dGpiauc.tCe
Par un beau jour
,
Au pntis jc l':-i nence.
Au pa:tis je l' Di mr::1I1oe
Par un beau jour
Au patis jc l'~i rnenee
Par un beau jour
/
Main Ie loup mc Ila mangee,
-
M~is Ie 1011P me l' a m,mgee
Par un beau jour
Ie lol.l.p me l'a. mangee
Par un beDU jour
Et la queue i1 mle 1aissee.
l1aia
Et la queue 11 m'a 1aisnee
Per un
be~u
jour
Et In. queue 11 lUra
Par un be au jour
1ais~ee
Dans un pot je 1 ~ <l:!. 52.1oe.
Dans un pot je I 11 fti
Par un bctlu jour
-- '"
Dans un pot jc II ai 8aLee
Par un beom jour
J'en eus pour tout'
-
,-
La Lurette
The beginning of this
~:ngliG~ d~nces,
and in cert,dn
8eco~d
a."d third
right of the men.
16 counts
d~mce
')ar~s
is found in m:Jny d2..'1Ce5 in the French provinces
and seems less
of tbe dO-nce.
3,~ecific
to
Norm~"1ctr
than the
Couples form a single circle, lndies to the
PDxtners f<:!.ce each other and hold rir'ht h;mds.
Dancers give their right hnnds to the rj;mcers facing t:1ern..
They pull
by that person, passing right shoulders to right shoulders, and extend
their left h<'nds to the dancers facing them.
They continue L!l'ound the
circle for 16 count:3, extending free htll'lds and pulling past the dancers
f.!'.cing t:lcm.
The step used for this movencmt is the t.'lO step; one t1:0
step is done each tL'11c
tt-TO
8 counts
counts.
d~ncers
pull by each oth'3r 1"l1ic11 is one
Stop on the eighth t,'ro step.
Partners f<lce e<?ch other and t~J:e hold of both hands, keeping right
straight a."1d left arms bent, right s'1.oulders touching.
4 i-Jalking
held at the heig:1t of the shoulders.
Take
~dse
:md bend the right
direction.
!~..t.end
shoulders touching.
tion.
8 counts
eViJry
the left
'Eclw
4
:lrmS
,\:I~lking
<u'lT'.8
T'ne lumds are
steps in a clock<!Xl11S,
left
steps in a counterclock.rise direo-
At the end of the steps, tC'.p the right foot 2 times.
Holding onto forearms, advance toward the center of the circle,rTith
head and shoulders turned tm'T:lrd the oenter, doing 1 t"tiO step.
to the outside of the circle doing 1 tHO step.
Return
R.epeat this movement
1 time then tap the right foot 2 tir.les.
Begina.gain at t!19 besinning, tv.king hold of hal1ds at the end of each
verse.
-
La Lurette
La haut desus cos cBtes
Jlentends rir' et chmter
Et par dOBSUS les c_utrea
J'cntends T.1a mie pleurer
Ah I qu I avez-vom! la belle
Qu'avez"'vous
pleurer
a
Refrain
Et marchons dur<Jnt la lurett'
Et marchons durant la lure.
Ah! Repondit In fille
Y a bien de quoi pleurer
Hon
annC;1U
d'or qui brille
Dans la mer est tombe
Que donn'rez-vou5 la belle
8i je vais Ie chercher?
.-
J 'YOUS dorm' mon coeur en gage
Si vous 1e rav)o::-tez
A la premiere nc!j:;e
L'anneau fallut eherchcr
A la deuxieme na.ge
L1anneau il vit briller
A la troisie~e nage
L':mneau a rC!.pporte
N'pleurez pas davantC!.;5e
L'rumeau j'ai retrouvc
Et desGus votrc joue
Je vais prendr' un baiser.
L' Am~nt Curieux
This was one of the most well kn01·m d:mces in Nornw_11dy during the Second
impire.
The music is in 2/4 time and there are t: measures of introduction.
Couples form a
~lingle
circle, holding hands, facing the center, ladies to the
right of t.lte men.
16 counts
Dancers do 16 step hops, which are like skips, starting on the right
foot and turning the circle in a
16 counts
countercloc~lise
direction.
Stop the circle.
Do h walking steps torrard the center of the circle,
rai8ing the a . . .ns,
dId
Repeat this movement.
4 1.alking steps back out, lowering the arms.
Drop hands.
4 counts Each l.ady holds her skirt 'Hith her hands "nd salutes the z:wn to her
right, then turns and salutes the man to her left.
Eon do the same
only in the opposite directions.
-
4 counts Dc:.ncera finish the dance by turning thcmselvas in circles
wise oo.rection with 4 walking steps.
Begin the dnnce ;;:.gain at the beginning.
-
in a cloc1(-
-
L' Amant Curieux
Ta gr[ind'm'er'm'a. dit que t'6t~d~ bion faH,e
iloud1'~'is-tu m'montrer ten be~ux seins N;mette
Ahl rr.on ani Thomas ta dem::-ndo cot indiscret'
Ah! man <'.""1i Thomas non tu ne les verrC'-s p::>.::.
Ah! Ah! A.l-t! Ah! Hon tu n' le::; verras pas.
l-rontre-moi du 11'to:Lns
Nontre-.i1x:. ciu ~::,.:i.r;['
Ah! mon a'7.i Thomas,
Ah! man ""-u Tham,l3,
Ah!
ll..~!
Ah!
.A.~!
I)..u
ma belle brunette
tcs b.::::mx bras N<:mett.e
s' il Ii 'y a qu I CS~. oui t' inqtli~t8B
reg.:-...rd Iles tt:.nt qu' tu voudrC'.!'!
ta.'1t quo tu voudras.
Ta grcnd mer' m';l eli t que t' etais bien fci to
Ma. mie montre-r10:L tes bellos gambettes
All! mon ~r:)j_ Thom,;ts, tlon Dieu quo tu Cl.S l' air b~te
Ah 1 man ar.>i Thoma::;, cela ne 52 mantra pas
Ail! .Ah! A:1! Ail! Gela n'ss mantre pas.
du mains rna belle brunette
NanettE!
Ah! mon xu l~'1of.1,J.s, mire mir~ mes rnirottcB
fu1.! mon ar;i Thom,.1S, mire-les t:mt qu' tu voudras
Ah! Ah! Ah! A...1-J.! ;F;ire-le3 t:illt qu'tu VOUdrCl.S.
}~ontre-moi
l~ontro-moi du r::!·:):Lns t8S baR-UX yew::
.--
}CIais c 'n' cst p£.s tout c;a rna belle brunette
Tu n'me contento,'3 ,?o.s c,'1a.rnwntG N~at-~e
Sung by the men.
." b
'"
, ne seral. P1us coquo tt e
len
epousc mJl, JC
Et tout c1que tu n'vois pas sera dcsormais pour toi
Ah! All I Ah! Ah! ,5'ra. ~Borrnais pour toi.
~
Ben ~ 'y conscnto::ls rna bolle brunette
Sung by the ladies.
Nous nons Trl3.ri ~rom) pour 1<:. Sainte Annat te
A.~! que j' s ' rons done heurem:: rl=.u1~ not' >:.oeti to cha..'1lbret.t.e
Et quo j It' ;:;im 'r·:ms oui d.:l ca-~ t' es ll.11 bon p'tit gz.o
All! A,l.·ll .Ah I Ah I Oui t I C8 \1,'1 bon p' ti t g<:>s.
The first ?art o.f e('.cn verse is sung by the !'len. The ladies reply starting ,-lith
1IJ..h! Mon ami, e:'c. II except for All! Ah! ..fu! An!" Hhe!'e the men express t:1sir
satisfaction, their surwisc or tilOj_r disap.;:>ointment.. 1':'103 l:lst t ..ro ve:c"~e::; aro
sung entirely by the men or ladies, as indicated.
-