Rope dancing

“ XVI.—ROPE-DANCING AT SADLER'S WELLS, &c.
During the last century, Sadler's Wells was a famous nursery for tumblers, balance-masters, and dancers upon the rope and upon the wire. These exhibitions have of late years lost much of their popularity: the tight-rope dancing, indeed, is still continued there [722] by Richer, a justly celebrated performer. This man certainly displays more ease and elegance of action, and much greater agility, upon the rope, than any other dancer that I ever saw: his exertions at all times excite the astonishment, while they command the applause of the spectators. ”

“ We are well assured, that dancing upon the rope constituted a part of the entertainment presented to the public by the minstrels and joculators; and we can trace it as far back as the thirteenth century: but whether the dancers at that time exhibited upon the slack or tight rope, or upon both, cannot easily be ascertained; and we are equally in the dark respecting the extent of their abilities: but, if we may judge from the existing specimens of other feats of agility performed by them or their companions, we may fairly conclude that they were by no means contemptible artists. ”

“ She walks, too, on the slack rope, which no woman but herself can do.”—“Oh, what a charming sight it was to see Madam What-d'ye-call-her swim it along the stage between her two gipsy daughters! You might have sworn they were of right Dutch extraction.”—A Comparison between the Two Stages, 1702. Dancing on the rope was forbidden by an order of Parliament, July 17, 1647. The most celebrated rope-dancer on record is Jacob Hall, who lived in the reign of King Charles the Second. ”

“ It may astonish the reader to know that the funambulist or rope-dancer was very expert with the Greeks, as also was the acrobat between knives and swords. Animals were also taught to dance on ropes, even elephants.
The important religious and other dances were not generally composed of professionals. The greatest men were not above showing their sentiments by dancing. ”

“ The dancer who calls the spirits moves with gliding steps, the arms outstretched, the hands beckoning upward in a gentle, enticing manner. The grace, dignity and earnestness of this dance linger with the writer as a beautiful memory after the lapse of many years.
Properties.—A green scarf for the Caller. Blue, white and rosy scarfs for as many dancers as will personate the three Flowers that respond to the call: Violets, Wild-roses and Daisies. A twisted rope of green to link the dancing Flowers together in the final dance. ”

“ The admission to this show was sixpence. The platform outside was at least ten feet high, and spacious above, and here there was plenty of light. The interior was very large, and lighted by only a single hoop, about two feet six inches in diameter, with little jets of gas about an inch and a half apart. A large circle or ride was formed on the ground. The entertainment commenced by a man dancing on the tight-rope. The rope was removed, and a light bay horse was mounted by a female in trowsers, with a pink gown fully frilled, flounced, and ribboned, with the shoulders in large puffs. ”

“ Their women are fortune-tellers and ballad singers. Their services are also in demand for boring the ears of girls. The rope-dancers perform many wonderful feats while balancing themselves on the rope, among them being the playing of diabolo while walking to and fro on a tight rope. ”

“ The Rope Dancers
this was over with, some rope dancers came in and a very boresome fool stood holding a ladder, ordering his boy to dance from rung to rung, and finally at the top, all this to the music of popular airs; then the boy was compelled to jump through blazing hoops while grasping a huge wine jar with his teeth. ”

“ Sometimes the rope is tied to the mád’neh of a mosque, at a considerable height from the ground; and extends to the length of several hundred feet; being supported at many points by poles fixed in the ground. The dancer always uses a long balancing-pole. Sometimes he dances or walks on the rope with clogs on his feet, or with a piece of soap tied under each foot, or with a child suspended to each of his ankles by a rope, or with a boy tied to each end of the balancing-pole; and he sits upon a round tray placed on the rope. ”

“ It may be jumping down a flight of steps on the toes, or a continued hopping on one toe for 16 counts to music, or a swinging of one leg back and forth, like a pendulum, in an acrobatic way while the dancer hops on one toe—such stunts as these are the applause-getters nowadays, and they are well worth applauding, too, for they are pleasing demonstrations of real skill, and are acquired by the dancer only after long and continued effort and practice. ”

“ Just before the stamping of the feet in the beginning of the dance, a rattle was shaken by all the male dancers, which was the signal for a peculiar back motion of the right arm and body and one which preceded the actual dancing. The six males lean their bodies to the right side extending the right hand backward, and then bringing it forward in a circular under sweep around to the mouth with a hoot. They then turn and face the east, and bending their bodies toward the south perform the same motion as before, when they turn to the west and repeat it in that direction. ”

“ The dance commences by the men springing forward towards the centre of the circle and back again, flashing their knives about over their heads, and singing in time to the music in a low tone, but gradually the music, singing, and dancing become louder and quicker, belts and turbans are thrown off to allow of greater freedom of movement, and the knives flash more rapidly, until at last the men seem in a very frenzy, and the dancing becomes a series of wild leaps in the air, knives are thrown up and caught again, and the singing changes to a chorus of wild yells. ”

“ According to the traditions of the man dancer, his entire being was transformed into mere feet and legs. His gaze and expression became cataleptic; his body, unbending above the waist, but as light as a cork, bobbed like the same cork dancing on the ripples of a running brook. The beat of his heels and toes pleased you like a snare-drum obligato. The performance ended with an amazing clatter of leather against wood that culminated in a sudden flat-footed stamp, leaving the dancer erect and as motionless as a pillar of the colonial portico of a mansion in a Kentucky prohibition town. ”

“ In mid-advance they stop, face each other, chassée, retire, and again come further forward, stop, and the peculiar portion of the dance begins, which is not dancing at all, but a quivering, undulating motion given to the body, as the girl stands with feet planted wide apart. The feet are still, the head scarcely stirs, except with an almost imperceptible snakelike movement, but the muscles of the body to the hips quiver in time to the monotonous music, in muscular thrills, in waves running down, and at intervals extending below the waist. ”

“ The art of balancing, therefore, simply consists in dexterously altering the centre of gravity upon every new position of the body, so as constantly to preserve the line of direction within the base. Rope-dancers effect this by means of a long pole, held across the rope; and when the balancing-rail is mounted, it will be found necessary to hold out both the arms for the same purpose; nay, even when we slip or stumble with one foot, we in a moment extend the opposite arm, making the same use of it as the dancer does of his pole. ”

“ Now, of course, the ballet has its vulnerable side—it almost needs, at any rate it has always assumed, a scantier style of dress than is otherwise in ordinary use. And then the movements of the dancer of necessity involve greater display of the human form than is required by the simpler acts of riding, walking, or sitting. In dancing it is inevitable that there should be swaying and bending of the figure, possibly waving to and fro of the arms, certainly some standing upon the toes, and raising of the nether limbs more or less high in the air. ”

“ The acrobatic dancer must possess unusual strength in the arms, in order that the weight of the body may be safely supported; and there must be strength and flexibility of the waist muscles and the abdominal muscles, and of all the muscles of the back and shoulders, to enable the performer to execute the front and back bends and their companion strenuous exercises. First, the pupil must have an unusual adaptability to this type of dancing, and then must prepare carefully and properly in advance of entering upon the real work of the course. ”

“ Now, in order to get in step with him, she must change onto the other foot, which must be done by missing out one step and deliberately changing onto the other foot. After the change is made the hands will naturally come in front of you, palms together, just above the shoulders; you must bring them slowly up above the head and around in a semicircle, single-stepping all the while; and when the man's right hand is on a level with the lady's waist he must release her left hand and take her waist as in the first position of the dance. ”

“ It must be considered that in the ballet the movement of the arms is very important, and to perform it properly requires long study and extreme accuracy. Just as the art of painting blends and composes colors, and by the composition of scenes and figures makes a whole that is125 pleasant to the eye, so the movements of the arms in dancing add many and diverse forms of grace to the body, guiding and regulating its movements so as to result in a harmonious whole. ”

“ This performance has been made quite common in late years, and I have seen the celebrated "Arabs" and other acrobats pile themselves up in a most astonishing manner. [248]
One of the most popular, and at the same time dangerous, of all public gymnastic exhibitions, is that of rope-walking, and most marvellous feats on the tight-rope have been performed in many parts of the world. Even in Greece and Rome, men practised this form of gymnastics. ”

“ The style of dancing is a curiosity, however; a quadrille of these women and their partners is a specimen of the saltatory art worth seeing. There is no slow, measured sliding and dawdling through the figure, as in our cotillons at home; the dancers dance all over—feet, arms, muscles, head, body, and legs; each quadrille, in which there are dancers of noted skill and agility, is surrounded by a circle of admiring spectators. ”

“ One authority has styled dancing "the music of the eye." The dancer who neglects the difficult study which the arms require because she believes that the only necessity is brilliant execution in the legs, will be an imperfect artist. It is not enough to know how to dance with one's legs; the ballet must also be executed with the trunk of the body and the arms. Their movements must be graceful and in harmony with those of the legs, since they constitute a weight for the equilibrium of the body when it rests on one leg. ”

“ A native lad seizes hold of the cord, and, after swinging to and fro quite leisurely, all at once sends himself fifty or sixty feet from the water, rushing through the air like a rocket. I doubt whether any of our rope-dancers would attempt the feat. ”

“ Four gymnasts, who had practiced some time previously, and were disguised as birds of different form, ascended by means of loops of cord tied about the pole, and each having fastened one of the ropes round his waist, they started on their circular flight with spread wings. The impulse of the start and the weight of the men set the frame in motion, and the rope unwound quicker and quicker, enabling the flyers to describe larger and larger circles. ”

“ The right leg may do the principal work through eight bars; the same work is naturally to be repeated then with the left leg; but often the composition of the music gives the left leg only six bars. This is good because unexpected, but it adds a great deal to the difficulty of learning Irish dancing.”
The above-named dances represent the utmost development of clogging, which is tapping of heels, and shuffling, or scraping of the sole on the floor. Foot-work, especially that of short and rapid steps, is the element impossible to show in pictorial form. ”

“ Male and female jugglers jumped forwards and backwards over swords or tables; girls threw up and caught again a number of balls or hoops to the accompaniment of a musical instrument; others displayed an astounding skill with their feet and toes while standing on their hands. Rope-dancers performed the most dangerous dances and salti-mortali. In Rome even elephants were trained to mount the rope. Flying-machines of a construction unknown to us are also mentioned, on which bold aeronauts traversed the air. ”

“ In one of their hands they hold a racket, in the other a lance, or rather a long inoffensive stick. On their shoulders is bound a bundle of branches. In dancing they stoop down towards the ground and imitate the movements and the bellowing of buffaloes.
Alternating with these pairs is a single dancer, also naked and painted, and wearing no other garments than a beautiful girdle and a head-dress of eagles’ feathers mingled with the fur of the ermine. These four dancers also carry each a racket and a stick in their hands; in dancing they turn their backs to the great canoe. ”

“ In the petit battements the movements are made with the toe on the ground. For theatrical dancing the leg is raised as high as possible. The arabesque is a step that requires the placing of the foot in the third position, then a slide of the left foot to the second position, turning the face and body in the same direction, the left hand curved above the head. In the second movement the right foot should be well extended behind, and the right hand stretched out behind. ”