This dance….
is called: Tampete
The Tampete is a social welcoming dance.
Societal relevance
The Low German folk dance Tapete is found in the areas of Germany where Low German is spoken, i.e. in the entire North German region between the Dutch and Polish borders and from the border with Denmark to the first foothills of the low mountain ranges, that forms the southern border.
The main purpose was to welcome, meet and greet the community. The main purpose of this dance was thus not for the entertainment of the spectators, although there were spectators, but for the performing people themselves. Its name derives from the French word tempête (thunderstorm), as this dance form struck like a thunderstorm compared to the established dances in society at the time.
The Tapete dance that developed out of the Kontratanz* in the 19th century, was a welcoming dance in which all participating couples would rotate through each other until all columns had dances with each other. In contrast to the Kontratanz the dancers in the Tapete were no longer arranged in rows or circles but in columns. Tampets belong to the column dances, in which any number of columns are lined up one after the other. One couple (called row 1) looks in the direction of another couple standing opposite to them (called row 2) that look towards row 1. The two couples are facing each other. Together they form one counter-column. Several of these counter-column stand one behind the other. There may be 2 or more couples standing next to each other in line 1 and 2. During the dance, there are always two dance pairs facing each other and dancing through the dance sequence together. At the end of the dance, the individual columns pass each other to form a new counter-column. The dance starts again from the beginning. In the ideal case it becomes an endless dance.
The Tapeten are very rich in variation. Characteristic is the formation of columns and the progression of a tour at the end.
*The Tampete is a type of Kontratanz. The Kontratanz or Kontertanz - meaning: „Dancing opposite to each other”, is an originally English group dance that originated in the 16th century, which became a very popular social dance throughout Europe in the 17th and 18th centuries. The so-called English "country dance", was translated on the continent not as a "rural dance" but as a "contradance", in French as "contredanse", a dance in which the dancing couples face each other. The main purpose of the Kontratanz dance was to allow the sexes to meet under social control during adolescence.The main purpose of this dance was thus not for the entertainment of the spectators, although there were spectators, but for the performing people themselves.
Music
The procedures in contra dancing must be well thought out to fit the structure of the music. The fixed interwoven geometric step sequences are danced in accordance with the structure of the music. The music consists of periods of eight bars each. With each period of the music the dancers change their movements and step form. The music in contra dancing is structured in such a way that a sequence of eight beats corresponds to a musical phrase, and eight such phrases form a figure part. This figure part is repeated until the end of the dance.
The melodies of the music, usually in two measures, are songlike. The music consists of two melody parts A and B, and the connection is reminiscent of a verse and a chorus. Each part consists of 16 beats (steps) and is repeated, resulting in the clearly recognisable structure A-A-B-B. The complete sequence of figures thus contains 64 steps. Since most of the figures are danced with eight, some with four or sixteen steps, there is a harmony between music and movement. Kontra dance Music must always have a clearly recognisable structure, even if it is not always A-A-B-B.
Several melodies for this dance have been published. The most widespread melody was published by Kattfuß in 1802.
Costume
The costumes are in reference to the „Tracht“ - the traditional regional cloth order of that time. More profound information about the history of the „Tracht“ can be found in here.
Typical for the woman at that time was a skirt that reached down to the calves, a white blouse and a white linen apron. A bodice was often worn over the blouse. Headgear was also part of the costume: a simple cotton bonnet or a woman's hat. White knee-length socks and black shoes were worn.
Typical for the man at that Time was a white linen shirt, black velvet knee breeches and white woollen stockings.
There were working cloths and festive cloths, which differed in quality, adornments and decorations.
[1] Dancilla, Letzter Zugriff: 24.02.2022, https://www.dancilla.com/wiki/index.php?title=Tampet
[2] Wikipedia, Letzter Zugriff: 24.02.2022, www.de.wikipedia.org/wiki/Niederdeutscher_Volkstanz
[3] Lwl, Letzter Zugriff: 24.02.2022, www.lwl.org/voko-download/BilderNEU/422_053Vogt.pdf
is called: Tampete
The Tampete is a social welcoming dance.
Societal relevance
The Low German folk dance Tapete is found in the areas of Germany where Low German is spoken, i.e. in the entire North German region between the Dutch and Polish borders and from the border with Denmark to the first foothills of the low mountain ranges, that forms the southern border.
The main purpose was to welcome, meet and greet the community. The main purpose of this dance was thus not for the entertainment of the spectators, although there were spectators, but for the performing people themselves. Its name derives from the French word tempête (thunderstorm), as this dance form struck like a thunderstorm compared to the established dances in society at the time.
The Tapete dance that developed out of the Kontratanz* in the 19th century, was a welcoming dance in which all participating couples would rotate through each other until all columns had dances with each other. In contrast to the Kontratanz the dancers in the Tapete were no longer arranged in rows or circles but in columns. Tampets belong to the column dances, in which any number of columns are lined up one after the other. One couple (called row 1) looks in the direction of another couple standing opposite to them (called row 2) that look towards row 1. The two couples are facing each other. Together they form one counter-column. Several of these counter-column stand one behind the other. There may be 2 or more couples standing next to each other in line 1 and 2. During the dance, there are always two dance pairs facing each other and dancing through the dance sequence together. At the end of the dance, the individual columns pass each other to form a new counter-column. The dance starts again from the beginning. In the ideal case it becomes an endless dance.
The Tapeten are very rich in variation. Characteristic is the formation of columns and the progression of a tour at the end.
*The Tampete is a type of Kontratanz. The Kontratanz or Kontertanz - meaning: „Dancing opposite to each other”, is an originally English group dance that originated in the 16th century, which became a very popular social dance throughout Europe in the 17th and 18th centuries. The so-called English "country dance", was translated on the continent not as a "rural dance" but as a "contradance", in French as "contredanse", a dance in which the dancing couples face each other. The main purpose of the Kontratanz dance was to allow the sexes to meet under social control during adolescence.The main purpose of this dance was thus not for the entertainment of the spectators, although there were spectators, but for the performing people themselves.
Music
The procedures in contra dancing must be well thought out to fit the structure of the music. The fixed interwoven geometric step sequences are danced in accordance with the structure of the music. The music consists of periods of eight bars each. With each period of the music the dancers change their movements and step form. The music in contra dancing is structured in such a way that a sequence of eight beats corresponds to a musical phrase, and eight such phrases form a figure part. This figure part is repeated until the end of the dance.
The melodies of the music, usually in two measures, are songlike. The music consists of two melody parts A and B, and the connection is reminiscent of a verse and a chorus. Each part consists of 16 beats (steps) and is repeated, resulting in the clearly recognisable structure A-A-B-B. The complete sequence of figures thus contains 64 steps. Since most of the figures are danced with eight, some with four or sixteen steps, there is a harmony between music and movement. Kontra dance Music must always have a clearly recognisable structure, even if it is not always A-A-B-B.
Several melodies for this dance have been published. The most widespread melody was published by Kattfuß in 1802.
Costume
The costumes are in reference to the „Tracht“ - the traditional regional cloth order of that time. More profound information about the history of the „Tracht“ can be found in here.
Typical for the woman at that time was a skirt that reached down to the calves, a white blouse and a white linen apron. A bodice was often worn over the blouse. Headgear was also part of the costume: a simple cotton bonnet or a woman's hat. White knee-length socks and black shoes were worn.
Typical for the man at that Time was a white linen shirt, black velvet knee breeches and white woollen stockings.
There were working cloths and festive cloths, which differed in quality, adornments and decorations.
[1] Dancilla, Letzter Zugriff: 24.02.2022, https://www.dancilla.com/wiki/index.php?title=Tampet
[2] Wikipedia, Letzter Zugriff: 24.02.2022, www.de.wikipedia.org/wiki/Niederdeutscher_Volkstanz
[3] Lwl, Letzter Zugriff: 24.02.2022, www.lwl.org/voko-download/BilderNEU/422_053Vogt.pdf
How to dance the dance
Dancers- Starting position
4 couples dance, 2 couples in a row facing each other, in a column.
Location in performance space
The dance is performed in the centre of the space.
Form
The dance consists of several units of repeating step patterns/phrases. The locomotion of the dance is very regular without any climaxes as such.
Movements & Patterns
The movements are performed with the feet/legs and the arms with the rest of the body being still. The dance consists of small steps and jumps and turns through space that are performed on a circular floor pattern and movements on place. The shapes and the patterns of the dance are very structured.
1st. Figure: four-pair circle
A1: Bars 1-8:The 4 couples form a forehead circle (circle with face to the centre) with a hand grip, which moves clockwise with 16 walking steps (putting one foot in front of the other, transferring the body weight regularly from one leg to the other).
A2: Bars 1-8:Turning around with the Hamburger Rückschritt (Hamburg stepback), performing a four-pair circle counter-clockwise. The circle dissolves with the 7th bar, the two rows return to their starting position in juxtaposition to each other.
Hamburger Rückschritt: a step back performed with the outer foot when changing direction, while dancing in a circle. When changing direction from clockwise to counter-clockwise, this is the left foot. This step, is very common in Niederdeutschen (Northern Germany) folk dance. It is used for the beginning-and end-circles of dances.
2nd. Figure: change of place and crusade
B1: Bar 1-2: The two pairs standing side by side in each row change with 4 lateral gallop jumps sides, the pair standing on the right passing in front. The partners keep their inner hands at chest height.
Gallop jump: Continuous, rapid lateral adjustment step (an adjustment step is the combination of a walking step and a side step) with a light, springy jump. During the jump the repositioning leg is pulled up. One step, then jump onto the other trailing leg, which at the same time snaps away the former supporting leg.
Bars 3-4: The now left pairs cross, continuing the movement of pulling the right leg up in the 4th gallop jump, right over left, and touching the ground with the ball of the crossing foot (cross step). Then the cross step takes place in the opposite direction, i.e. weight is transferred to the right leg and the cross step is performed left over right.
The right pair crosses first left-over right foot, then right over left foot.
Bars 5-8: Change of place - the now right standing couple pass in front - with 4 lateral gallop jumps to the starting place and perform the cross kicks a second time.
B2: repetition of bars 1-8:repetition of the change of place described above.
3rd. Figure: Mill
C1: Bars 1-8:The outsiders in the two rows take hold of the right hand of the opposite person and perform a hand tour at breast height, while the 4 insiders take hold of the right-handed mill. The mill and the hand tours circle clockwise.
Hand tour: Right-handed (or left-handed) one or more rotations around the common axis of the couple turning clockwise. In doing so, the grasped right (or left) hands in the pair are raised to eye level and slightly twisted, with the forearms resting against each other.
Mill: At the mill each dancer stretches his right arm to the middle and grasps the wrist of the person in front of him circling clockwise. The opposite, left-handed mill circles counter-clockwise.
C2: Bars 1-8:All turn to each other in the opposite direction, grasp with the other hands and circle in opposite directions. With the 7th bar, the figure is dissolved and the couple go back to their starting position. Once back in the starting position the hands within the rows are grasped.
4th. Figure: Farewell and change of place
D: Bars 1-8:Both rows walk towards each other with 4 short steps - farewell with a slight head tilt - 4 steps back again and again forward with 8 steps – releasing the hands, walking through the previous opposite row passing by the right shoulder - to the next row of four.
For the execution:
If the dance is danced in a column, one row is left at each end of the column after the first, then after every second performance. The two couples of the surplus row turn, counter-clockwise around their axis, to the opposite direction and wait until the next round, which brings them a new counter row. Through this turning, those who were formerly outsiders in the rows become insiders.
Paragraph. Zur Bearbeitung hier klicken.
Dancers- Starting position
4 couples dance, 2 couples in a row facing each other, in a column.
Location in performance space
The dance is performed in the centre of the space.
Form
The dance consists of several units of repeating step patterns/phrases. The locomotion of the dance is very regular without any climaxes as such.
Movements & Patterns
The movements are performed with the feet/legs and the arms with the rest of the body being still. The dance consists of small steps and jumps and turns through space that are performed on a circular floor pattern and movements on place. The shapes and the patterns of the dance are very structured.
1st. Figure: four-pair circle
A1: Bars 1-8:The 4 couples form a forehead circle (circle with face to the centre) with a hand grip, which moves clockwise with 16 walking steps (putting one foot in front of the other, transferring the body weight regularly from one leg to the other).
A2: Bars 1-8:Turning around with the Hamburger Rückschritt (Hamburg stepback), performing a four-pair circle counter-clockwise. The circle dissolves with the 7th bar, the two rows return to their starting position in juxtaposition to each other.
Hamburger Rückschritt: a step back performed with the outer foot when changing direction, while dancing in a circle. When changing direction from clockwise to counter-clockwise, this is the left foot. This step, is very common in Niederdeutschen (Northern Germany) folk dance. It is used for the beginning-and end-circles of dances.
2nd. Figure: change of place and crusade
B1: Bar 1-2: The two pairs standing side by side in each row change with 4 lateral gallop jumps sides, the pair standing on the right passing in front. The partners keep their inner hands at chest height.
Gallop jump: Continuous, rapid lateral adjustment step (an adjustment step is the combination of a walking step and a side step) with a light, springy jump. During the jump the repositioning leg is pulled up. One step, then jump onto the other trailing leg, which at the same time snaps away the former supporting leg.
Bars 3-4: The now left pairs cross, continuing the movement of pulling the right leg up in the 4th gallop jump, right over left, and touching the ground with the ball of the crossing foot (cross step). Then the cross step takes place in the opposite direction, i.e. weight is transferred to the right leg and the cross step is performed left over right.
The right pair crosses first left-over right foot, then right over left foot.
Bars 5-8: Change of place - the now right standing couple pass in front - with 4 lateral gallop jumps to the starting place and perform the cross kicks a second time.
B2: repetition of bars 1-8:repetition of the change of place described above.
3rd. Figure: Mill
C1: Bars 1-8:The outsiders in the two rows take hold of the right hand of the opposite person and perform a hand tour at breast height, while the 4 insiders take hold of the right-handed mill. The mill and the hand tours circle clockwise.
Hand tour: Right-handed (or left-handed) one or more rotations around the common axis of the couple turning clockwise. In doing so, the grasped right (or left) hands in the pair are raised to eye level and slightly twisted, with the forearms resting against each other.
Mill: At the mill each dancer stretches his right arm to the middle and grasps the wrist of the person in front of him circling clockwise. The opposite, left-handed mill circles counter-clockwise.
C2: Bars 1-8:All turn to each other in the opposite direction, grasp with the other hands and circle in opposite directions. With the 7th bar, the figure is dissolved and the couple go back to their starting position. Once back in the starting position the hands within the rows are grasped.
4th. Figure: Farewell and change of place
D: Bars 1-8:Both rows walk towards each other with 4 short steps - farewell with a slight head tilt - 4 steps back again and again forward with 8 steps – releasing the hands, walking through the previous opposite row passing by the right shoulder - to the next row of four.
For the execution:
If the dance is danced in a column, one row is left at each end of the column after the first, then after every second performance. The two couples of the surplus row turn, counter-clockwise around their axis, to the opposite direction and wait until the next round, which brings them a new counter row. Through this turning, those who were formerly outsiders in the rows become insiders.
Paragraph. Zur Bearbeitung hier klicken.