Wednesday, April 20, 2016

Bond Dans Tapestry at Gripsholm Slott, Rörospols, art of Hans Holbein, Sebald Beham, Franz Brun




Here is a link to a pdf document describing the tapestry and works of art.

Bond Dans Tapestry at Gripsholm Slott, Rörospols, art of Hans Holbein, Sebald Beham, Franz Brun


Bond Dans Tapestry reverse and modified color image

A friend has found a large color picture of the tapestry in a yearbook with dance images published by a cultural group Föreningen Norden.    The picture is a mirror image of the tapestry.    Possibly at some point the picture negative was flipped.

As of 30 June 2016,  I have found a 2014 web link describing the tapestry plate II and pages 24,25.
Böttiger, John, Svenska Statens Samling af Väfda Tapeter.  Stockholm 1898
John Böttiger dated the tapestry to Sweden circa 1540 to 1550.   He found the figures based on Sebald Behams works circa 1535,   Bartsch VIII 154-163, and especially 168.   He wrote it was possibly in a royal inventory in 1553.   ( page 21.  a tapestry with 2 couples dancing and musicians
playing pipa and a qvinnobellette medt en giga )

This is available for viewing from the U.S.   Swedish copyright expired 70 years after Böttiger's
 death in 1936?
https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t5k965t90;view=1up;seq=42;size=175


  Bond Dans tapestry


Tuesday, April 19, 2016

References for Bond Dans Tapestry and related Dance imagery and description


The worldcat.org website is very useful for finding access to works.   Some books I purchased
from Izzy Young in Stockholm when he was selling books back in 1982.   Which gave an background on the history of music and dance in Scandinavia.   More recently the
most important reference is Alison Stewart's book,  Before Bruegel,  Sebald Beham and the Origins of Peasant Festival Imagery.   This cost about 100 dollars used.   Used copy of Moxey's text was available for less than 10 dollars.   I came across Knackfuss's book on Holbein in a book store.   I was lucky to purchase a used copy of Egil Bakka's book on line.




 Art History references.

Dodgson, Campbell  Early German and Flemish Woodcuts preserved  British Museum,1903, London
Gibson,   Walter S. Festive Peasants before Bruegel: Three Case Studies and Their Implications
 Simiolus: Netherlands Quarterly for the History of Art
  Vol. 31, No. 4 (2004 - 2005), pp. 292-309     http://www.jstor.org/stable/4150595
Knackfuss, H.   Holbein,   Beilefeld and Leipzig ,  1899
Moxey,  Keith P.F. Peasants, Warriors, and Wifes. Popular Imagery in the Reformation, Chicago Il. And London, 1989
Stewart,  Alison G.    Before Bruegel Sebald Beham and the Origins of Peasant Festival Imagery, 2008
Stewart,  Alison G.  The_Kermis_woodcuts_of_Sebald_Beham_in_Reformation_Nuremberg, 1993.
                                       http://digitalcommons.unl.edu/artfacpub/1/
Stewart,  Alison G.   Numerous papers available on line at  the above website.
 von Roda, Burkard, The Historical Museum Basle,   1994,  Basle. item 283.
Woltmann, Alfred,     Holbein and His Times,  1872,  London

 Scandinavian Dance and Music References

Bakka, Egil,  Norske Dansetradisjonar,  Oslo, 1988
Boberg, Juno, Den svenska folkdans-rörelsen 100 år,  4 parts,  in Om Dans,  4-80,1-81,4-81,2-82  Stockholm
Charters, Samuel,  Spelmännen : i bilder och egna ord, 1979, Stockholm
Hakansson, Greta,   Folkdanser   chapter  Dansen genom tiderna,  1981, Falkoping
                                     Theodor  (Dirk) de Bry
Klein,  Ernst,   Om Folkdans edited Mats Rehnberg,  1978, Stockholm,  original                                    1933,1937,1929.1927
Ling, Jan,  Svensk folkmusik,  1964, 1980,  Stockholm
Ling, Jan, A history of European folk music,  1997 Rochester, N.Y.
Norman, Ingvar,  (Karlhom, Göran,  Larsson, Johan)                                                                          Svenska Folkdanser del II,  1971,  Uppsala
Nyhus,  Sven,  Pols I Rorostrakton,  1973,1981  Oslo
Rehnbeg,  Mats,   Klackarna i taket. Om halling och jössehäradspolska,  1966 Stockholm
Sodal, Ingvar,  Folk dance in Norway, Balkan Arts Tradition,  Vol III,  number 1,  1977
     http://www.ctmd.org/pages/balkanartstraditions1977.pdf


 General Dance and Music Reference

Antiquary,  An    The Dance,   London 1911.
Dils,  Ann Hamilton,  Peasant Dance in the Genre Art of  Sixteenth Century Flanders and Germany,            1981 Thesis Ohio State University
https://etd.ohiolink.edu/rws_etd/document/get/osu1392052544/inline
Nettl, Paul. Birth of the Waltz, in Dance Index vol 5, no. 9. 1946 New York: Dance Index-Ballet    Caravan, Inc. pages 208, 211
Wallace, Carol McD.   Dance A very Social History, 1985  New York

 Travelogues

 Brooke.  Arthur de Capell,  Travels through Sweden, Norway, and Finmark, to the North Cape, 1822 London

Clarke, Edward Daniel,   Travels in Various Countries of  Scandinavia, Vol 2  1819,   London  1838,
 https://archive.org/details/travelsinvarious02clar

Gordon,  Jan and Sara J,  Two Vagabonds in Sweden and Lapland, 1926 New York  p 92-93,  123-127

Lovett, Richard M.A.,  Norwegian Pictures Drawn with Pen and Pencil, 1885,  London

Lowe,  Helen,   Unprotected Females in Norway,  1857,  1859  London

Price, Edward,   Norway and its Scenery,  1853 London


 Fiction
Bremer,  Frederika,   Strife and Peace,   1839

   Interesting works which I have not read.
Eldsjälarna och dansarvet – Om forskning och arbetet med att levandegöra äldre dansformer
Koudal, Jens Henrik,  For Borgere og  Bønder  Stadsmusikantvæsenet i Danmark 1660-1800
 Ramsten, Märta   The Polish dance in Scandinavia and Poland : ethnomusicological studies 2003, Stockholm

Friday, April 8, 2016

Dance art of Hans Holbein the younger

Before he moved to England and painted portraits of Henry the VIII and Anne of Cleves Holbein worked in Basel Switzerland.    Holbein's dance works include painting the facade of the Haus zum Tanz, a 24 character alphabet of a peasant wake,  ( fest ),   and several woodcuts used for illustrations on book cover pages.




Detail of Table of Cebes circa 1521,  the garden of Luxuria,  ( Lust ).   Two couples dance the foresteg,  ( beginning step),  with man's left arm raised and man leading parner holding her left hand.

   With sex, dance, music and gambling the garden of Luxuria precedes the garden of Love.


Holbein's designs include images of the dance walking step with man's left arm raised as above.
The figure in the Haus zum Tanz with the purse is copied in Sebald Beham's 1535 kermit feast,
 or peasant feast and Franz Bruns 12 metal work miniatures of 24 dancers and musicians.
 The earliest print or painting I have found so far of this "step"  is the 1494  Nuremburg Chronicals,  and then the pencil work by Dürer in about 1516.

Haus zum Tanz   was painted in 1519 or 1520.   A replica was made as in the Basel museum.
The house itself was destroyed in the early 20th century.

In a color image of one side  you can see the dancer with the purse with his left arm raised.
Six more dancers can be seen in this photo.

Holbein metalcut book illustration and repeated printed by Cratander

Another peasant dancing illustration printed by Petri in about 1527.

Holbein also designed the earliest to date that I know of picture of a couple dancing in the closed position in 1525 peasant wake 24 character alphabet.    The letter H

References  ( Note that Jstor permits guests to have 3 documents "checked out" at no charge )
Festive Peasants before Bruegel: Three Case Studies and Their Implications
Walter S. Gibson
Simiolus: Netherlands Quarterly for the History of Art
Vol. 31, No. 4 (2004 - 2005), pp. 292-309
(article consists of 18 pages)
Published by: Stichting voor Nederlandse Kunsthistorische Publicaties
DOI: 10.2307/4150595
Stable URL: http://www.jstor.org/stable/4150595

Holbein and his Time,  1872,   page 218.
Peasant alphabet,  letters  A,B,L,V   (  A,B,V are among the 14 of the British Museum ).
There are links to online versions of this text.


Tuesday, March 29, 2016

Franz Brun's peasant festival copied from Sebald Beham and Hans Holbein the younger


Thanks to the British Museum allowing internet access to photographs of their print collection I have identified several additional sources of Franz Bruns peasant festival prints and a correction to the
"Curator's comments
Some of the couples reverse copies after Beham's Peasants' Feast (Hollstein 177-186), otherwise loosely based on Beham's series."


  The British Museum prints of  Franz Brun's  23 dancing couples include 4 couples closely copied from Sebald Behams 1535 "The Village Fair"    which Alison G. Stewart has called "The Large Kermis"   The Museum's Franz Brun's' peasant festival prints  link is

http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1435339&partId=2

http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=82401001&objectId=1435339&partId=1

 The Museum's Sebal Beham 1535 Village Fair link is
   http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1363397&partId=1
 One couple copied from Sebald Behams 1537 peasant feast series.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1569739&partId=1
 and 3 couples closely copied from Holbeins metalcuts use in several prints.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1418036&partId=1
 The design by Holbein was initially cut by master C.V.     Cut by Jacob Faber.
 One of these 3 couples copied for Holbein's metal cuts is also present in the peasant feast(or wake) alphabet letter "B".     Link to Holbein's letter B
http://www.britishmuseum.org/research/search_the_collection_database/search_object_image.aspx?objectId=1597518&partId=1&orig=%2fresearch%2fsearch_the_collection_database.aspx&numPages=10&currentPage=1&asset_id=557720001
An additional couple is copied from a work attributed to Barthel Beham.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1511735&partId=1

 The  Museum description of a "reverse" image copy of Beham is possibly due to the Hollstein reference from the 1950s being based on a "reverse" copy of  Beham's wedding feast.     "True" image copy will have the dancers sword scabbards on the dancer's left side.   The Museum first instance of Beham's "The Village Fair"  show the true image,  as do the dancers in Franz Brun's 12 etchings.






http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=2&assetid=82463001&objectid=1435339

  Both couples copied from Sebald Beham's 1535  Large Peasant Feast,  ( Kermis)

   http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1363397&partId=1






http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=2&assetid=82461001&objectid=1435339



Left couple copied from Holbein's woodcut.   Link
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1418036&partId=1
Link to Holbein's peasant dance woodcut
http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=58392001&objectId=1418036&partId=1


 Right couple copied from Bartel Beham.



http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1511735&partId=1




     Right couple a combination from round dance couple and a sword dancer couple from Sebald Beham's  1535 The Village Fair.   Appears to have an ankle bracelet with bell.

http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=2&assetid=82460001&objectid=1435339

   http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1363397&partId=1



http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=2&assetid=82458001&objectid=1435339

http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=2&assetid=82403001&objectid=1435339


   Left couple copied from Holbein in each case   70,72.
     Right couple of B.IX,459,70  modified copied from Sebald Beham 1537 peasant dance series.

http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?assetId=58392001&objectId=1418036&partId=1






 

   B.IX,459,70   the right couple is from Beham's 1537 peasant feast series.
http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectId=1569739&partId=1


  B.IX,459,72  the left couple is also from Holbein's 1525 peasant feast alphabet,  letter "B",  as
  well as Holbein's metalcut.

http://www.britishmuseum.org/research/search_the_collection_database/search_object_image.aspx?objectId=1597518&partId=1&orig=%2fresearch%2fsearch_the_collection_database.aspx$numPages=10&currentPage=1&asset_id=557720001










http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=2&assetid=82401001&objectid=1435339

    Left couple copied from Sebald Beham, The Village fair 1535.



 Updated March 29, 2016.    The museum assetid numbers now have a 001 suffix.

Sunday, March 27, 2016

Links or clues to Pols and Polska History 1618 to 1800

      The nicest link is probably the two page Ewa Dahlig-Turek's on history of
      mazurka music.

1. Per Brahes Lute music lesson book  1618-1619.

2,    The Düben collection  1620 to 1726  concertmasters for Swedish Royal Court.

3. Ramsten,  Märta,  her coauthor  Ewa Dahlig-TUREK on mazurka and polska music.

4.  Finnskog Nationalist Gottlund,   folklorist 1821 Dalarna,  and 1817 or later Varmland

5. Index of    Ala-Könni,  E.  Die Polska-Tänze in Finnland,  1956  Phd dissertation in German,   referenced by both Mat Rehnberg in Om folkdans,  and Jan Ling.

6. The Danes are getting tunes from Rasmus Storm  circa 1760.

7. Jan Ling writes about Swede Gustaf Blidström's  1715 - 1716 collection of  300 minuets and polskas.

8. Kjellberg,  ( 1983  page 126)  points out  "A division becomes tangible between art and folk music songs of the polonnaise and polska types."




  1.
     http://www.academia.edu/874472/Per_Brahes_lute_book


     I have downloaded the pdf document.    3 Teutcher Dantz  and 1 Polensk Dantz.
     Jan Olof Ruden explains that this a Western Europe student's music book  circa 1618 and
     that is happpenstance that it was created by a Swedish student.
     He reports many errors in the manuscripts.
   



 2.
The Düben collection at Uppsala University contains 2,300 musical manuscripts donated in 1732.
The 4 generations of the Düben family were concertmasters for the Swedish Royal court from 1640
to 1726.   There is a number of dance music suites.   There is one example of a springer dance,  in a
set containing a Holland dance.
   http://www2.musik.uu.se/duben/DubenCollectionInfo.php



  Click on DCDC Advanced Search
 Check instrumental  and sort by title in the advanced search.
  Click find
   Click on the 576 work  box
   On the work you are interested in,  click on select,   to see the suite contents for example,
        or to further click on a photo of the music.



Andreas Düben the Elder, became a principal figure in Swedish musical life. He traveled to Stockholm from his hometown Leipzig for the Royal wedding of 1620,
first assuming the position of organist and second concertmaster and later as principal concertmaster in 1640.
Members of the Düben family held this position as concertmaster for four generations until 1726. Anders von Düben donated the “Düben collection” –
a unique compilation of 2,300 musical manuscripts from over all of Europe – to the Uppsala University Library in 1732.
  Here is a rough count of the individual dance melodies,  independent of the 40 or 50 suites.
  Allemand  44 entries
  Branle       11 entries
  Gaÿ (Branle) 9 entries
   Montirande (Branle)  8 entries
  Courante   75 entries
   Galliard    10 entries
   Gavotte     10 entries
   Menuett      3 entries
   Pavane or Pavana  25 entries
   Polonaise    1 entry
   Saraband(a)(e)  32 entries
   Springtanz   1 entry,  Klein Comedien Sachen)   or Springer  1675-1679

Dance de Hollande [in Kleine Comedien Sachen] also known as Holländisch Tanz [in Kleine Comedien Sachen]

  Here is an example of several dance suites in the database.
allemande-courante-sarabande-gigue  1610-1669
pavane-allemande-courant-courant-sarabande-sarabande
intrade-passepied-bourré-entrée-gavotte-menuett-rondeau-gigue
1684 opera
capriccio-gigue-gavotte
sonatina-allemande-courante-gavotte-sarabande-gigue-sonatina


 3.

http://www.english.pan.pl/images/stories/pliki/publikacje/academia/2004/01/26-27_dahlig.pdf



EWA DAHLIG-TUREK
Institute of Art, Warsaw
Polish Academy of Sciences


The history of the mazurka and the polonaise

Ewa Dahlig-Turek, who worked with Marta Ramsten on Polska dans in Scandinavia and Poland,
has this introduction to the history of the mazurka and the polonaise music.   She cites examples
going back to the 1500s.


4. Carl Axel Gottlund,  Finnskog supporter from early 1800s.
   Very interesting wikipedia entries on him.
From the LP record notes of Lekar och visor from Josseharad.

1821  beskriver den finske studenten Gottlund polskan i Jösse Härad på
följande sätt.

Och denna är en förbannad takt, det är en allegro con moto,
så både de dansande och de some spela få svetten i pannan.
Gossarna visa därvid en ofantelig vighet  saltomoralsprång ingå i dansen
och flickorna en förvånande lätthet.

C. A. Gottlund. Dagbok öfver dess resor på finnskogarne i Dalarne, Helsingland, Vestmanland och Vermland år 1817. Utgiven av Nils Sahlström med förord av K. B. Wiklund. [With a portrait and a map.].   Published Stockholm,  1931,  and Falun,  1984.
    Google books search of this diary shows 4 instances of polska,  4 of spela, and 2 of dansades.
    He writes of dances of waltzes, polskor,  and anglais.

     I can only speculate on the finnskog emmigration from Finnland circa 1600 to 1632  effect on
      bygdedans in Norway , Western Sweden,  and  even other regions of Sweden.
      Today many Swedish fiddlers are of Finnish descent.
      I recall Jofried Sodal from Trondelog Norway telling me that the songs in Svenska bygdedansar
      del II were in her dialect.    Similarly the one can compare the singing in Finnish with recorded
      songs from Western Dalarna and the NRK video series songs,   especially those in the
      Halbakken videos.

 5.
Index of    Ala-Könni,  Erkki.  Die Polska-Tänze in Finnland,  1956  Phd dissertation in German,   referenced by both Mat Rehnberg in Om folkdans,  and Jan Ling.
http://books.google.com/books/about/Die_Polska_T%C3%A4nze_in_Finnland.html?id=pFUYAQAAIAAJ

  There is a short wikipedia entry on him.

Saturday, March 26, 2016

Polsk and Springarbo from Unprotected Females in Norway, 1857, Helen Lowe


  Unprotected Females in Norway,  1857,  1859  Helen Lowe

   Page 108.    Almost verbatim of Edward Price's   Norway and its Scenery 1853
     Story of the Hulder,     ( with the addition that the fiddler uses a Hardanger fiddle )

   Page 83,  Dancing on Sunday  or  Sunday Amusements  in Jerkin

Sliding along, her hair often waving from beneath her head-dreass,
the girl follows her partner
round the room till she catches his extended hand;  they then join in the lively “polztanz”
together;  separating afterwards,   except by the one hand,
 she turns beneath his raised arm
with a charming movement,  and then goes off with him again
doubly quick in the “springarbo.”
After each dance, the men, walking around with their partners,
laid a small coin before the musician; so there was no difficulty
as to who was to pay the piper. This is the Norwegian
peasants' way of spending Sunday afternoon, when they can manage it.

 Page 211,    Hallingdal,   description of Halling dance,  and belt fights  to be repeated in
 travelogues for many decades.

  The lively airs (Slot) express in the most perfect manner the agility, the boldness,
  and singularity of the dance and never fail to exercise a powerful charm on
  all those who are acquainted with them.
  You feel yourself, as it were, raised from the floor, and wish, like the practiced
Halling dancer, to touch the rafters of the ceiling with your toes.   The dancer jumps
up light as a feather, turns round in the air,  and descends again standing on one leg;
on the floor he curves also,  resting on one heel while his jacket  describes a circle
 around him like a bell.    Then he makes a jump to the opposite side of the room
 and goes on as before.

  Page 239,   Hitterdal,   Telemark,   ( Hitterdalsvatn I assume )
… and get up to a grand dance to celebrate the event,  the national “Eismel,”
 which is the same nature as the “Halling,”  being danced alone,
and when by a fine stalwart peasant in his best,  is an animating sight.

 Comments

  Note the use of the polztanz instead of the Danish polsk or Norwegian pols.
  I have  not found any other references using  "springarbo".  
  Interesting is the nomenclature by Lowe describing the "polztanz"  and "springarbo".
  Lively may refer to the feet in the air of the half quick dance turn.
  Eismel perhaps translate as "ice bound"  or "captured by ice".   Again this is a term
  that I have only found in this work.   Lowe is not writing in a vacuum,  she takes Price's
  story of the Hulder almost verbatim.   Frederika Bremmer's descriptions of the
  "halling polska"  were available from about 1839 to an English translation in 1852 or so.
  Her use of Jerkin locale for the dance description is an echo of the
  1820 visit by Arthur de Capell Brooke.
 

Friday, March 18, 2016

The Düben Collection Swedish Court Music 1640 to 1726

                              The Düben Collection


The Düben collection at Uppsala University contains 2,300 musical manuscripts donated in 1732.
The 4 generations of the Düben family were concertmasters for the Swedish Royal court from 1640
to 1726.   There is a number of dance music suites.   There is one example of a springer dance,  in a set containing a Holland dance.
   http://www2.musik.uu.se/duben/DubenCollectionInfo.php


  Click on DCDC Advanced Search
 Check instrumental  and sort by title in the advanced search.
  Click find
   Click on the 576 work  box
   On the work you are interested in,  click on select,   to see the suite contents for example,
        or to further click on a photo of the music.



Andreas Düben the Elder, became a principal figure in Swedish musical life. He traveled to Stockholm from his hometown Leipzig for the Royal wedding of 1620,
first assuming the position of organist and second concertmaster and later as principal concertmaster in 1640.
Members of the Düben family held this position as concertmaster for four generations until 1726. Anders von Düben donated the “Düben collection” –
a unique compilation of 2,300 musical manuscripts from over all of Europe – to the Uppsala University Library in 1732.
  Here is a rough count of the individual dance melodies,  independent of the 40 or 50 suites.
  Allemand  44 entries
  Branle       11 entries
  Gaÿ (Branle) 9 entries
   Montirande (Branle)  8 entries
  Courante   75 entries
   Galliard    10 entries
   Gavotte     10 entries
   Menuett      3 entries
   Pavane or Pavana  25 entries
   Polonaise    1 entry
   Saraband(a)(e)  32 entries
   Springtanz   1 entry,  Klein Comedien Sachen)   or Springer  1675-1679

Dance de Hollande [in Kleine Comedien Sachen] also known as Holländisch Tanz [in Kleine Comedien Sachen]

  Here is an example of several dance suites in the database.
allemande-courante-sarabande-gigue  1610-1669
pavane-allemande-courant-courant-sarabande-sarabande
intrade-passepied-bourré-entrée-gavotte-menuett-rondeau-gigue
1684 opera
capriccio-gigue-gavotte
sonatina-allemande-courante-gavotte-sarabande-gigue-sonatina

Saturday, February 27, 2016

1799 description of Halling and Polsk in Røros by Edward Daniel Clarke

In Norway a well known source of dance history is the travel novel of
Englishman Edward Daniel Clarke who visited Røros on 21 Sept. 1799.


For example, the Røros festival web site refers to Clarke.
The Røros UNESCO application also refers to Clarke.
Egil Bakka refers to Clarke on page in Norske dansetradisjonar, 1978.
The exhibit on Pols and the Bond Dans tapestry at the Røros museum refers to Clarke.


Clarke (1769-1822) was on a tour through Northern Europe through Turkey and on to Egypt.
At this time the Danes ruled Norway. In 1814 rule transferred to Sweden with the
connivance of England as opposed to becoming independent.
The Røros mines were a capitalist venture in which there were 172 shares at this time.
The workers were said to be from Norway, Finland, Sweden and Germany.

Edit: June 15, 2017.
<< Clarke was published in "travel" broadsheets or magazines in
London in around 1816 and published in book form in the various editions from 1816 to the1830s.
 It would be great
to learn if Clarke had any diaries or contemporaneous writings on his encounters with
dance.  Clarke encounters the waltz in Christiana,  Stockholm and Dalarna in 1799 and uses the term "national dance".    Either these have an element of fiction, or post dating, or they seem to be
the earliest such placement of the Waltz in Scandinavia and the use of the term "national dance".
The waltz was popular in Paris in 1803 but was introduced in London in 1813.
In popular literature Goethe use the word waltz in his 1789 poem Reciprocal Invitation to Dance.
and his 1774 "Sorrows of young Werther".
  Similarly it would be great to confirm the author or ghost writer of this portion of Clarke's works.
The question is, how much of Clarke's narrative was modified 14 or more years later to make his
travelogue have a bigger audience.

A lack of detailed description of the dance steps beyond associating a "violent whirl" with a
waltz or graceful movements with a minuet.

I quite overlooked the writing by Clarke where he writes the national dances of Sweden are
the Waltz,  and  the Polska,  the Polish dance and also the Minuet in Dalarna.
 >>



Upon the next day (Sunday), the miners having received
a months's pay, there was a good deal of rejoicing, and a
miners' ball in the evening. We attended the latter.
The national dances of Norway differ from those of
Sweden. The most common are, the Halling and the Polsk
dances. We saw both of these at Röråås. The first is,
undoubtedly, the dance of Hippocleides the Athenian, when
contending with other rivals for the daughter of Cleisthenes;
namely, a dance in which the performer, standing upon
his head, kicks his heels about in the air as his hands.
The other, that is to say, the Polsk, answers the
account which Herodotus gives of the Attic dance
performed to the Emmeleia, which, by its indecency, offended
Cleisthenes. When we reached the room, in which the
miners with their lasses were assembled, they were beginning
the Polsk. In this dance a circle is formed, and two begin,
turning each other something after the manner of a waltz.
Presently the male dancer throws up his feet nearly as high
as his head, squeaks, falls on his knees; and in this posture,
leaning back till his head touches the ground, he beats the floor
with his knuckles, and practises every possible grimace, look,
and attitude, that may express lasciviousness; then rising,
without the assistance of his hands, he dodges his head
this way and that, and at length catching his partner in his
arms, more waltzing takes place, and the dance concludes.
When they all dance the Polsk together, the different couples
move round to tunes resembling our English hornpipes;
each man, as he comes opposite to the spot where the
fiddler stands, for this is the signal, throwing up his heels in
the manner before mentioned; squeaking, and exhibiting his
amorous propensities as was described. During these movements
the tune often changes, as in the waltz. Being provided
with partners, we joined in the dance at which they were

all much delighted. It was quite surprising to observe
with what agility in the midst of all this leaping and turning in
a small room, they managed to keep clear of each other.
A tread from one of their feed, which descended upon the
floor with shocks like so many paving hammers, would
have crushed the toes of the women, had it not been for this
circumstance. The men universally wore red woollen nightcaps;
the women short jackets; each of them, in the dance,
holding a handkerchief in her right hand. The Halling is
considered in the country as the older dance of the two; it is
frequently performed by men only; and sometimes, both the
Polsk and the Halling are performed to the same tune.

Clarke also referred to Sweden.

Added June 15, 2017 <<
At Grado,  Dalarna, upon meeting a group returning from a wedding party while Clarke
was traveling south from Falun.

So the Swedes demand some spirit before they will dance for the English.
“and we expected to be gratified with a
sight of the curious old provincial dance of the
Dalecarlians. But they began with Waltzes;
and after swinging each other in whirls, with a
degree of violence that made an approach rather
dangerous, ended in the graver measures and
attitudes of the Minuet, which we found much
better suited to the sort of doubtful equilibrium
maintained by most of them: with the Minuets
the dance ended.”
>>

In another volume Clarke describes a polska dance in Sweden that sounds like a slang polska.
 At Kalback we saw a Swedish dance it consisted of several couple placed 
as in our common country dance,
 swinging each other round as fast as possible and marking the time by stamping with their feet
 but never quitting the spot on which the whirl began.

and search for dance 

The national Dances of Sweden are the Waltz with various modifications,
the Polska or Polish Dance differing from that of Norway in having slower movements
also Minuets which are practised in Dalecarlia and are frequent among the lower orders


Back in Norway, 
Clarke had some interesting comments on the miners calling them all asthmatic perhaps due
to sulphurous fumes, ( from the smelting?), ( or perhaps rock dust in the lungs). The miner's upper body strength
for dancing on their hands could be seen by Clarke's comment on their daily work quota of
drilling 4 feet of holes with hand tools such as a steel bit and a hammer.

   

The 1816 to 1824 10 volume edition of “Travels in various countries” is also available at
many libraries and is cited by C.B. Burchardt in 1920.

Burchardt's 1920 review of English travelogues of Norway is rather critical
of Clarke's use of a classical frame of reference for his observations.
page 36.
“The life and the manners of the peasants are studied by
the travellers with great interest, if not always with equal
accuracy. This interest usually centres round the wedding- •
feasts, at which the men wear their national costumes with
silver-buckled shoes and white stockings fastened at the
knee with crimson ribands. The Norwegian popular
dances, the Halling and ' the Polsk,' are frequently made
the subject of observation and gave Dr. Clarke occasion
for the following remarkable reflection …
(Clarke's comparison to Herodotus's dance description) ...
In similar far-fetched comparisons the travelers rejoice,
one of them even fancying he can trace a resemblance in
the manners and customs of the people of Dovre to the
ancient Greeks.”

Topics for thought.

In 1799 the halling was older than the polsk and both laus and couple halling were danced in Røros
as well as the polsk.  The Norske couple halling dance is said to be a lost tradition.This is the only reference to the couple halling dance I have seen to date that is 
not identified as the halling springar or halling polska. In the description of the polsk, the acrobatics  
described are somewhat similar to the handstands and kneel hops in the bakmes dances from Dalarna, as well as the tradition of throwing the feet into the air in the Halling springar.   The description of the music changing for the polsk acrobatics is interesting. Throwing up the feet as high as his head is seen today in the Halling springar when dancing two measures per revolution. Arthur de Capell Brookes 1820 description of the polsk in Jerkin has none of these acrobatics.

To me, Clarke's description is not inconsistent with the halling springar as danced today.
Second, the polsk in Sweden as danced to slower music just as it is over two
hundred years later. Third the polsk was distinct from the minuet and the waltz.
Supposedly the waltz was indroduced to English society in 1813, so one wonders whether Clarke was familiar with the
waltz in 1799, or was introduced to the waltz before he wrote his travelogue prior to 1816.
Clarke's use of the term waltz primarily indicated that the dance was a turning one, as in one would “waltz” in the polka.
The women holding a handkerchief is similar to dances in the Danish court circa 1630 or Augsberg in the 1580s.

Jan Lin reports Swedish Oboe player Gustaf Blidstrom annotated over 300 minuets and polskas while in prison in Russia in 1715.
He quotes Kjellberg (1983) A division becomes tangible between art and folk music songs of the polonnaise and polska types.

Clarke died in 1822, and some works published later are derived from Clarke's manuscripts and correspondence.
The description of the polsk seems to have been published no later than 1818 in “travel” newspaper in London.

One of several internet accessible versions.
The dance description starts on page 197.




Sunday, February 21, 2016

1820 Polsk in Jerkinn described by Arthur de Capell Brooke

This most fantastic description of the Pols was made by Arthur de Capell Brooke in 1820.
He was traveling North over the Doverfjäll and coming down off the pass
came to Jerkin,  one of the royal "stations" on the pilgrimage from Oslo to Trondheim.

Combined with the 1799 description of Clarke of the polsk in Røros this shows
the Pols was different and older than the Minuet,  the Quadrille,  the Waltz and so forth.

Jerkin is found at the junction of E6 and 29 highways.

https://archive.org/details/4SCSUP14646NOR

At an early hour of the morning we reached Jerkin. The
place was crowded with peasants and their lasses, who had
been dancing the whole of the night to the merry sound of
the fiddle, and though the Sun was rising, they were still
enjoying their favourite Polsk dance. This is the national
dance of Norway, and is performed with a degree of spirit
and enthusiasm I never before witnessed. The manner of
dancing it is this. Each of the men, taking his partner by
the left-hand, runs round the room at a pretty sharp kind
of trot, rather than step. The lady, during this, occasion
ally whirls round by herself, with the same kind of movement
as is practised by our own young ladies in the quadrille,
and her partner does the same. The Polsk dance
then begins, which consists in a very rapid whirl, something
similar to the waltz, but the motion far more violent, and
the time entirely different. It is excessively difficult to
perform, on account of the quickness of the whirl, and the
necessity there is, nevertheless, of keeping the exact time.
It is a highly amusing dance, and the eagerness with
which the Norwegians hasten to join in it, when the Polsk
is played, shows their extreme fondness for it.

1842 dance description by P. Bjorkman of Varmland


1842  dance description by P. Bjorkman  of Varmland

Pålskan i Jösse Härad är dock myket utmärkt framför alla andra,
dels genom hvarje handa svägningar och hjulningar,  dels äfven
i synnerhet genom spänning i taket.    Den dansande Jössehärsguten stödjer
 sin högra armbåge i gäntans venstra armvek, under det de begge
i denna ställningen, starkt sammanknäppa händerna..
derefter tager han en sats,  upplyfter sig med tillhjelp af arm styrkan
hos gäntan, hvilken alltid mycket under lättar denne manöver,
högt upp mot taket, hvilket vanligen beröres med bägge fötterna,
stundom äfven på samma gång med venstra handen.  Detta sker en eller
flera gånger under promenaden kring golvet,  allt eftersom den dansande
guten är vig och gäntan skicklig att understödja honom.
Mot slutet av danssällskapets samvaro, då alla dels af dansen dels af förplägningen är
fullkomligt värmde och upprymde, får man stundom se hela danslaget
på en gång i den livtligaste dansrörelse på gofvet, spellmannen icke undantagen.
Den står än i midten,
än hoppar han omkring de dansande,
hindras han af någon tillfällighet att bruka stråken, knäpper han takten.. för
öfrigt äro nu all hans rörelser and åtbörder så taktiska,
att de dansande blott deraf hafva tillräcklig ledning.
Både spelmannen och de fläste öfrige äro vid detta tillfälle nästan i fullkomlig extas, och det är omöjligt, äfven för den mäst kallblodige, att uppmärksamt
betrakta denne scen, utan att erfara ett eget, nästan hänförande intryck,
emedan man på en gång, åtminstone i Jössehärad, stund om set nästan
 lika så många fötter i taket, som på golvet.

Polskan in Josse Härad is very excellent over all others,
and by providing every swinging and cartwheels, and even
in particular, hitting the ceiling. The dancing Jössehärsguten supporting his right elbow in his left gäntans folded arm, while he begins
in this position, strongly clasping her hands ..
afterwards he will take a set, lift up himself with the aid of arm strength
of gäntan, who always very facilitates this maneuver,
high up toward the ceiling, which, usually touched with both feet,
sometimes even at the same time with the left hand. This occurs or
several times during the walk around the floor, as the dancing
the gut is nimble and the gäntan deftly  supports him.
Towards the end of the dance group session, when all of the dancers  are
completely warmed up and excited, one can sometimes see the whole dance team
at one time in the liveliest dance movement on the floor, including the fiddler.
Then he stands in the middle,
and he hops around the dancers,
He is prevented  from any chance of using  his bow and he  snaps his rhythm .. for
besides,  now all his movements and gestures are tactical,
since the dancing is enough to keep the rhythm.
Both the musician and the rest are enslaved at this time by almost complete ecstasy, and it is impossible even for the most cold-blooded, attentively
considering this scene without experiencing their own, almost breathtaking impressions,
because  at this one time, at least in the Jösse district,  there were almost as many feet on the ceiling as on the floor.

1839 Fredrika Bremmer describes the Halling and Halling-polska

   In 1839 Fredrika Bremmer wrote descriptions of the Halling and the Halling polska.
   In those years Norway and Sweden were united under the Swedish crown.
   While in Norway the dance may have been called the Halling springar or Halling spring dans,
   in Swedish perhaps the translation was Halling-polska.

   A question I have is what were Bremer's personal knowledge of the dances
   or from what works did she borrow material.   Perhaps some historian has already
   investigated her diaries.

FREDRIKA BREMER'S WORKS.   1852.  strife and peace,   1839, 1840  sweden,



THE HOME
OR, LIFE IN SWEDEN  Bremer 1839.
 Chapter,   A wild and animated Swedish national dance

"Our sensible little Queen-bee," a rather broad-set, but very well-grown blonde of eighteen, distinguished herself in the dance by her beautiful steps, and her pleasing though rather too grave carriage. Everybody, however, looked with greater admiration on Eva, because she danced with heart and soul. Gabriele, with her golden curls, flew round like a butterfly. But who did not dance this evening?—Everybody was actually enthusiastic—for all were infected with the joyous animal spirits of Henrik. Even Jeremias Munter, to the amazement of everybody, led Eva, with most remarkable skill, through the Polska,[4] the most artificial and perplexing of dances.
A wild and animated Swedish national dance.
More lights than common streamed in pale beams through the misty windows of the public-house as Petrea came up to it. All was fermentation within it as in a bee-hive; violins were playing; the polska was being danced; women's gowns swung round, sweeping the walls; iron-heeled shoes beat upon the floor; and the dust flew up to the ceiling. After Petrea had sought in vain for somebody outside the dancing-room, she was compelled to go in, and then she saw instantly that there was a wedding. The gilded crown on the head of the bride wavered and trembled amid the attacks and the defence of the contending parties, for it was precisely the hot moment of the Swedish peasant wedding, in which, as it is said, the crown is danced off the head of the bride. The married women were endeavouring to vanquish and take captive the bride, whilst the girls were, on their part, doing their utmost to defend and hold her back. In the other half of the great room, however, all went on more noisily and more violently still, for there the married men strove to dance the bridegroom from the unmarried ones, and they pulled and tore and pushed unmercifully, amid  shouts and laughter, whilst the polska went on its whirling measure.

It would be almost at the peril of her life that a delicate lady should enter into such a tumult; but Petrea feared in this moment no other danger than that of not being able to make herself heard in this wild uproar. She called and demanded to speak with the host; but her voice was perfectly swallowed up in the universal din. She then quickly turned herself, amid the contending and round-about-swinging groups to the two musicians, who were scraping upon their fiddles with a sort of frenzy, and beating time with their feet. Petrea caught hold of one of them by the arm, and prayed him in God's name to leave off for a moment, for that her business was of life and death. But they paid not the slightest attention to her; they heard not what she said; they played, and the others danced with fury.



Halling and Halling Polska

.
It begins, as it were, upon the ground, amid jogging little hops, accompanied by movements of the arms, in which, as it were, a great strength plays negligently. It is somewhat bear-like, indolent, clumsy, half-dreaming. But it wakes, it becomes earnest. Then the dancers rise up and dance, and display themselves in expressions of power, in which strength and dexterity seem to divert themselves by playing with indolence and clumsiness, and to overcome them. The same person who just before seemed fettered to the earth, springs aloft, and throws himself around in the air as though he had wings. Then, after many break-neck movements and evolutions, before which the unaccustomed spectator grows dizzy, the dance suddenly assumes again its first quiet, careless, somewhat heavy character, and closes, as it began, sunk upon the earth.

Loud shouts of applause, bestowed especially upon Harald, resounded on all sides as the dance closed. And now they all set themselves in motion for a great Halling-polska, and every "Gut" chose himself a "Jente." Harald had scarcely refreshed and strengthened himself with a can of ale before he again hastened up to Susanna, and engaged her for the Halling-polska. She had danced it several times in her own country, and joyfully accepted Harald's invitation.

This dance, too, is deeply characteristic. It paints the Northern inhabitant's highest joy in life; it is the Berserker-gladness in the dance. Supported upon the arm of the woman the man throws himself high in the air; then he catches her in his arms, and swings round with her in wild circles; then they separate; then they unite again, and whirl again round, as it were, in superabundance of life and delight. The measure is determined, bold, and full of life. It is a dance-intoxication, in which people for the moment release themselves from every care, every burden and oppression of existence.


After the song, the dancing began again with new spirit. An iron hook was driven into the beam in the middle of the roof, and the dancer who, during the whirl of the Halling-polska, succeeded in striking it with his heel, so that it was bent, obtained the prize for dancing this evening. Observing the break-neck efforts of the competitors, Susanna seated herself upon a bench.   ...



Friday, February 19, 2016

Links to 1900s videos of bygdedans in Norway and Sweden


1900s video links to bygdedans, 19 February, 2016 version.



 First,  8 music videos from the 21st century.
 Second,  1971 NRK series on dance in Norway,  one link.  9 episodes.
 Third,,  NRK video list from the 20th century in chronological order.
 Fourth,  Earlier 20th century videos from around 1925 to 1947
 Fifth,   Video links related to Hallingdal
 Sixth,  1971 NRK series on dance in Norway broken down by episode with description.
 Seventh,  Some video links related to Rorospols,

First, several joyous videos, of some pols fun and some waltz fun.

Pols Noregs Ungdomslag fun ,,,
Bleckman and friends play waltz, last man standing


One dancer Petra Eriksson has several youtube videos including,
Valdres Springar modern dance
Jan Beitohaugen Granli

3:21 Harold Røine Huldredans 12 Huldre dansar

 Second,  1971 NRK series on dance in Norway,  one link.  9 episodes.
Some Norsk TV shows are now on the net, the reader's interest in them may vary...
Alix Cordray credits Willy Rustad who worked on these videos and who has been linking them
on Facebook.
Series narrated by Hallgrim Berg 1971 a lot on dance and music.
Maria Høgetveit Berg dances in some episodes as well as other dancers from various
areas in Norway who will be familiar to some. Egil Bakka is interviewed.
Here are links to individual episodes from which the whole series can be played.



 Third,,  NRK video list from the 20th century in chronological order.
Some other NRK show and series links in chronological order.

En levende tradisjon representert av Johannes og Gunnar Dale og Tinn Spelemannslag.
Hardanger music.

LandsKappleiken 1968
19:54 Odd Bakkerud spelar
23:00 Telespringar in field
28:02 Halling Berg? and Underberg?, Jens Myro spelar
30:40 HallingSpringar

From 1968. Swedish and Norwegian spelemen meeting at Maihaugen

Traveling around series.
Waltz, Modified Hambo, making Hardanger fiddle, Hauk Buen plays Gangar,
reinlander, 22:00, Kristiane Lund, 25:50 43:40 Schottish

From 1969 Folkemusikktradisjoner i Røros-traktene

Halbakken


From 1970, Most interesting single show to me.
Rørospols danced on both meadow and dance floor, with slapping of heels during bakmes.
Jens Myro playing with dancing Halling Springar and Halling,
Kristiane Lund plays with dancing Telespringar and plays again.
Anders Brynge Fantastiskt rolig film - från ett Röros i feststämnin
Artist/Utøver: Glåmos Spelemannslag og Dansarri
Medvirkende: Knut Kjøk
Medvirkende: Kristiane Lund
Medvirkende: Jens A. Myro
Medvirkende: Ola Bø
Medvirkende: Anders Kjærland
Medvirkende: Bjarne Herrefoss
Medvirkende: Agnes Buen
Programleder: Sven Nyhus


1:00 Waltz
11:40, elements similar to rorospols but with a Hallindal spin, or is it Mazurka or sprinleik
ut sang. Orkester spiller til dans - reinlender og polka 19:10 waltz
Halling springar 23:14 to hardangar 41:00 Halling
At 29:30 in the video interview with Olav Thorshaug who toured America dancing Halling in about 1912 to 1915.
Odd Bakkerud spelar


From 1971, Rørospols oppme' stångvekten
Musikkprogram med Glåmos Spelemannslag og dansarring Sven Nyhus announcer

12 Jan 1973
Sigbjorn Osa, Sven Nyhus, Anders Kjerland,


Made for TV, Playing springar, and "Fanitullen" with choreographed dance
https://tv.nrk.no/serie/blanda-drops/FBUA07000473/12-03-1973

14 May 1973
  Sverre Halbakken oss med til grasrota i den folkelige tradisjonen i musikk og dans i traktene rundt Åmot og Elverum
Her blir vi kjent med en eksponent for polsrytmen i den 87-årige Jens Sveen.
https://tv.nrk.no/program/fola01002973/pols-oppi-blikkberget


Folkemusikk i Østerdalstradisjon. Spill, dans og sang samt samtaler om folkemusikken i dalen. Ved Sven Nyhus og Lise Foss 1974 Rundom danced as taught by Halbakken at Mendocino, 1979 or 1980?, 1982.
https://tv.nrk.no/program/FOLA03001774/under-tronfjell

https://tv.nrk.no/serie/husker-du/fuha00007873/17-05-1974#
19:45  Odd Bakkerud spiller "Fanitullen" og "Per Spelmann"

Sending fra Fjellkåsa Bygdemuseum i Oppdal.
St. Hansdans med solospill, sang og samtaler om landskappleiken og
folkemusikktradisjoner.
OPPDAL SPELEMANNSLAG, OPPDAL LEIKARRING, SUNNDAL SPELEMANNSLAG, dansere
fra Sunndal og Valdres.
8:30 Setesdal springar
10:15 Torleiv Bolstad spelar Valdres springar
14:25 springleik
19:35 parisapolka
36:30 spelar pols
39:30 dansar ( Sven says pols? )
45:30 public dances Rørospols


0:00 Thomas STENSGÅRD (mv) danser halling
7:00 Thomas STENSGÅRD og Ragnhild VINDEGG danser Hallingspringar Jens Myro spelar
18:16 , Marit PLADSEN (mv) og Arne PLADSEN (mv) med spillemann Bjarne HERREFOSS.
"Frå morgon til kveld" (telespringar etter Johs. Dale)
51:50 Nes nasjonale dansarring danser. Springar and Gangar.
spillemenn fra Spelmannslaget Bøheringen.

   0:00  Valdres springar  dans Ola BØE (mv) på hardingfele "Randi Røllun”
  19-10-1975  Musik,  Torleiv Bolstad interview 
   4:30    Valdres Springar  dans
  11:40    Mazurka
               Halling,  Bolstad plays,  Danser: Ingar RANHEIM  ( Kim's relative )
  39:00    Mazurka,    note pols steg danced in two different phases to music.

Series by Halbakken, 1976
Google key words, nrk Halbakken

This 1977 TV show from hallingdal has the commentary by Hallgrim Berg
The dansarlag does the Halling Springar in group formation.
https://tv.nrk.no/program/FREP46001977/romjul-i-hallingdal

23 Juni  1978   Folkmusikkdagane I Hallingdal
Torlief Stave, Agnes Buen Garnås,  Ingjerd Berg Helleland,  Magne Myhren,  Ola S Gurigard
https://tv.nrk.no/serie/norge-rundt/FREP42008778/23-06-1978#t=30m46s


28 January 1979   mostly music
Familien Skogum fra Lalm i Gudbrandsdalen i solo og samspill. Ved Ola Grøsland og Tellef Kvifte.

Midsummar, dans på Finnskogen 0:00 waltz,

Springar, for TV. Mari Maurstad 05.09.1981


3:00 Pols
11:00 barefoot Halling
31:55 melody used in Elverumspols, dance?
37:27 springdans

Møte med gårdbrukeren, felebygger og hardingfelespelemannen Hauk Buen i Jondalen
28-11-1982


29:00 Jens Myro, Thorleif Stave, dansarlag Halling Springar



14:00 HARDANGER SPELEMANNSLAG spiller "Måltrosten" Mazurka
21:30 Anders KJERLAND (mv) spiller "Toleslåtten" dansar Vossarull

Musicians profiles

The University of Oslo department of Musicology web links are full of wonders and
gives thought to how much work and research has been done.
(Sandvik refers to Ivar Åsen's explanation of "Hurv": i.e. someone who is agile, reckless. Ottar Andersen's explanation is along similar lines: "something moving quickly, rushing off".)

Hurven,
Folkelige musikktradisjoner i grensetraktene mellom Norge og Sverige

Solhusgubben, Glåmos Spelmansslag on the 31.12.1984 video.
Dance ethnologist Märta Ramsten, Sven Nyhus, on the 30.12.1984 video.
Rundom from Engderdal, 1969,
The  Brekken dansarlag does a rhinelander and a pols in formation and they have “old” footage of pols
with great excitement and spirit, and with heel klicks while dancing bakmes.
The Youtube.com video of Henningsgarden, Norge has the same content but the audio is at
least 1 beat out of phase with the dancers.


12:15 Hedmark dansar Rundom
21:44 Halling dansar ungdom lekar
about 24:00 a young Annbjørg LIEN spiller " Førnesbrunen

3 videos on 1987 landskappleik
Fortekst. En reportasje/stemningsrapport som forteller noe om
hvordan det er å være med på kappleik. Et opptak fra Landskappsleiken i
Sogndal, juni 1987. Glimt fra miljøet rundt og selve Landskappleiken i
Sogndal. Prog.leder off om Landskappleiken. Diverse deltakere, unge og
gamle, spiller på fele og danser både ut og inne. Korte shots fra deltaker
som fremfører musikkstykker: " Marsj " av Jussi Ylitalos, Hauk BUEN, fele:
" Fjellrosa ", Ale MØLLER , bouzouki: " Jeg så i øster ". Sluttekst

Opptak fra landskappleiken i Sogndal.
Vignett med de ulike lands deltakere i aksjon med sang og instrumenter.
Per GUDMUNDSSON spiller " Ganglåt " etter Nergårs-Lars på sekkepipe, beveger
seg opp mellom publikum i salen. LOM SPELMANNSLAG spiller " Nåvåsætermarsjen"
Aly BAIN spiller Bryllupsmarsj fra Shetland på fele, 1'45".
Leif RYGG spiller " Ein sumarkveld i Jotunheimen " på fele, 3'15".
Hauk BUEN spiller " Fjellrosa " på fele, 3'21".
Per GUDMUNDSSON spiller " Pols frå Rättvik " etter Börjes-Olle på fele
sammen med Börn STÅBI. Spiller også " Pols frå Ursa " etter Jussa-Anders.
Tytti-Leena LASANEN spiller " Marsj " etter Jussi Ylitalos og " Guten med dei
blå augene " på kantele, 4'15".
Geir Egil LARSEN spiller 2 låter på bukkehorn, 3'19".
Sven NYHUS spiller " Rørospols " på fele, 1'30".
Opptak fra landskappleiken i Sogndal.
Vignett bestående av klipp av de ulike deltakerne.
Per GUDMUNDSSON på fele, Björn STÅBI på fele, Ale MöLLER på bouzouki,
spiller 3 melodier : " Jag såg i öster ", " Långdans " og " Tjønneblomen ".
Gunnar STUBSEID på fele og Ale MöLLER på bouzouki spiller gangar.
Tytti-Leena LAASANEN spiller " Känslornas tango " på Kantele, 2'52".
Sven NYHUS spiller " Gilde i Jutulheimen " på fele, 3'37".
Knut HAMRE, Bjørn BORGE og Leif RYGG på fele, samt Sverre RINGØY på orgel
spiller " Polka fra Hardanger ", 1'12".
Aly BAIN på fele og John COACKLEY på piano spiller " Fandens polsdans ",
versjon fra Montreal, 2'30". Sluttekst.



Norske spelman in America with Andrea Een,
08:00 springdans from Telemark in Iowa 1969.
Anund ROHEIM spiller "Bjølleslåtten" etter Sjur Helgeland i 1969
Discussion of Lars Fykerud

Arve Moen Bergset, Knut Buen, Annbjørg Lien, Elisabeth Kværne, Hallvard Bjørgum, Jens A. Myro, Agnes Buen Garnås, Arild Plassen - og dei sprekaste hallingdansarane i landet
9:30 Alf Tveit spelar Telespringar? With dansar
29:00 Springar Halling springar

See Loretta Kelly sitting on the train.
Sørlandsspringar Rørospols




“Dick Clark's American bandstand”, but from Norge. Very nice images of
various dancer's styles doing the same dances. Nice mix of dances both gammel,
and even pols and halling that I have seen so far in the 1988 shows.
Alix sent me this from NRK, she and Ragnar were in the 1983 series at least.

The dance floor shots show a little more footwork in the 1988 series.
Kappspell 1990 battle of the bands with dance floor views


Landsfestivalen 1989

Westberg og Haugom spelar pols




Dombas, mazurka 1:47, reinlander 4:20, vals 12:20 , vals 18:00 reinlander 20:00, mazurka 38:10,
vals 42:40 reinlander 45:00, vals 51:20




Musik, Hornindal, West Coast of Norway between Bergen and Trondheim
spelar same melody as Elverumspols Springar etter Nils Kobberstad

Peder Nyhus, Sven Nyhus, Åshild Breie Nyhus spelar

30 March 2007,  Martin Myhr,  Ingunn Straite Lie spelar   5 minutes
https://tv.nrk.no/serie/norge-rundt/PRHO04001307/30-03-2007#t=19m39s

3:21 Harold Røine Huldredans 12 Huldre dansar

HENNINGSGÅRDEN, Norge, East of Røros, This was on the NRK hurven series, but
unfortunately the audio on the youtube is out of phase with the video by at least ½ second.

Fourth,  Earlier 20th century videos from around 1925 to 1947


Ulf-Arne Johannessen myspace 80 year tradition... silent.
Film from 1925? Halling and Halling Springar.


At about 31:04, the wedding march
1:26:00 or so, Reinlander in field.
Brudeferden i Hardanger (Rasmus Breistein, 1926)

Oscar Hamry 1939 Vestre Sildre, springar and Halling silent
1943 Valdres, Wedding march 6:00, springar in field 7:58


1947 silent film Voss stemne
Telespringar, Halling Springar, Numedalsspringar, Vestlandsspringar,
Sørfjordspringar, Vossarull, Halling

Ulvik Hardanger wedding1954


Some pictures I took in Norway back then in 1982.
In another document I have inserted pictures of the dancers from
Sebald Beham's 1535 wood print the “Great Kermis” or peasant feast
between the 4 photos of the Jente watching Pols dancers. Incredible
similarity including large rock next to the musicians in both the 1535
print and the Gripsholm Slatt tapestry Bond Dans.

The Museum's Sebal Beham 1535 Village Fair link is
Franz Brun metal etching similar to Gripsholm Slatt tapestry and Sebal Beham and Hans Holbein's
works

Photos and book link from photographer from Aal Norway.


Pal Olle and Nils Agenmark, from long ago playing.
Boda polskor

Bingsjö polskor

Lisa Rydberg and  Gunnar Idenstam - Polska i C dur (trad., "Bach på svenska")
This is interesting in interpreting Bach's Minuet with “waltz” like dancing.
From 1685 to 1750.
Lisa Rydberg and  Gunnar Idenstam - Menuet i G dur (2) (J.S. Bach, "Bach på svenska")

Landskappleiken or Landsfestival are good search terms.



Morgan and Ola-Conny Gjør-Norge (Valdres)
at 14:30 or so, bygdedans where you find it.

Kristiane Lund must be a legend, and I know nothing about her. Just google her name and check out the images. One of the Halling dancers is Hallgrim Berg who with his wife Maria Høgetveit Berg, featured in other videos, and I took their picture climbing the hill to the by stuga in 1982. The older Halling dancer, the one who shares a seat at the table might be Tor Underberg one of the Hallingdal dance masters who taught Bjorn Lien and all who taught at Mendocino Scandia camp. Jens Myro taught the dance course for Halling Springar for visitors in 1982. I will make a facebook group just for NRK links, ( I found about 4 more today to make 10 total, plus singing), including a 1971 series on dance and music with Berg doing the interviews. Also a 45 minute video on a Hallingdal Christmas with Halling, Springar, music, interviews etc. 1982 pictures https://www.flickr.com/photos/42028913@N06/


Legendary Kristiane Lund (1889-1976) plays Telemark Springar.
If you have ever danced Rørospols, Halling Springar, Halling, or Telemark Springar this will be extra fun to watch.

  
From 2014 color commentary on Landskappleik


Springleik frå Gudbrandsdalen


Fanaspringar

Jostedalen audio only, 1962.




 Fifth,   Video links related to Hallingdal
Old videos and NRK episodes with Hallingspringar or from Hallingdal

Ulf-Arne Johannessen myspace 80 year tradition... silent.
Film from 1925? Halling and Halling Springar.
https://myspace.com/ulfarne/videos

1930  silent film,  Kristine Valdres,
 Valdres springar? in field  at 1:00 into this clip.
https://www.youtube.com/watch?v=GBB3eUpKGDg


1947 silent film Voss stemne
Telespringar, Halling Springar, Numedalsspringar, Vestlandsspringar,
Sørfjordspringar, Vossarull, Halling

LandsKappleiken 1968
19:54 Odd Bakkerud spelar
23:00 Telespringar in field
28:02 Halling Berg? and Underberg?, Jens Myro spelar
30:40 HallingSpringar in field.


1:00 Waltz
11:40, elements similar to rorospols but with a Hallindal spin, or is it Mazurka or springleik?
Orkester spiller til dans - reinlender og polka 19:10 waltz
At 29:30 in the video interview with Olav Thorshaug who toured America dancing Halling in about 1912 to 1915.
Halling springar 23:14 to hardangar 41:00 Halling
Odd Bakkerud spelar
28-03-1970

From 1970,
Jens Myro playing with dancing 08:15 Halling Springar and 16:20 Halling, Fantastic fun.


80-årsfeiringen av Olav Sataslåtten i Ål, februar 1971, spelar Hallingspringar
fiddler's feet stamp out 1, 2, and,


Episode 4
Danser fra Hallingdal.
Levor LÅ traller en slått, "Leta med kjeften". Synger "Vesle-Kari Rud".
Hallgrim BERG snakker med Levor LAA om dans og sang i Hallingdal (Ål) i
gamle dager. Hallgrim BERG og Torill STAVE danser til sangen. Par danser
Hallingspringar i bunader. Herr VESTENFOR om hvordan de improviserer i
springaren, demonstrasjon. To par danser springar. Nært fotarbeide.
Dansepedagog Henry SJØBERG om historiske sysnpunkter på norsk folkedans
og de impulser den har mottatt fra Europa. Gutt danser halling med
nedriving av hatt fra mannshøyde (laus).

0:00 Thomas STENSGÅRD (mv) danser halling
7:00 Thomas STENSGÅRD og Ragnhild VINDEGG danser Hallingspringar Jens Myro spelar
18:16 , Marit PLADSEN (mv) og Arne PLADSEN (mv) med spillemann Bjarne HERREFOSS.
"Frå morgon til kveld" (telespringar etter Johs. Dale)
51:50 Nes nasjonale dansarring danser. Springar and Gangar.
spillemenn fra Spelmannslaget Bøheringen.

This 1977 TV show from hallingdal has the commentary by Hallgrim Berg
The dansarlag does the Halling Springar in group formation.


29:00 Jens Myro, Torleif Stave, Hallingspringar
https://tv.nrk.no/serie/landskappleiken/FMUS00007188/23-06-1988

From 2014 color commentary on Landskappleik




14:00 From Indre Sogn, Springar, 1971 Kappleik compare to Halling Springar
Med Torleiv Bolstad som spelemann
og trampar har dansaren god stønad


 Sixth,  1971 NRK series on dance in Norway broken down by episode with description.
Dance series,
Episode 1.
Danser fra Numedal og Valdres.
Par danser. Hallgrim BERG introduserer de ulike folkedansene. Par
danser springar i Numedalsbunad, mens Knut MYRAN spiller. Han spiller
"Sevlen". Ola BØE fra Vestre Slidre spiller for et Valdrespar som danser
springar. Ola BØE om karakteristika ved Valdresmusikken. Viser det ved
å spille en slått som Fanden spilte da han begrov mor si. Magni og Rolf
KARLBERG om folkedans som moro og ikke død tradisjon, og om bunader. To
par danser "Grålysningsgangar".

Episode 2.
Danser fra Vestlandet.
Føtter som danser springar. Par danser i bunader fra Hordaland. Finn
VABØ spiller "Å hei så danser jenta mi". Egil BAKKA som har samlet
danser fra Vestlandet, om arbeidet sitt. Om "Vossarodn" som er
karakteristisk for Hordaland. Par danser "Vossarodn" i Hardangerbunad.
Egil BAKKA om antallet bygdedanser og alle variantene, sangdanser,
turdanser og gammeldans. Sjur HESJEVOLD fra Jostedalen spiller slått:
"Kjepphesten" og "Martha Olstad". Par danser springar i Sognebunad.

Episode 3
Danser fra Setesdal og Vest-Telemark.
Jente og gutt synger stev. Th. BJØRGUM spiller gangar mens par danser i
Setesdalsbunad. Th. BJØRGUM og Hallgrim BERG om de lokale dansene. BJØRGUM
spiller slått mens et ungt par fra Setesdalen danser. Sidsel RUSTAD og
Jon RUSTAD. Nærbilder av trinnene. ROMMETVEIT fra Vinje spiller
"Belargutten", en springar. Aslak HØGETVEIT om musikken til dansen og
hvordan folkedansen må ha et element av improvisasjon. Maria HØGETVEIT OG
Aslak HØGETVEIT danser telegangar i Telemarksbunad. De improviserer etter
impulser fra musikken. BJØRGUM og Aslak HØGETVEIT kveder.

Episode 4
Danser fra Hallingdal.
Levor LÅ traller en slått, "Leta med kjeften". Synger "Vesle-Kari Rud".
Hallgrim BERG snakker med Levor LAA om dans og sang i Hallingdal (Ål) i
gamle dager. Hallgrim BERG og Torill STAVE danser til sangen. Par danser
Hallingspringar i bunader. Herr VESTENFOR om hvordan de improviserer i
springaren, demonstrasjon. To par danser springar. Nært fotarbeide.
Dansepedagog Henry SJØBERG om historiske sysnpunkter på norsk folkedans
og de impulser den har mottatt fra Europa. Gutt danser halling med
nedriving av hatt fra mannshøyde (laus).


Episode 5

Lausdans.
Hallingdans demonstreres av en danser fra Hallingdal. Hallingkast og
mange andre detaljer demonstreres. Anders ANMARKRUD (mv) fra Valdres danser.
Jente danser også denne solodansen. Danser fra Trysil viser hvordan
lausdansen blir danset der. Odd BÆKKERUD spiller fele, spiller bl.a.
"Fanitullen". Fem dansere ute i dansen samtidig.

Episode 6
Danser fra Skjåk, Rørås og Volda.
Lars HOLE spiller munnharpe. Hallgrim BERG snakker med Lars HOLE om
munnharpespill og om forskjellen på folkedanser i bygdene i Gudbrandsdalen.
Ekteparet HOLE danser Skjåkspringar. Nært fotarbeidet. Mange turer.
Sven NYHUS om musikken i Rørostraktene. Spillemannen fra Skjåk
demonstrerer det karakteristiske for Gudbrandsdalen. Sven NYHUS spiller
til par som danser Røros-pols. Alle dansere og Sven NYHUS i vakre bunader.
Hallgrim BERG om grensene for bruk av hardingfele og vanlig fele. Ingunn
og Jon HUMBELSET danser. Sunnmørespringar (rekonstruert dans)

Episode 7
Danser fra Øst-Telemark.
Stills av bunadkledde dansere, fortekst.
Mann spiller på fele og ungt par danser gangar. Kjetil LØNNDAL intv. om
sin jobb som danseinstruktør. Han spiller en danseslått. En annen spiller
fele, og Kjetil LØNNDAL byr opp en jente til dans. Intv. forts. om folkedans
og musikk. Mann spiller en gangar på fele. Intv. med Kjetil LØNNDAL forts.
Han danser springar med to jenter.
Sluttekst.

Episode 8
TV-kappdans.
Fortekst. Flere par danser reinlender, par i bunader og vanlige klær.
Hallgrim BERG on screen orienterer om kappdansen. Shot publikum og dommere
som skal kåre de beste danserne. Haldor HEGGE som er en av dommerne, intv.
Han viser og forklarer dommerskjemaet. Det første paret i kappdansen ut på
gulvet og danser en springar. Neste par er fra Vestlandet og danser også
en springar. Hallgrim BERG on screen om den neste dansen som vises, en
gangar fra Numedal. Et par danser. Neste par danser springar fra Tinn i
Telemark. Siste par i konkurransen danser en springar fra Valdres.
Laget for folkemusikk spiller en halling mens dommerne kommer fram til
resultatet av konkurransen. Overdommer redegjør for resultatet av
kappdansen. Olav ØAKER og Magni KARLBERG vant. Nært vinnerne. Deltakere
og publikum på gulvet.
Sluttekst.

Episode 9
3. nov. 1971 · På reise i arkivet: ''Spela spelmann, lat fela låte''
8:50 Bjørn Odde frå Lom
vann klassa for vanleg fele.
Ein av slåttane han spelte var
"Skilnadsgrauten" av Hans W. Brimi.



 Seventh,  Some video links related to Rorospols,
Rørospols video links from Norwegian TV NRK.


Rørospols danced on both meadow and dance floor, with slapping of heels during bakmes.
Artist/Utøver: Glåmos Spelemannslag og Dansarri
Programleder: Sven Nyhus

From 1971, Rørospols oppme' stångvekten
Musikkprogram med Glåmos Spelemannslag og dansarring Sven Nyhus announcer



Episode 6
Danser fra Skjåk, Rørås og Volda.
Lars HOLE spiller munnharpe. Hallgrim BERG snakker med Lars HOLE om
munnharpespill og om forskjellen på folkedanser i bygdene i Gudbrandsdalen.
Ekteparet HOLE danser Skjåkspringar. Nært fotarbeidet. Mange turer.
Sven NYHUS om musikken i Rørostraktene. Spillemannen fra Skjåk
demonstrerer det karakteristiske for Gudbrandsdalen. Sven NYHUS spiller
til par som danser Røros-pols. Alle dansere og Sven NYHUS i vakre bunader.
Hallgrim BERG om grensene for bruk av hardingfele og vanlig fele. Ingunn
og Jon HUMBELSET danser. Sunnmørespringar (rekonstruert dans)


Solhusgubben, Glåmos Spelmansslag on the 31.12.1984 video.
Dance ethnologist Märta Ramsten, Sven Nyhus, on the 30.12.1984 video.
Rundom from Engderdal, 1969,
The  Brekken dansarlag does a rhinelander and a pols in formation and they have “old” footage of pols
with great excitement and spirit, and with heel klicks while dancing bakmes.
The Youtube.com video of Henningsgarden, Norge has the same content but the audio is at
least 1 beat out of phase with the dancers.


Peder Nyhus, Sven Nyhus, Åshild Breie Nyhus spelar


Here are 3 links to Norwegian TV show series with bygdedans and old time dance.
The first two are like American bandstand.
We have a much larger dance floor and plenty of room.
The dance floor shots show a little more footwork in the 1988 series.
Kappspell 1990 battle of the bands with dance floor views