The background of Texas folk dancing is rich and varied. All the steps and choreography were introduced into the state by settlers and visitors. The resulting dances have consistently reflected the potpourri of ethnic and social backgrounds of the people, the changing dance styles and clothing fashions, the setting, and the type of music available.
Explanation:
The background of Texas folk dancing is rich and varied. All the steps and choreography were introduced into the state by settlers and visitors. The resulting dances have consistently reflected the potpourri of ethnic and social backgrounds of the people, the changing dance styles and clothing fashions, the setting, and the type of music available. Through the years a definite traditional Texas folk style of dancing has developed.
Society-minded colonists took lessons from dancing masters and stepped out in refined ballroom style. The immigrant pioneers copied them, and in some cases revived the traditional folk dances of their homeland. During the early 1800s aristocratic Spanish and Mexican officials held formal balls at the Spanish Governor's Palace in San Antonio. Other Mexican settlers danced on the public square or in adobe huts with dirt floors. While the upper class attended formal balls that included dance repertoire from Europe, the most popular entertainment to attract revelers from all parts of the Hispanic community was the fandango, a dance of Spanish derivation. Since the colonial period the term had come to refer to a kind of diversion, usually a festive gathering marked by music, dancing, gambling, drinking, and eating. Fandangos were held in the streets, in makeshift dance halls, or in fandango houses throughout the year. Violins and guitars at these functions played the equivalent of "Turkey in the Straw" while couples danced a polka or bolero. The fandangos were outlawed by the 1870s, though they still lingered inconspicuously until the end of the century (see FORT GRIFFIN FANDANGLE). Bailes (occasions for dances), which included the baile de regalo (regional dances) served as less rowdy get-togethers for families, friends, relatives, and lovers.
The colonists who came later held elegant public dances in the populated areas. For example, in 1832, Anglo citizens of Brazoria gave "a Public Dinner and Ball . . . honoring General Santa Ana" (Antonio LĂłpez de Santa Anna), who later became the archenemy of Texas independence. The upper stratum issued satin-bound invitations and dance cards for posh balls. At formal affairs, after a ceremonial grand march, the dancers postured and bowed in imitation of the stately elegance of European court dances, choreographed for both group and couple participation. Many of the steps had been adapted from peasant folk dances such as Bohemian polkas and Irish reels, then set to classical music by dancing masters for the enjoyment of European royalty. Group dances included structured, many-figured cotillions (one called a "german"), four-couple French quadrilles (some called "lancers"), lively reels and longways dances, and measured minuets. Among the dances for couples were Viennese turning waltzes, polkas, schottisches, galops, gavottes, and redowas.
