#baroque dance

[comepraisetheinfanta]

GIFTS FOR THE HOLIDAYS 🎄 🕎

GIFTS FOR BAROQUE BITCHES

Hot Pink Baroque Bitch - Bath Mat

Baroque Bitch Ballet - Mouse Pad

Baroque Composers Ampersand 2 - White Text - Tote Bag

Baroque Composers Ampersand 1 - Black Text - Holographic Finish Sticker

[tricornonthecob]

I had this brainrot in my head all week. Just two cuties dancing an allemande (???)

yeah she's dancing in her stays, don't worry about it, I assume they're alone or James wouldn't have indulged this side of himself I've decided that he has

I referenced this vid on youtube, which was an excerpt from something called Dancing Through Time. In my brief and poorly-educated searches on baroque dance, I came across two different ideas about what it was - a much simpler and less touchy-feely dance, and the one I linked above, which appears to be the 18th century version of grinding on the dance floor swing and actually looks like a lot of fun.

[my18thcenturysource]

Yearly obligatory reblog 😌

Today is World ballet Day, and you must be crazy if you thought I’d let this day pass with no new post soooo… here we are! With a ballet from the 18th century staged in the 18th century way! ISN’T THAT AWESOME?

This is the scene no. 7 of “Didona Abbandonata, ballo tragico pantomimo” (1766) by Gasparo Angiolini. This is a live recording from 2015, re-staged by Helena Kazárová. All this looks just gorgeous. I with there was a troupe of baroque dancing near me.

Credits:

Helena Kazárová (choreography and stage direction)

Hartig Ensemble dancers

Musica Florea orchestra (conducted by Marek Štryncl)

Costumes: Roman Šolc

Make-up and wigs: Karel Langer

Filmed by Daniel Roznyó

Cast: Queen Dido - Blanka Ferjentsik Wernerová, Aeneas - Miroslav Stehlík, Ladies-in-waiting: Michaela Bartlová, Ida Fišerová, Lenka Kantorová, Michaela Špačková. Companions of Aeneas: Ladislav Beneš, Aleš Hanzlík

[the-cricket-chirps]

Ferdinand van Kessel (attributed)

The Dance of the Rats

ca. 1690

[pissworm39]

ah yes, the two genders. testosterone boys and harlequinn girls.

[my18thcenturysource]

Mezzetin or Mezzetino is a comic character in the Commedia Dell'arte, an italian genre of theatre characterised by masked "types" that was very popular in Paris (and all of Europe) from the 16th to the 18th century and it's considered to be a variation of the stock character Brighella (also comedic and masked).

We can recognise Mezzetin not only because of the title of the painting, but thanks to his outfit: red or burgundy livery, or striped jacket and breeches, and a floppy hat. Sometimes he also wears a short cape and a musical instrument or a sword. Here another version of Mezzetin by Watteau:

Mezzetin, Jean-Antoine Watteau, ca. 1718-1720., Metropolitan Museum of Art.

Above we see him with a baton, which might seem like an odd choice, but the caption reads "Mezzetin dancing", and the baton was the way the ballet master would direct both the music and the dance, as we can still see here in the 19th century:

Dance Class at the Opera, rue Le Peletier, Edgar Degas, 1872, Musée d'Orsay

Mezzetin is pictured during a temps which is pretty much a pose, since there is no actual movement during the temps (standing on one leg, the other one is extended pointed to the front, side or back), and this movement is usually a whole bar in the music, so I personally think of it a pause or a moment to pose and show off the foot and position (but that's only the way I personally feel it XD). The arms are in opposition: left leg and right arm to the front. This is how that looks leg to the front looks in Beauchamp-Feuillet notation:

Choréographie, Raoul Auger Feuillet, 1700

So, now we can all have a nice photo posing like Mezzetin dancing.

ab. 1720 French School - Mezzetin dancing

(Carnavalet Museum)

[lbk-photography]

[haveyouheardthisband]

[yourfavealbumisgender]

A Fever You Can't Sweat Out by Panic! at the Disco is a Demigirl and Bisexual!

requested by @buriedstargirl

[haveyoulistenedtothisalbum-poll]

Tracklist:

ベルコメン (Välkommen) • Strawberry • 天誅 (Tenchuu) • ブーゲンビリア (Bougainvillea) • GENTLE • Elopement • しょってぃん (Shot in) • グラストレード (Glass Trade) • 少女趣味 (Shoujo Shumi) • モラトリアムの悪態 (Moratorium no Akutai) • ラヴリーアサシン (Lovely Assassin) • The Decisive Hour • ガーネットの涙 (Garnet no Namida)

Spotify ♪ YouTube

[lives-in-a-harpsichord]

No references no coherent thoughts just Sansa and Arya dancing to Purcell

Oh my GODS Sansa would have loved Purcell

[classic-art-favourites]

A Dance to the Music of Time by Nicolas Poussin, 1634-1636.

[taliesin-the-bored]

An Early Documentation of the Safety Dance

Andromeda by Juan Antonio de Frías y Escalante

[sketchyorsomething]

I miss ski jumping :(

[dovebuffy92]

Scoring Florence + The Machine’s Albums Out of 100

Florence Welch’s discography is a wild journey of emotion, grandeur, and vulnerability. Here’s how I would score each album out of 100:

Lungs (2009) – 95/100 Florence + The Machine's debut album that started it all. Lungs is a raw and powerful album that shows the versatility of Florence Welch's voice and songwriting talents. The music has a chaotic energy because Florence was still discovering her voice. She technically wrote the album over five years. Plus, she was working with multiple songwriting partners and producers. The mystical undertones, gothic lyrics, and big drums make this album a storm. Some of my favorite songs were co-written and produced with Florence + The Machine co-founder Isabella Summers, including "Dog Days Are Over" and "Cosmic Love." Standouts: "Rabbit Heart (Raise It Up)," "Cosmic Love", and "Between Two Lungs"

Ceremonials (2011) – 97/100 This album is a true masterpiece because it's "a wall of sound," to quote Florence Welch. Florence leaned fully into the baroque. She and her collaborators (Paul Epworth, Isabella Summers, Francis White, James Ford, etc) created an otherworldly atmosphere with drums & percussion, harps, pianos, guitars, bells, bass, synth, and layers of Florence singing backup vocals. Ceremonials explores themes of water, death, and rebirth. Every elegant song feels like a grand cathedral of sound. Standouts: "Shake It Out," "Breaking Down," and "Only If For a Night"

How Big, How Blue, How Beautiful (2015) – 92/100 Florence reined in some of the grandiosity for a more rock-influenced sound. It's still lush, but the instrumentation focuses on guitars and horns. Florence faces her demons in this album and comes out better on the other side. I love the emotional complexity of this album, but a couple of tracks feel slightly more subdued than expected. This was the last album where Isabella Summers co-wrote or produced any Florence + The Machine songs. She and Florence co-wrote three songs, including one of my favorites, "Delilah." Standouts: "What Kind of Man," "Ship to Wreck," and "Delilah"

High as Hope (2018) – 93/100 This album is more stripped-back and personal than her previous ones. Florence Welch co-produced and wrote the whole album by herself. The vulnerability of High as Hope is palpable throughout the songs. While some might miss the massive production of earlier albums, the intimacy of High as Hope is its strength. All the songs feel delicate and confessional. Standouts: "Hunger," "Sky Full of Song," and "Big God"

Dance Fever (2022) – 99/100 This is my favorite Florence + The Machine album. Dance Fever blends the theatricality of Ceremonials with the emotional introspection of High as Hope. I love how Florence wrote an album that combines the confessional aspects of High as Hope and How Big, How Blue, How Beautiful with the horror movies she watched during the pandemic to produce some genuinely epic lyrics. The instrumentals of every song make you want to dance, even if the lyrics make you want to cry. Florence's vocals are at the next level, showing how much she has grown since Lungs. Standouts: "King," "Free," and "Dream Girl Evil"