Present: Caterine, William, Ludwig (Canary only), Katherina
Warmup: Black Almain
Main Session : Pavaniglia
- man's fourth mutanza
New Material (for this year, anyway)
- woman's fourth mutanza
- dancing mans's and woman's fourth mutanza simultaneously
- first mutanza, for both man and woman
It's surprisingly hard to dance the fourth mutanza with your partner: you stand opposite each other and dance something completely different. The man's is rather virtuosic; the woman's steps are simple, but they break the patterns we've been following for the preceeding ten verses, so require close attention. However, these two quite different mutanze go together rather beautifully.
In contrast, the first mutanza went well and quickly. We haven't danced it for a year, and at the beginning of the session none of us could remember more than the basic shape. However, it came back quickly, and what took us several sessions of several hours each to learn last summer was after less than an hour this summer looking better than ever. With another year's training, and improved fitness, we are all finding the steps much easier physically.
Revision : Canario
Revised (and taught to Caterine) the man's first mutanza. Discussed and decided on rhythm for the initial seven botte of the man's second mutanza.
Next session (Wednesday) we'll focus on the Canary - either the man's second and third mutanze, or the woman's third and fourth - and will revise the first mutanza of Pavaniglia.
Note: Regular all-inclusive renaissance dance classes have finished for the year, and will re-start in February. Over summer Katherina Weyssin runs intensive classes for a few of her advanced students, where we look at more difficult material. If this appeals to you, come to regular dance classes for a year or so to build up your skills, and you might be ready to join us by next summer!