Present: Anna, William, Caterine, Katherina
Warm up: Earl of Essex Measure, Old Alman, Black Almain.
Main Session: Pavaniglia
- Extensive revision of the 4th and 5th mutanze, then light revision of the other mutanze.
- Dancing through the complete dance, including all mutanze, which lead to
- Slight alteration of the floor-pattern and spacing for the 3th, 4th, and 5th mutanze; specifically, ending the 4th mutanza facing, quite close (about Cascarda-distance), so that the first rendition of the 5th mutanza brings us briefly shoulder-to-shoulder, before we retreat with the finti.
- Substantial revision of the floor-pattern for the finale. We now start the penultimate verse 3-4 metres apart, each about 1/3 of the way into the room. The man dances directly forwards with the fioretti, finishing with a very quick turn, so that he ends the verses facing in the opposite direction. The woman dances her fioretti in a circle, but now that circle is largely behind her starting position, not largely in front on it. The man catches her hand as she completes her circle, so they finish holding ordinary hands, side by side, facing the opposite way from their starting position. The final verse can the be done walking into the centre of the room, and retreating to 1/3 in - much nicer use of space.
Next Monday is our final "summer dance" session. We'll concentrate on getting Pavaniglia spot-on, and working as a complete dance. We will come back to Canario in advanced sessions after Canterbury Faire.
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!