HAESENI CUSTOMS II: CULTURAL DANCES

[The Esrova Court 1477]

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VOLUME II

CULTURAL DANCES PERFORMED BY THE HAESENI

 

 

ISSUED BY THE

 

ON THIS 8TH DAY OF GRONA AG DROBA OF 502 E.S. 

 

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  DANCE IN HANSETI-RUSKA has been an ever-present piece of its culture dating back to ancient times. It is thought that, by dancing, one expresses the truest part of themselves; once our emotions are too potent to be contained, we dance. All Haeseni people of different cultural backgrounds have developed their own distinct styles of dance, with many groups developing different dances for different social situations and classes. Whether dancing for joy, faith, relief, merrymaking, even fealty to God or a liege, all dance is an enunciation of passionate emotions. Haeseni dances have been influenced by the folk rites of the Hanseti, Raev, Ayrikiv, Scyflings, and Waldenians: all cultural groups present in the Kingdom. Many dance forms originate from a single culture, with a select few being influenced by a blending of two or more cultural group practices. 

  Unfortunately, while a plethora of varied Haeseni dances developed over the ages, they have all mostly fallen out of custom in the present day. However, succeeding the ascension of Queen-Consort Amaya of Venzia to preside over the Esrova Court, her nurturing care and encouragement have manifested a cultural renaissance - or rebirth - among Haeseni society. This rebirth of the lambent flame of culture has induced many once-lost Folk and Haeseni-variant dances to resurface and return to public consciousness.

  Through the faithful academic work led by Queen-Consort Amaya of Venzia, with her astute observations of the choreography of said dances, Firress Adela Taronitissa de Leuven, whose historical studies into the origins and archival data of the dances herein were crucial, and under the proficient editor’s gaze of Court Secretary Anabel Elia Colborn, a compilation of Haeseni Cultural dances - no matter whether they are extinct or presently prominent - was made possible for publication within Volume II of Haeseni Customs. 

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I

THE HOPPING DANCE

 

KNOWN FOR ITS GRAND hops and intense movements, Ve Hopaky originates from before the Kingdom of Raev, from when the Raevir people were scattered and split. The dance features high leaps and kicks, symbolizing the exuberance and vitality of those who perform the dance. Frequently, the dancers transition from high jumps to low squats in quick succession, adding an absorbing element of unpredictability to the energetic display. Rapid spins and twirls are also incorporated into the dance - primarily by women - who conjointly accompany the male aspect of the Hopping Dance via constant rhythmic clapping: dual purposed for beat, and encouraging the audience to join in with the pageant. The general footwork of the dance is intricate and syncopated; quick with precise and rapid steps, often accompanied by low kicks and spins throughout.   Ve Hopaky has roots in the Raevir people, prior to the Elk Wars and the unification of all Raev men, when most were in smaller peasant villages or roaming cossacks; in the period during which, having conquered new lands or combatted attempted invasion, Raevir men broke out into a frenzied dance of acrobatic skill, hopping in sporadic and unstructured dance. When unified under St. Karl, the first King of the Raev, the tradition continued as displays of accomplishment and celebration. During the reign of Boris II, King of Raev, and his consort Alicia Therving, women’s involvement in the dance grew, allowing for the Hopping Dance to transform from a simple display of militaristic triumph to a historic folk dance representing skillful expertise and the Northern soul.

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II

THE SWORD DANCE

 

VE ZVAERDANS IS CREDITED as the most dangerous dance of the Haeseni people. There are a variety of ways to perform the dance, but they always consist of three major factors: usage of at least two swords and round shield, beginning the dance in the pas de basque position around quarters of crossed swords, and a heroic gambol involving swordplay. The dance opens with a three-step prance around crossed swords - each dancer having either free hands or a circular shield - that eventually progresses as each dancer lifts a blade from the ground and begins a dramatic and grandiose mock duel with tricks of the hand: swirling swords at considerable speed, throwing the swords in the air prior to catching them, and sometimes setting the blade itself aflame. The Sword Dance is typically performed by soldiers after training or major victories, by bards to describe heroic battles of yore, or before the monarchs as a form of grand entertainment.    Originally a combination of two historical dances, the Zvaerdans requires acrobatic skill and swordsmanship. Influenced by both Raevir and Ayrikiv cultural practices, the spirit of the dance remains similar in its Northern origins, however, the primary methodologies vary. The tradition of dancing within the four-quarters of crossed swords originated from Ayrikiv soldiers who would dance prior to battle to symbolize and inspire bravery, often encouraging fellow militants to join them in possibly their final moments of joviality before being sent off to fight. The Raevir roots of the dance, derived from an inherent obsession with honor and duels, is defined by fantastical displays of skill in song and dance accompanying bardic lyrics of heroic venture. It is uncertain when the two forms merged, but the unfathomable skill and bravery needed for handling swords in its modern incarnation is often greatly appraised.

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III

THE HAESENI BALLET

 

VE TARANYEK HAENZI IS a stunning social dance for the purposes of entertainment. Originally an extension of Orenian ballet - regarded for having more delicate footwork, dramatic movement, heavy themes of tragedy and deeper concepts of morality - Haeseni Ballet is often noted for its grueling discipline and the painful sacrifices made by the many ballerinas who study the dance professionally. Some noted and famed ballerinas of the variant were: founder Baroness Elia Eryka Colborn-Stafyr, Princess Royal Analiesa Josefina Barbanov-Bihar, Countess-Consort Viorica Irena Kortrevich, and Count Mativy Kortrevich.   Originating from the Aeldinic Kingdom of Banardia, Ballet was a major influence imported to the realm of Almaris - into the heart of Providence during the reign of Empress Anne I. Following the establishment of the foreign dance into the Imperial Courts, a plethora of companies and entities rose to carry on the tradition of educating humanity in the cultural dance: Rochefort School of Music, Bluestockings Society, the Augustine Court, and the Carrington Ballet Company. The late Amadea of Susa, being of Orenian pedigree, brought the dance to the Haense courts, where it was quickly popularized by a variety of courtiers. Baroness Elia Eryka Colborn-Stafyr, inspired by the dance she studied during her brief wardship under Lady Mathilde von Pruessens, was a key figure in the development of the Northern Ballet style throughout the years.

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IV

THE CARRION DANCE

 

AKIN TO HAESENI BALLET, Ve Karodans is a social dance, typically performed for higher nobility and royalty as a form of entertainment. However, a bastardized variant can often be seen in taverns; with drunkards trying to balance bottles of Carrion Black atop their ahead as they feverishly prance around. The movements in the Carrion dance are rather precise, distinguished by slow and gradual motions within the build-up contrasted against intense action involving acrobatic twists or a fusion of the Hopaky in a slower, steadier motion. Often, in grand professional performances, the dancer is accompanied by a company dancing in a circle, causing the display to be jovial and therefore regularly requested at the events of peerage as a form of entertainment. The Carrion dance is often seen at banquets, feasts, weddings, debuts, and baptisms.   During the reign of Marius II, the tavern culture pivotally changed following the establishment of the Helburke by Lord Helton Helvets and Count Conrad Ashford de Falstaff. With the whispers of the War of the Two Emperors on the horizon - grander settings and lounging becoming a famed aspect in daily life - most inn-keepers were trying their best to maintain a sense of luxury in both scene and drinks. Eventually, whether inspired by their ancestral dances or their drunken haziness, the bastardized variant of Ve Karodans was born - named after the drink it was typically performed with, in honour of Carrion Black’s popularity and the Barbanov lineage. Following the birth of the Carrion Dance, it was introduced to higher class through exposure in the taverns, becoming a choreographed form of entertainment as aforementioned.

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V

THE CHANTING CIRCLE

 

IN THE EARLY DAYS of Haense, work and labor filled the days of hard-working peasants. With little time spare for jovial celebration, a common arrangement of dancing in the streets during points of minor celebration or much-needed break became a typical theme. Inspired by the growing population of bards, the Roziktan was founded and implemented into daily life within the Duchy of Haense, surviving through the years into the beloved Kingdom today.    Ve Roziktan, derived from the New Marian verb ‘rozik’, meaning to speak or chant, directly translates to Common as “the chanting circle”. To perform the Chanting Circle, any number of individuals form clustered circles - with a few allowed to escape into the center and dance - while chanting songs or lyrics, accompanied by instruments and lighthearted jigs. Most participants enjoy forming a sung story, either of originality or tales of yore. The sporadic nature of this dance style is often performed by those of the lower classes of society, specifically in the slums, for a source of provincial joy.

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VI

THE SUN DANCE

 

VE ASERADANS WAS DEVELOPED by Raevir nuns who danced in circles, symbolically dancing around the glory of Godani and His sun. This jovial tradition enabled them to indulge in the luxuries of dance and joy while maintaining the integrity of their sworn oaths of chastity. Over time, middle-class merchants and lesser nobility took a liking to the Canonist Sun dance, adopting a unique rendition dance for their light-hearted functions, known as the formerly mentioned Roziktan.    The most significant feature of the dance is that all participants form a circle while holding one another's hands, or the little finger of their flanking partners, and constantly moves in a counterclockwise rotation. A sequence of three steps forward and one step back accompanies the group’s unyielding twirling, with the circle breaking at specific times to permit a singular dancer to slip in for a moment of companionless dancing.

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VII

THE MAYPOLE DANCE

 

THE MAYPOLE DANCE, KNOWN in New Marian as Ve Majakdans, is an integral part of the Scyfling Midsommar celebration that heralds the coming summer equinox, albeit the dance has been observed during springtime festivals as well. The Maypole Dance did not gain notoriety until the reign of Amaya of Venzia, but the tradition has long held significance within the Scyfling House of Colborn.    This dance typically involves a group of participants who gather around a Maypole - often  adorned with flowers, greenery, and ribbons. To perform this dance, dancers form a circle around the Maypole, each grasping a ribbon attached to the top of the pole. The dancers traipse about the Maypole in a circular motion, weaving the colorful streamers under and over in varying patterns - typically double weaves or plaits, until the ribbons intertwine to encompass the entirety of the Maypole. Oftentimes, the Maypole Dance will adopt a competitive element during festivals, wherein dancers test their stamina around the Maypole. Dancers will continuously weave their strands about the Maypole, and the final individual standing is crowned the victor.

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VIII

THE HALF-STEP

 

VE PULVIKA, KNOWN IN Common as “the Half-Step,” is a beloved Haeseni dance bearing distinct Waldenian influence. It is a high-spirited dance resembling the typical waltz, though it notably occurs in a 2/4 halftime tempo; hence the dance’s given name. The dance’s basic step is characterized by a distinctive galloping motion with a quick-to-slow rhythm. The leading partner initiates the step by taking a quick left footstep, followed by a quick right footstep. The third count involves a slower left footstep, often accompanied by a slight hop. The following partner mirrors these steps, creating synchronized and energetic movements. Additionally, the underscore is a key element, featuring a lively and upbeat tune with a 2/4 time signature. Dancers often incorporate small hops, kicks, and even heel clicks into their choreography, adding to the dance's playful and exuberant nature.   The Half-Step developed in the Kingdom of Aesterwald: a domain accumulating profound Waldenian influences as they migrated to new lands obtained from the Order of Saint Lucien. It was there that the informal choreography of Ve Pulvika was formulated, having been inspired by the unstructured jigs that the Aesterwaldenians danced to during their jovial celebrations. Later, following the fall of Aesterwald during the Schism War, the Highlanders’ dance died out in both the Early and Late Johannian Periods - only to be revived during the Andrean Period when Waldenians began to formally return to Northern lands. Ve Pulvika found itself emerging once more with the unsanctioned renaissance of Hanso-Waldenian culture, primarily spearheaded by the Ducal House of Barclay, who breathed new life into a modernized variant of the Half-Step featuring formal choreography.

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Spoiler

 

Thank you pollo and copowl for doing the bulk of the writing, y’all are CRAZY!!! And a huge thank you to Peachy and Mona for brainstorming and birthing this idea :) || 

Sarah and COOOPPPPOWL are awesome, guys - pollo

 

 

 

Her Royal Majesty, AMAYA OF VENZIA, 

Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera.

 

Firress, ADELA TARONITISSA DE LEUVEN, 

Matriarch de Leuven, Royal Scribe of the Esrova Court, Court Historian

 

Her Ladyship, ANABEL ELIA COLBORN

Countess-Emerita of Malkovya, Keeper of the Book, Lady Auditor of the Royal Duma, and Secretary of the Esrova Courts.

 

Edited November 5, 2023 by The Esrova Court

[CopOwl 1668]

Even as the first copies of the Haeseni Customs Vol. II were being distributed, the sedulous Secretary of the Esrova Courts was making her final adjustments to the study. A red-faced, sweating Scyfling servant sprinted through the frigid streets to Valdev to Queen Amaya's office in the Palace; sent with the final manuscript from Malkovya. He hammered senselessly on the Queen's door, "It's from your Mostir, your Royal Maj- Esty-!" The poor soul had to pause for breath in the middle of a word.

 

Meanwhile, elderly Anabel Elia Colborn was wiping the sweat from her brow. "Phew- crisis averted." She murmurs, ink still dripping from her quill. "May the Council's voice never be perverted under my watch." The aged woman clasps a hand to her heart, before taking in her personal copy of their work. "And may this history never again be forgotten." Then, the old overworked woman rises from the desk and heads to sleep off her late-night editor's exhaustion. Until the next project comes along-!

[DahStalker 2858]

Adela Taronitissa de Leuven slowly lowered her worn quill back into its haven of an ink jar, fingertips liberating their grip from its hold as she briefly ogled at her ink-stained flesh, lips held into a timid smile. “This is good.” She commented softly, hand gently crossing her mouth in idle pondering. A blue-eyed stare landed itself onto the colored glass of her window, watching from afar the bustling streets of the capital, content with its tireless nature. Although an isolated hermit, the skittish woman could not help but feel connected to her fellow people through the writings of their history, no matter how insufficient of a topic one might personally deem it. She took a hold of her beloved quill once more, writing to her Queen with the readied anticipation of a third volume, unrelenting in her work.

[sarahbarah 5023]

Queen Amaya spreads the finalized edit of Haeseni Customs II across her desk. She beams with pride, setting off to publish it.

[indiana105 2140]

[Frostdrop1 877]

The avid dancer, Ser Audo Weiss, took particular pride in the Zvaerdans and fondly recalled his variant with his daughter, Martina. Of course, it was one of the few good memories he had with her. However he was naturally more known for more flaunty and grandiose dances - although that was perhaps his pride at wishing to show off his partner. He leaned over the kitchen table of their new hope to Veronica, "Mm, Mi Amor? Perhaps we ought try some more traditional dances at the next festival?"
@Bethinwonderland

 

[zuziee 3223]

Ludvika Ludovar began to study and learn the dances so she wouldn’t be left out at balls!

[esotericas 1561]

Galina Georgina LOVES dancing!!!

[annabanana1014 1635]

Countess-consort Klara Ludovar beamed as she read the missive within the halls of Otistadt Keep. She gleamed as she spoke to her husband, "Perhaps we could try one of these? They look ever so exciting, Otto." 

 

 @Dogged