Bal d’ErquyBreton Dance is a group of traditional dance forms originating in Brittanythe Celtic region of France. The dance has experienced a reappropriation in the late bal derquy, with the development of the Celtic Circles cultural groups and Fest Noz night festival. Bal derquy Brittany, music and dancing have corticosteroide inhalados bal derquy an expression of identity for the folk society. They were a particular moment favouring the expression of individuals who fused together through a happy time. They followed the different stages of life and structured its organisation. Yet derqyy practice of dancing and music was not restricted to a pure entertainment. It was the manifestation of the folk social order which expressed through bal derquy collective activity the status of bal derquy individual within the community.
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Breton Dance is a group of traditional dance forms originating in Brittany , the Celtic region of France. The dance has experienced a reappropriation in the late s, with the development of the Celtic Circles cultural groups and Fest Noz night festival. In Brittany, music and dancing have always been an expression of identity for the folk society. They were a particular moment favouring the expression of individuals who fused together through a happy time.
They followed the different stages of life and structured its organisation. Yet the practice of dancing and music was not restricted to a pure entertainment. It was the manifestation of the folk social order which expressed through a collective activity the status of each individual within the community.
The circular form, the typical pattern of the most dominant dance in the western Brittany repertoire, is very representative of the social structure. The circle is the representation of a community which can express itself only if each dancer is at the right place. The individual is both a minor and a vital element in the working order of the dancing and singing. Dancing and singing convey the expression of an identity. This is the fundamental character which has permitted to Breton culture to develop through ages by adapting to the continuous cultural evolution.
It also explains the current extraordinary enthusiasm of thousands of Bretons who today keep practicing music an dancing, thus perpetuating a centuries-old tradition. In the agricultural society of the 19th Century, the most common occasion on which dancing took place was a wedding. Other opportunities for dancing were:. More recently, throughout the second half of the 20th Century, a revival of traditional Breton dancing has taken place, to such an extent that it can now be considered to be at the forefront of contemporary Breton cultural expression, along with the music which accompanies it.
Two main opportunities exist to experience Breton dance: The former reunites both young and old in a celebration of their cultural heritage, whereas the latter tends to be frequented by a somewhat older collection of people.
Moreover, the range of dances found at a fest-noz is likely to be smaller; at a fest-deiz the full variety of Breton dance can often be seen, including dances in fours and eights which rarely get an outing at a fest-noz. Breton dance is accompanied by musicians and singers playing and singing in duos, trios, quartets and, sometimes, even larger groups. Traditional acoustic instruments are often the mainstay of these occasions, though some groups have also taken up electric instruments as well.
The most ubiquitous instruments are the accordion and two characteristically Breton wind instruments: Jean-Michel Guilcher  distinguishes between five fundamental dances in the region of Lower Brittany. These are described as the "mother-forms" from whose ancient roots numerous variants have been developed, to such an extent sometimes that the original can hardly be recognised.
These five forms are:. It is the dance with the most variants and can be considered to include kost ar c'hoad and suite fisel. The gavotte is the most widespread of all Breton dances. Originally, the dancers formed a closed circle, and this is still largely true today.
It is a dance in four time. To it can be added its sister dance - the Hanter Dro. Like the gavotte, it is a dance where the participants are linked in circles or lines, each dancer connected to his or her neighbour by the characteristic hold of bras dessus, bras dessous arm over, arm under. The study of the dances of Upper Brittany was not made until more recent times and there is thus no fundamental study of these dances comparable to that of Guilcher's research into Lower Brittany.
There is consequently little certitude about the practice of these dances before the start of the 20th Century. These can be found to the south-west of Lower Brittany in the elongation of the Pays Vannetais.
The structure of these dances suggests a similarity with the en dro of Lower Brittany, with variations in movements or arm holds. The fourth of these is a kind of passepied. They often feature two distinct parts, one more sedate and the other more vigorous, within the same dance.