Lore Compliant Dances Thread!

[LadyLekku]

Have you ever been to a ball or gala IC and not known how to emote your dance? Did you spin like an awkward eighth grader at a school dance not sure where to have your character place their hands? Are you offended at this racy, vulgar display known as the "tango" somehow popping up at fancy events? Do you wish to show up the other dancers by having a choreographed, cultural, appropriate dance? Look no further~

So I know most of us are totally fine with just spinning around because we aren't too interested in overwhelming emotes, and would rather just RP. BUT. If anyone does like the idea of more historically accurate, or otherwise just lore compliant, culturally relevant dances, I'm going to share my ideas.

A few weeks ago I had an idea that I've just continued to expand upon, writing lore compliant dances. How would an Ithanian dance differently from a Vladno? I can't imagine these two cultures coming up with the same dance traditions. So I thought that having a few dances to refer to might simplify our emotes to "does a Vladno step" or something like that. It should cut down on flouncy emotes, while being more clear as to what you're doing, and how people may respond to that. It can also bring out a group dance, to get people playing and interacting together, or show if your character is having an intimate dance with a solo partner.

So I'm going to organize this way. Each dance will have its own post, and all posts will be link in the post below. The post below will have a blurb about what the dance is, what the culture is, and how this would be perceived.

Note: Of course, I am NOT lore staff. These are just fun IC ideas, and I encourage everyone to collaborate! However, I have to also implore you to study historical dances similar to what you suggest, lest we end up with inappropriate or immersion breaking moments. With that said, I also think we should try to branch off from simply linking to the thousands of youtube videos there are out there. Try to add something, or twist it some way to make it personal to Massive lore.

Let the dancing begin! Please feel free to leave feedback, make suggestions, or just talk about stuff in this thread!

 

[LadyLekku]

Grand List of Dances

This list will be consistently updated!
​

Vladno:
The Vladno Steps: A strict, invariable set of steps used to impress other traditional Vladno's. Can be danced solo, in a team, or in a large group. Very traditional ranging to joyful peasantry, depending on stylistic choices.

Velheim:
The Velheimer Stomp: A set of moves that Northerners might use in a casual setting, to celebrate. Danced solo or in groups, and probably too violent for noble parties.
Partner Dances: Sometimes possibly more appropriate for court settings, depending on stylistic choice, these dances can be done solo OR lend themselves well to dancing with a partner.

Regalian:
The Regalian Display: A form of ballroom dancing that is appropriate for noble peerage, which allows a man to display his strength by lifting a partner and impressing the crowd.

Ithanian:
Dance of Fans: Coming Soon!

Calemburger:
The Calemburg Trot: Coming soon!

 

[LadyLekku]

How to Contribute: ​

So if you have any cool ideas, tag me! Either share your full idea for a dance or a move and I'll add it to the list, or just throw up an idea and I can try to play with it. Definitely tag people who may be interested in seeing this thread, and share the link! Use the dances IC, if you're so inclined!

 

[LadyLekku]

The Vladno Steps

When I wrote this, I actually went as far as to count out the steps because I wanted a strict and invariable dance. Note that not all dances in the future will be so specifically choreographed. It isn't necessary to memorize the steps, I just enjoyed writing them out and showing the slight difference between the men and women.

A serious and seemingly joyless culture by nature, the Vladno steps are a set of rigidly structured hops and steps that are to be performed in exact precision to classify as a successful dance. However, the fervor of these steps has a much looser definition. The steps vary slightly between men and women, mostly in that women are expected to perform fewer actual "jumps", while also being given specific things to do with their arms. For a man, the height of the jumps and the energy of their steps, sometimes even becoming kicks or leaps, can signify their class by showing impressive feats of physical endurance while still keeping in line with the traditional steps. When the knees bend, the lower a man can go and the wider spread his legs, the better. Men are allowed to keep their hands folded either in front of or behind them, or may hold one arm behind and one in front. It is considered a sign of low-class peasantry to put your hands on your hips, though it does make for a more joyous tone of dance.

Steps:
Women:
8 counts - tap right foot out and in, while slowly raising your arms in the first position*, fingertips touching.
8 counts - tap left foot out and in, while slowly lowering your arms, spread to each side, palms up
8 counts - alternate a small hop to the right and left, two counts each, for a total of four hops, slowly raising hands in the first position, fingers touching.
8 counts - 4 counts of alternating right and left front kicks, 1 count each, four total kicks. 2 counts of a small jump in place, and 2 counts to slightly bend both knees. Hands are slowly lowered to each side, palms up.

*First position: a term in dance referring to both feet slightly apart, arms rounded, fingertips touching, as if holding a beach ball in your arms

Men:
Hands/arms should be kept in one of any appropriate position and not moved. Switching the arm position is considered peasantly.
8 counts - Four counts of kicks on the right, 2 counts for a high jump, 2 counts for bended knees.
8 counts - Four counts of kicks on the left, 2 counts for a high jump, 2 counts for bended knees.
8 counts - Alternate right to left, hopping, 2 counts per hop, four hops total (lifting the opposing leg in a 'figure four' is a common stylistic choice)
8 counts - 4 counts of alternating right and left front kicks, 1 count each, four total kicks. 2 counts of a high jump, and 2 counts to squat and bend both knees.

These steps are repeated, often beginning traditionally and ended with larger, more impressive movements from the men. The women and men do not ever touch nor dance near each other. On the occasion that men and women are dancing in the same area, the women will form a circle behind the men, while the men form the inner circle and can see each other dance. They give each other ample distance so as not to be kicked, but given that everyone should be stepping in the same direction at the same time, some larger groups of men will show off their coordination by standing very nearby one another. This requires some amount of practice, as the men would have to know how far to travel while stepping so as not to kick each other. Otherwise, several small circles can form in which there are no blending of the sexes.

 

[LadyLekku]

The Velheimer Stomp
I wrote this with the intent that Northerne people could be more wildly free with their bodies, and would appreciate a "let loose and do whatever" sort of thing. So instead of one dance, it's broken into various recognizable dance moves.

The Velheimer Stomp is a loosely organized dance that more or less means for the dancer to create percussive impressions which match the beat of the music. Men and women dance this together, with little variation between them. Even partnered dancing is meant to be interrupted and broken out of, either by switching partners, or by reverting back to the single-person stomping. What makes this dance so vulgar to some outsiders is that much of the stomping is often done with the dancing actually falling to their knees, and instead beating their hands against the floor. This, in addition to the wide and shameless movements of the bodies, the fact that men and women can touch each other, and that the music is often accompanied by unscripted vocalizations and shouts from the dancers, makes the Velheimer Stomp quite an uncommon sight in the noble scene.

It should be noted that either part of this dance can be done alone, in pairs, or in large groups. However, while the second part will compliment a partner, the first part is exclusively reliant on the single dancer's will. They just need to be given space to express themselves. There are no counts to consider in either part, but the following are some examples of movements to be done.

The World Tree: Hands are lifted high above the head, the torso stretched, and the back is arched in a circular motion while the fingers flex and move, and the shoulders rotate. The arms are to be branches, and the fingers are the leaves. The head looks straight up, following the motion of the body. The legs are spread wide apart and either remain still or rapidly tap. Alternatively, this can be done while kneeling.

Axe Wielding: The elbows are held around the hips, shoulders loose. The arms rotate, the right arm moving clockwise, the left moving counterclockwise. The hands are balled as if holding two axes. The back is free to arch and move. The legs are free to stomp or remain rigid. This can also be done kneeling, though it is common to hold your arms much higher up if you are.

Thrashing: This is the entirely free-moving motion of throwing one's arms about themselves. When kneeled on the ground, this is how one refers to pounding the ground to create percussive movements. Hands can be open or balled.

Reaching: Typically a woman's dance, though sometimes performed by men, this involves reaching the right hand and foot far out, then retracting them. Often this is repeated as the dancer turns in a circle, reaching in each direction. Expressive dancers may roll their torsos or necks as well, almost resembling serpents. This can be done kneeling, and the reaching leg will form a wide circle as it is removed from beneath the body. For the more ceremonial or bold dancers, the addition of a sword or axe can be made. The blade of the weapon rests on the shoulder of the reaching arm, either by balance, or held in place by the opposite hand. The heaviness of the footfall at the end of the reach is up to the dancer.

 

[LadyLekku]

Velheim Dances to be done with Partners
Some of these dances are more appropriate for a court setting, but only when done more slowly and with grace.

Circling: Done alone, one hand rests just behinds the hip, and the other is lifted near the face, palm facing outward. The shoulders may remain tensed if the back is arched to the side, or relaxed. The heaviness of the dancer's steps is up to them, and range from lit bouncing to heavy stomping and kicking. The dancer uses these steps to move in a small circle. When the right hand is raised, the circle turns clockwise. Once a circle is completed, the left hand is raised and the circle turns counterclockwise, and this alternates with every turn. Often, as the hands switch places, they are clapped in the middle. When done with a partner, the hand which is usually lifted to one's face is instead rested nearby the partner's face, as if about to cup their cheek. When not dancing with one's lover, the hand can be twisted away from the face, to create less intimacy.

Cross-kicking: This move can be done alone, in pairs, or in a line/circle with almost no changes. The steps involve taking a step or hop with the right foot, then crossing with the left, uncrossing and stepping on the right once more, and finally crossing and kicking with the left. The process is repeated in the opposite direction, on opposite feet. This is similar to a grapevine. While alone, the arms are free to improvise. With a partner, two two can stand facing each other and holding hands, or side by side. In a line or circle, the dancers hold hands and may rest their arms at any height. This means that sometimes a "wave" is created as some members of the group lift their arms and encourage others to do so in succession. Often this circle is broken as various members break off to perform their solo dances (Velheimer Stomp) in the middle. Dancers may leave and rejoin the circle freely.

The Fight: It is common practice among both men and women to mock a fight with their steps. Movements including throwing themselves into another person's opposing shoulder, throwing the palms forward and upward while the partner snakes aside, reaching past the partner's ear as if punching (with an open palm), and lowering the upper portion of the body to intensify heavy stepping in their direction while the partner back-peddles. Any motion that is reminiscent of fighting can be incorporated into a dance move, though it is suggested that the partners practice before going all out. Moving too quickly will revert this to a more casual, cultural dance, while moving slowly and with grace may create dance moves appropriate for the court. Alternatively, and only in a casual setting, solo dancers can reenact being thrown into a battle rage, complete with make the appropriate facial expressions and vocalizations while they thrash about. If a dancer is holding weapons, it's polite for them to be kneeling while they do this so that others can avoid getting caught in their swings.

 

[celticwitch]

Love love love!!
I've already just tried a few little things from the 'northern' part of it all. It was a gorgeous thing to emote.

 

[LadyLekku]

Love love love!!
I've already just tried a few little things from the 'northern' part of it all. It was a gorgeous thing to emote.

Click to shrink...

That makes me so happy!! Yes, use them, share them! I love the thought of a bunch of Northerners dancing and half of them being on the floor like kneeling and flailing about

 

[Ellimairy]

Amazing! Love this.

 

[Reaganism]

I doubt I can phrase it in any way professional, since I only ever danced swing, charleston and waltzers. And of those, I was the uninterested male to be taught the form quick.

Though I reckon the Austrian/English differences in a waltzer may apply perfectly to the tempo and style differences between Dressolini/Ithanian waltzer respectievely.

I'd also guess Ithanian dance could retain female control and guidance, which would need a different base. In our dance lessons control-freak males were forced to dance with submissive ones in female position to learn what it feels like to not control, and for the other to feel how to "tame". From that perspective, I doubt the regular Waltz base could allow for female lead.

Alt-Regalian dance could easily be military marches adapted to waltz tempo (Austrian waltz is 90 beats, military march is 120), or a simplefied waltz technique adapted to march tempo.

That is for high cultures and the waltz, I'd say.

 

[ScaledSupremacy]

Regalian military parade celebrating the victory of Regalia over the Essa Empire with the national anthem. 291 AC

 

[NightLight12]

Now women will love me ;-; thx

 

[LadyLekku]

I doubt I can phrase it in any way professional, since I only ever danced swing, charleston and waltzers. And of those, I was the uninterested male to be taught the form quick.

Though I reckon the Austrian/English differences in a waltzer may apply perfectly to the tempo and style differences between Dressolini/Ithanian waltzer respectievely.

I'd also guess Ithanian dance could retain female control and guidance, which would need a different base. In our dance lessons control-freak males were forced to dance with submissive ones in female position to learn what it feels like to not control, and for the other to feel how to "tame". From that perspective, I doubt the regular Waltz base could allow for female lead.

Alt-Regalian dance could easily be military marches adapted to waltz tempo (Austrian waltz is 90 beats, military march is 120), or a simplefied waltz technique adapted to march tempo.

That is for high cultures and the waltz, I'd say.

Click to shrink...

Admittedly I held a contempt for waltzing given that it was invented in the 19th century, and I find it immersion breaking. But that's me being a stick in the mud. I had an idea for an Ithanian dance where a woman led, but she tastefully kept a fan between herself and her partner at all times. Sort of like "he can't see me see this is appropriate despite being two people touching each other" while also being vaguely romanticized "don't to wish you could see me?" Sort of like a tease.

 

[LadyLekku]

The Regalian Display
This is a twist of ballroom dancing, which shouldn't offend the noble peerage. Unlike modern ballroom dancing, the women should never perform a move which requires their legs to spread. Instead, they would keep straight legs, crossed legs, or tucked legs. The man should never have to place his hand between a woman's legs to lift her, and all moves should be possible while wearing long dresses.

Like many aspects of Regalian culture, this dance is capable of being a beautiful piece of art, as well as a display of supremacy. The moves can be done in any order, and can be sped up or slowed to accommodate most types of music. It is counted in twos, making it particularly suitable for big band overtures, but those counts can be slowed again to suit more romantic or subdued tunes.

The idea is that the man shows off his strength by guiding, supporting, and occasionally lifting their partner. Ironically enough, this also requires a certain amount of strength in the partner, as any amount of grace while being lifted absolutely requires core strength, as well as body support. A floppy partner can ruin a lift. In some cases, this has encouraged men to lift other men instead, when no suitable women are nearby. In this case, the leader of the dance will alternate. Women lifting other women is less heard of, but they sometimes practice together.

Both partners, following the dominant person's lead, will make wide, sweeping steps as they move about. A busy dance floor is a dangerous place to be, for the untrained. A skillful pair of dancers can maneuver a crowd with little difficulty, provided that the leader can gracefully guide the pair, and the follower knows how to pick up on their cues about where to go. They can cross the dance floor, or stay relatively close to one area, but they will always need some space to pick up momentum and eventually do their lifts.

The use of one's hands is imperative to this dance. Sloppy rejoining of the hands is a sign of poor form. Two dancers who can confidently slap their hands together and rejoin them look more impressive. The placement of hands while lifting, and the elegance of hands while lifted, also show a well practiced pair.

Travelling:
(Travelling refers to when the dancers move about the floor, from one place to another, or in a pattern)

Sweeping: This refers to the wide arcs of the legs, of either partner, while travelling. One count step, One count step, Two counts sweep. It's a common tactic for changing which leg is in front, while keeping with the timing.

Gliding: This refers to basic traveling, with the long, graceful steps of the dancers.

Leaping: Dancers can choose to leap for either part or all of their current travelling. A leap is considered one count. Often, this is a way of building speed or momentum for a lift. Often the legs are kept straight, and the feet are used like springboards to bounce easily.

Parading: This is a slower, more easy to control form of traveling. Often pairs will parade while they need to occupy a smaller space. The leader raises their partner's hand, and takes smaller, manageable steps while the partner finds a suitable position. It's typically a move between moves. Alternatively, those who are less practiced dancer will prefer parading to the other methods of travelling, since it makes them less likely to plow into other people. In this case, the raised hands often switch. When the inside hands are held, both partners face forward. When the outside hands are held, the partners face each other. Switching between these stances in proper time can make for a perfectly acceptable display.

Lifts:
There are countless lifts that exist, but I'm going to rename some of them into lore equivalents and list them here. I'll also give a few super easy ones.

Basic Lift: A basic lift is the easiest and most versatile move for new dancers. It involves the first partner putting their hands on the hips of the second partner, and lifting them briefly before setting them down. The second partner supports their core, and can put their hands on the first partner's shoulders for added support. The height of the lift can be varied, as can the duration. This still requires strength in both partners, lest a man dig his thumbs into a woman's hip, or a woman crumple under her own weight. Partners can experiment with this lift, where the second partner is facing them, or facing outward. Whether their arms are used in support, or are used for some other artistic pose. There are endless variations.
Example

Basic Tuck: The first partner lifts the second by placing their hands on their hips. The second partner then holds their legs tucked high, for some amount of time. Often a tuck is used when the first partner would like to turn the second around in a circle. Care must be taken that the second partner not knee the first partner in the groin. Again, body control is key.

The Salute: The second partner wraps their arm around the top of the shoulders of the first partner. The first partner support the second by wrapping an arm around their midsection. The first partner lifts the second, and both partner extend their arms in straight lines.
Example: Note, the woman's legs should be crossed or straight down.

Flips/Aerials:
These lifts involve the flipping or throwing of one partner, and are reserved for either male pairs, or male/female pairs who have practice enough that the woman's dress will not fall.

Raising the Spirit: The second partner rocks forward as if about to cartwheel, is caught while upside down by the first partner, and the first partner swings both of the second partner's legs over one of their shoulders. The first partner proceeds to lift the second partner onto their shoulder (which puts the second partner right side up once again), while the second partner spreads their arms out to each side. The first partner places their hands just below the underarms of the second partner to hold them high overhead, behind them, while the second partner faces outward. The straighter both of their arms, the better.
Example

 

[Optimalfriskies]

The traditional ballet Pas de Deux (dance for two) would be really cool to see here!
Some inspiration for you:

Spoiler

It's divided into different parts

• Entree (Meaning: "Entrance"): The entrance where both dancers step onto stage, and acknowledge eachother in preparation for the second part.

• Adagio (Meaning: "Slowly"): The tricky part indeed. The dancers begin a slow sequence where the Danseur begins supporting the ballerina as she begins movements that would be impossible to do alone in a very slow manner. This includes, but are not limited to:
  • Penche
  • Pirouettes
  • A variety of lifts like the Fish dive, shoulder sit or grand jete (The grand jete being possible to do on her own, though not as high up.)

The adagio is a display of skill, where the woman is front and center. The danseur's job is to look calm and composed at his display of strength, as the Ballerina showcases her grace and skills.​

• Variations: This is where the spice comes in, the dancers separate and begin a complicated set of solos that often include a series of acrobatic leaps and pirouettes. These are meant to show individual skill, and is often tied into the overarching plot of the ballet, as the dancers turn to, and address each other in the dance.

• Coda (Meaning: "Tail"): The finale of the dance. The dancers go back together and begin a repeat of certain movements within the Adagio and Variations bit. The Coda always ends on a high not, a climatic moment in the music. It can be ended in a lift, or a dip.

If you need some help with other dance styles, feel free to ask! I study dance, so we have a lot of historical dance styles!

 

[LadyLekku]

The traditional ballet Pas de Deux (dance for two) would be really cool to see here!
Some inspiration for you:

Spoiler

It's divided into different parts

• Entree (Meaning: "Entrance"): The entrance where both dancers step onto stage, and acknowledge eachother in preparation for the second part.

• Adagio (Meaning: "Slowly"): The tricky part indeed. The dancers begin a slow sequence where the Danseur begins supporting the ballerina as she begins movements that would be impossible to do alone in a very slow manner. This includes, but are not limited to:
  • Penche
  • Pirouettes
  • A variety of lifts like the Fish dive, shoulder sit or grand jete (The grand jete being possible to do on her own, though not as high up.)

The adagio is a display of skill, where the woman is front and center. The danseur's job is to look calm and composed at his display of strength, as the Ballerina showcases her grace and skills.​

• Variations: This is where the spice comes in, the dancers separate and begin a complicated set of solos that often include a series of acrobatic leaps and pirouettes. These are meant to show individual skill, and is often tied into the overarching plot of the ballet, as the dancers turn to, and address each other in the dance.

• Coda (Meaning: "Tail"): The finale of the dance. The dancers go back together and begin a repeat of certain movements within the Adagio and Variations bit. The Coda always ends on a high not, a climatic moment in the music. It can be ended in a lift, or a dip.

If you need some help with other dance styles, feel free to ask! I study dance, so we have a lot of historical dance styles!

Click to shrink...

I only know what I picked up from being in the SCA (medieval nerd club) and various Shakespeare or theater festivals, so definitely feel free to contribute! As I said I'm not lore staff or anything so this is all just player-made stuff anyways.

 

[HoshiWomp]

YES I LOVE THIS!!! Reserved so I can make a Cielothar Shuffle