The Bossier banner. [volume] (Bellevue, Bossier Parish, La.) 1859-1952, 1882-06-08
Dancing the Csardas.

It was pretty scene, the rapid move
ments OF the dancers in the gay cos
TUNES, the picturesque background of
low sheds covered with the large round
leaves of the melon, its tendrils hanging
in graceful festoons, and its golden fruit
resting on the thatch. We might have
been witnessing Spanish saraband.
The Hungarians dance for their very
lives. To them the practice of the terpsi-
chorean art is no mere languid and
graceful undulation of the figure, but
perfect wild abandon of mirth, and they
whirl, and spin and gyrate with the We
locity of dervishes until their long black
locks stand out straight, and their faces
are ablaze with heat and excitement.
Watch them as they perform the csardas
their national dance--to the strange
wild harmony of cziganok! Watch them
as they balance themselves backward
and forward while adapting their subtle
mating strains! The csardas is essenti-
ally pantomimic and describes by mute
action the unquiet sscourse of true love-
The music is at first slow, and the couples
walk up and down the room together in
a stately manner, then, affecting to have
made each other acquaintance and fall
len victims to the tender passion, the
music grows more lively, and '.the
eourtship'' begins in earnest. The lover
advances toward his inamorata, she
coyly responds, and they spin round
together for a few seconds, when,
as if thinking she had given him too
much encouragement, the maiden retires
pouting, whereupon he again approach
es, but this time she turns her back on
him and dances off in contrary direc-
ton. Following her, however, he over
takes and seizes her around the waist,
and away they 60 again Whirling de-
liciously, until she manages to extricate
herself from his grasp. Shy and friend
.ly by turns, now encouraging her part
ner and now retreating with offended
dignity, the lover at length becomes
chagrined at her caprices, turns his back
upon her, and they dance dos dos for a
while, with indignant gestures, till the
maid, with signs of repentance, seeks
reconciliation. The music grows faster
and faster, the lovers, in the ecstasy of
reunion, whirl and twirl madly, nor do
they stop until both are quite giddy and
out of breath. when, retiring from the
scene, another couple take their place
and the performance begins again. The
csardas, of course, varies slightly in each
instance, according to the locality and
spirit of the dancers, but the subject re-
mains the same-love, courtship, ieal-
ousy, disappointment, reunion and hap
piness .'ever after.'' Sometimes, in the
closing scene, it winds up by the lover
throwing himself on his knees before his
mistress while she dances around him in
token of her complete triumph. Several
couples are always occupied at the same
time in this dance in one phase on anoth-
er Of the would-be courtship, while the
mems hats, decorated with fresh flowers,
the women got up in the most coquettish
and picturesque costumes imaginable,
the stamping of feet, clashing Of spurs,
and wildly exciting strains of the gypsies
as they saw away madly at their Violins,
all combine in rendering the csardas a
most interesting and animating spec
tacle. Nor is it danced only by the
peasants. 1t is seen in the ballroom OF
the mobiles, even at the capital, where a
gypsy band is always summoned to
accompany it.-Magyar Land.