The sardana (; plural sardanes in Catalan) is a Catalan musical genre typical of Catalan culture and danced in circle following a set of steps. The dance was originally from the Empordà region, but started gaining popularity throughout Catalonia from the late 19th century to beginning of the 20th century after the modernisation done by Josep Maria Ventura i Casas.

The steps are meticulously counted as two- or three-step movements taken sideways within the circle. The direction of the steps is alternated. The hands stay on the hip or shoulder level depending on the step structure. The pattern of the choreography has jumping intervals changing with the music. Usually there is more than one circle with varying tempo and levels of dance knowledge. The invention served to symbolize the distinct Catalan ethos promoted by the then-newborn Catalan nationalism. These influences evolved into sardanes (plural of sardana) of different lengths. As a consequence, people started counting steps in order to finish at the same time. Shorter choreographies could be accommodated in longer melodies. The new melodies which progressively were made popular required new instruments, increasing the size of the cobla. This fact increased the identification of the sardana with Catalanism.

In 2015 the Spanish parliament approved unanimously an initiative of the People's Party of Spain to urge the Spanish Government to promote sardana for inclusion in the UNESCO Intangible Cultural Heritage. The same vote was done in 2002 in Spain's senate and was rejected due to the negative vote of People's Party of Spain.

Sardana and Catalan identity

The dance became a national symbol because it is identified with the core Catalan values including harmony, brotherhood, and democracy. Historians and ethnomusicologists generally refer to Pep Ventura as Catalan due to his lineage (his parents were from the Catalan region of Empordà), the first language he spoke (Catalan) and his habitual residence. The attributes and values in which Catalan people are invested make the sardana of Catalan nature, and it express Catalan qualities. As a result, both sardana llarga and Pep Ventura have become symbols of national resistance against the power of Castile.

In Catalonia, about one hundred and thirty cobles are active, most of which are amateur bands. Outside Catalonia, there is at least one more cobla: Cobla La Principal d'Amsterdam.

Sardana dance

thumb|Sardana in the [[Plaça Sant Jaume in Barcelona]]

The music written for the dance is a sardana (plural: sardanes), and is usually in two sections (tirades), called curts and llargs, each of which may be repeated in various ways to form the pattern for the complete dance. There is usually an experienced dancer leading the circle. The dancers hold hands throughout the dance: arms down during the curts and raised to shoulder height during the llargs.

  • The introit is a few introductory notes played freely by the flabiolist, typically ending with an upward scale and a tap of the tamborí, signalling the other players and dancers to begin the curts.
  • The first tirada played by the band, called the tirada de curts ("short steps"), is of length between 20 and 50 measures and has a two-measure pattern. The tempo is typically about =112 to 120, in and/or rhythm. It is danced with the arms down: (point-step-step-cross) to the right followed by (point-step-step-cross) to the left. The curts is usually repeated the first time it is played.
  • The tirada de llargs ("long steps") is of 50 to 100 measures and has a four-measure pattern. It is danced with the arms up to shoulder level, and is more lively than the curts. However the tempo is typically slower than the curts, about =100 to 108, with long lyrical tunes accompanied by variants of a dactyl rhythm. The llargs is usually repeated the first time it is played.
  • The contrapunt is played by the flabiolist, and is a two-measure break signalling the last repeat of the llargs.
  • The cop final ("final beat") concludes the dance with a unified movement from all the dancers, still holding hands.
  • A modern sardana dance has the following typical pattern, which shows all the repeats of the curts and llargs:
  1. introit
  2. 1st tirada: curts
  3. 2nd tirada: curts
  4. 3rd tirada: llargs
  5. 4th tirada: llargs
  6. 5th tirada: curts
  7. 6th tirada: llargs
  8. contrapunt
  9. 7th tirada: llargs
  10. cop final

The number of measures in the curts and llargs, called the tiratge or "run", is important to the players, and may be indicated before the start of the dance (e.g. a "run" shown as 25x79 indicates 25 measures of curts and 79 measures of llargs) in order to terminate the tirada correctly with the correct foot, though a method commonly used is to count the measures in the first tirada and not dance until the second has begun.

A dancer is called a sardanista (plural: sardanistes).

As a relatively slow, non-performance dance, the sardana does not require special fitness. The dance circle can be opened to a highly variable number of dancers. When danced in the streets and town squares, small circles of dancers can be seen to form and grow: these are open circles called rotllanes obertes, and passers-by can join, leaving their bags in the center of the circle. When a dance circle is too big it may split into smaller circles. The dancers are alternate men and women – with the man's partner on his right – and care must be taken by those joining not to split partners. Another kind of circle may be formed by members of organised sardana clubs called colles, and each colla may wear its own costume.

thumbnail|Espardenya: traditional shoes used to dance sardanes

In order to dance sardanes comfortably the footwear must be flexible enough to allow the dancer to jump slightly when the llargs come. Traditionally sardanistes wear special dancing shoes called espardenyes made of esparto grass fabric and with two long fabric strips to tie them up around the ankle. Nowadays most people have replaced these with regular trainers.

Many sardanes have sung versions, but mostly instrumental versions are used for dancing. Recordings of sardanes or sardanes played in concert usually contain the introit, two curts and two llargs. Sardanes may be recorded for dancing, having all the entrades in order. Often sardanes are written for special occasions or to commemorate people.

Composers of sardanes

  • Josep Maria "Pep" Ventura (1819–1875)
  • Enric Morera i Viura (1865–1942), composer of the most popular sardana La Santa Espina
  • (1872–1949)
  • (1874–1939)
  • Juli Garreta i Arboix (1875–1925)
  • Vicenç Bou i Geli (1885–1962)
  • Eduard Toldrà i Soler (1895–1962)
  • Roberto Gerhard (1896–1970)
  • Ricard Lamote de Grignon i Ribas (1899–1962), son of Joan Lamote de Grignon
  • (1901–1985)
  • (1907–1957), son of Josep Serra i Bonal
  • , (born Amer, Girona, 13 November 1916died Girona, 30 December 1998)
  • (1918–2002), winner of two sardana awards
  • (1926-2015), singer and actress, winner of the Creu de Sant Jordi
  • Joan Gibert Canyadell (Joan Gibert i Canyadell; born 1941)
  • (born 1943)

See also

  • Armenian dance
  • Assyrian folk dance
  • Ballu tundu
  • Catalan shawms, discussing the tenora and tible
  • La Sardana de l'alcalde
  • Faroese dance
  • Kurdish dance
  • Turkish dance

References

  • Portal Sardanista
  • El testament d'Amèlia (Joan Lamote de Grignon) Video of a performance by the cobla "Comtat d'Empúries" in Castelló d'Empúries.
  • La Santa Espina A centenary performance by "Dansaires del Penedès" in Tarragona.
  • 45-sec Video of Sardana dance and music on Commons
  • The Sardana and I by Coby Lubliner
  • Catalan Dancing in Barcelona, Sardana Dance
  • Sardana video
  • El bloc sardanista dels Botet Extensive work with pictures, comments and documentation on all the diverse activities related to the world of Sardanes that the family Botet has attended to since 2001. The family Botet attends to a high variety of gatherings, dances and music concerts.