The Enchanting Rhythms: The History of Mazurka de Cuyo

What is Mazurka?

Mazurka is a Polish folk dance that originated in the 16th century among the Mazurs of east-central Poland. The dance’s origin is traced back to the Mazovian region in Poland, with records dating to 1544. Its popularity surged in the 19th century, with over 800 Mazurkas composed by various artists.

Generally, the dance steps for Mazurka are distinguished by stamping feet and clicking heels. It is traditionally performed to the music of a village band and was quickly adopted at the Polish court, although it remained a folk dance. It eventually spread to Russian and German ballrooms and reached England and France by the 1830s. The dance is highly improvised, with no set figures and over 50 different steps.

The music used for this type of folk dance is usually in 3/4 or 3/8 time, with a heavy emphasis on the second beat. The volume of mazurkas composed for piano by Frédéric Chopin (some 57) reflects his interest in the music of his homeland as well as the dance’s popularity in his day.

Indigenous Cuyunon Performing Arts

Cuyunon dances evolved from indigenous and Spanish influences. Pastores, the shepherds’ Christmas dance; chotis, from the German schothische; lanceros de Cuyo, the local version of the French quadrille; birginia and virgoere, the virginia reel or square dance; paraguanen, a romantic comic duet; and la jota paragua, a Castillan-style jota using bamboo castanets and the manton.

The island is known for the Mazurka de Cuyo, a social dance with characteristic mazurka steps.

STEPS FOR THE MID-19th CENTURY MAZURKA

PAS DE BASQUE

(https://makeagif.com/gif/pas-de-basque-1KznOW)

Also: Polish Pas de Basque, Basque Step, Running Step, Redowa, Pas Courant

Preparation: R foot raised to 4th position in front

1. Switch on to R foot, kicking L foot fwd into the air (straight L leg). (None of the 19th-century sources mentions a ronde-de-jambe movement here.)
2. Continuing the momentum of the L foot, glide a long step fwd L, 4th pos, bending the R knee. Cellarius emphasizes a smooth, easy glide, not a jump.
3. 3. Cut R under L (coupe-dessous), kicking the L foot forward into the air. Repeat with opposite feet. Later variation (Zorn, 1887): On count 3, the coupe is audibly accented more forcibly by the men.

PAS GLISSE

(https://youtu.be/T-fycraLh2w)

Also: Pas de Mazurka, Mazurka Waltz, Cellarius Valse, Pas Ordinaire, Pas de Flore

1. Hop lightly on the R foot, with L closed to the ankle in front (temps level).
2. Glissade L forward to 4th position, keeping the straight R leg raised behind.
3. Skate again on L fwd, keeping R raised behind. Repeat on opposite feet.

PAS BOITEUX

(https://www.youtube.com/watch?app=desktop&v=13QS3Suyftg)

Also: Hobble Step, Limping Step

1. Hop lightly on L, possibly closing free R foot to the L ankle.
2. Glissade R forward to 4th position.
3. Close R to L Repeat, commencing with the same foot This may be commenced with either foot (some sources describe opposite footwork).

COUP DE TALON

(https://www.youtube.com/watch?app=desktop&v=s9aRwVf9EtI)

Also: Pas Polonaise, Pas de Mazurka, Pas Battu Laterale, Heel Step

Prep: Throw the straight L to the left side

1. Hop on the R and click the heels together in the air
2. Step L to the left side, 2nd position
3. Close R to L, raising the L to the left side to repeat. Ladies do not click their heels, but only mark the step lightly. Zorn advises to click the heels with parallel feet. This step may be done to either side

PAS FRAPPE

(https://www.youtube.com/watch?app=desktop&v=13QS3Suyftg)

Also: Pounding Step

After a promenade or other sequence of steps:

1. Jete fwd onto R audibly, holding the L (bent L knee) behind
2. Stamp L in 1st position.
3. Turn both heels away (pigeon-toed) or separate both feet into 2nd position.
4. strike heels together in 1st position.

5&6. Hold.

Cuyunon Dance: Where Song, Dance, and Drama Unite

The Cuyunon have developed the art of merging song, dance, and drama. Cuyo’s sayaw (dance) is a colorful enactment of a story heightened by the music of a string band. It is presented by five pairs of youth arranged in two lines, fully costumed and made up, and bearing props like flowers, crowns, and even knives. After an introductory dance, the leading couple proceeds to relate the tale, sometimes using verse. The topic may be anything, from everyday occurrences to special events like winning the sweepstakes. This story is then interpreted in dance and ends with a finale.

References:

Mazurka | Polish, Folk, Music

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