Highland and Ballet: Sharing Ancient Roots and Traditions
by Pat Beaven
reprinted from Highland Dancer Magazine
A common question: Isn’t the serious Highland dancer put at a disadvantage by simultaneously taking ballet classes? There is a perception that one form will somehow ‘contradict’ the other, that ballet and traditional Highland dance are at opposite ends of the spectrum. Quite the contrary! Many people don’t realize that the two share ancient roots, traditions, and techniques.
The strong connection is largely a result of the ‘auld alliance’ as Scotland and France banded together in a common enmity against England. With Edmund I on the throne of England, Scotland’s John Balliol and Philip IV of France drew up an offensive and defensive alliance to resist the threat of colonization. This became a treaty in 1295, and was strengthened by the marriage between Balliol’s son and Philip’s niece. Robert the Bruce renewed the bond in 1326 with the Treaty of Corbeil, and later, during the 15th and 16th centuries, France and Scotland assisted each other against English aggression at least six times. Not only did this alliance that spanned centuries produce a strong political connection, but a vibrant cultural one as well. Scotland incorporated much French influence into the arts, especially the world of dance.
One only has to look at the five positions of the feet to see this influence from the ground up:
There is a great similarity in the way ballet dancers and Highland dancers hold themselves and move. In both forms, the body is held in the “classic” stance or style: the body in a central upright position, with arms and legs in balance and harmony around it. Correct comportment is critical in both forms – a tall, dignified carriage of the body and grace in the movement of the head, body, arms, and hands. Ballet and Highland dance both require a controlled athleticism, with strength, stamina, balance, and flexibility figuring prominently.
The elegance and carefully disciplined, detailed steps of Highland dance are closely related to the dancing of the French court of the 17th century. The heel-less shoe had come on the scene, making possible more natural movement and more intricate footwork – and the pointe shoe would not make its appearance for almost a century. This is when ballet as we know it began to emerge as an art in its own right, mainly through the efforts of Louis XIV and his founding in 1661of L’Academie Nationale de la Danse. It’s interesting to note that at the very beginning, both ballet and Highland dance were for men only! Highland dance as it probably began as a military activity, and ballet because performing on the stage – and especially dancing – was not considered a proper occupation for ladies (men played all female roles in early ballets).
Another undeniable similarity between the forms is the turn-out of the feet and legs. How did it begin? In 17th-century France, the aristocracy sought to separate themselves clearly from the common people. This was done through speech, manners, and general deportment. Borrowing from the Italians, the upper classes developed a distinctive walk designed to call attention to themselves: they began to walk with their toes (and as a consequence, their legs) turned out. As a bonus, it was easier to do the sideways movement called for in certain dances, such as the Branle, with feet at an angle to each other rather than parallel, so this turn-out soon became the norm in court dancing. As ballet as an art form was codified and formalized at a time turned out feet were in fashion, this formed the basis of the ballet step. This turn-out was embraced by Highland dance, and of course, continues to be one of its stylistic hallmarks today.
Even the bagpipes – the chief instrument used to accompany Highland dance – has an important point of reference from ballet’s forerunner, French court dancing. The bagpipes can be found throughout the world in one form or another – from a probable Middle Eastern origin, we find them from Ireland to Central Asia, we find them in Germany as the dudelsack, in Spain as the flaviol, in Italy as the piva. And when ballet was beginning, this instrument enjoyed great popularity in the French court as the cornemuse or musette.
Ballet and Highland dance: as we see, not so far apart after all. Not surprising, then, to find a kilted Highland dancer written into in such classical ballets as Filippo Taglione’s “La Sylphide” or David Lichine’s “Graduation Ball”. Or for Highland dance to have a traditional step from the Basque country on the France/Spain border as its signature setting step, referred to in the Scottish Official Board textbook by its original French name – the Pas de Basque. The spirit of the ‘auld alliance’ … history living and breathing in Highland dance!
