Folk Dance in Austria

          Austrian folk dance is Alpine in nature and shares many of its characteristics with Bavaria. Some dances and their variant forms are known on the German side of the political border and in all Austrian states as well, while others are known only in one particular village or valley. Also there are differences in dancing style due to the different cultural and historical influences on the individual regions. The traditional dances of the mountain regions fall into two main categories: social dances and ritual dances. Included in this latter group are the large representational dances that are reserved for special occasions. Of the social dances, the most prominent are the many Landler/Landler forms.

          It was the task of these groups to carry out the seasonal customs and organize the social events and dances in the village. Each association took great pride in their Landler, wherein some emphasized the words and melody while other groups concentrated on the dance form. In each case the objective was to exclude young men from outside the village and to distinguish their dance from that of other groups.

          In addition to the turning couple dances, there exist dances based on the social dance forms of the 19th century, with larger forms like the 'Bregenzer Sechser¹ reflecting the popular Quadrilles of the urban class. There are even survivals of English country dances which are believed to have been introduced during the 18th century by members of the British Embassy in Vienna. The dance "Sir Roger de Coverly^" has survived under various names and forms.

          There also are many dances for three people. The earliest reference dates from the 13th century. In his prose epic, Werner der Gartner describes such a dance: '...between two ladies stood a knight and held them by the hands, just as can still be seen at a dance today, and likewise at the other end between two maidens stood a page and led them by the hands and fiddlers stood there too'

          Ritual dances most often are anchored in celebrations such as harvests, weddings, carnivals and May festivals. Among them are counted the dances of the guilds, like miners, coopers, cloth makers, etc. These dances are always large group dances and often are only danced at special occasions. Some, like the Huttenberger Reiftanz and the sword dance of the Durrnberger miners, belong to a very specific group and are danced by this group only at a specific time and in a specific place. While Landlers are social dances meant only for the enjoyment of the dancers, these large forms are intended for spectators.

          The organized folk dance movement in Austria has its beginning in the first years after World War I with a new awareness and renewed interest in native culture and folk arts. There was already an interest in folk song and music, when, through the efforts of Prof. Raimund Zoder, folk dance was recognized as an important part of indigenous culture. As collector, researcher and teacher Prof. Zoder laid the foundation for the Austrian folk dance movement, whose objectives were, and still are, to re-establish a living tradition of native dance and song among all levels of society and to collect and preserve them for future generations.

          In 1929 Prof. Zoder published the first collection of Austrian folk dances. In the introduction he wrote: '...the point of the cultivation of true folk dance is not to learn the large show forms and to present them on stage and at dance competitions for the entertainment of the audience.  The point is to disseminate the dances with the goal to preserve for the people those dances that are suitable to them.  The goal is not to show what the dance group can and the spectators can not do! The educational worth of folk dance lies in the cultivation of community and it becomes one of the most impressive art works of our people through the combination of music, movement and, often, of joined song'

          Other distinguished folk dance scholars join Prof. Zoder in this view. Herbert Lager writes: 'we should strive for lightness and naturalness in the execution of our dances, I would almost like to say 'elegance'.  The regrettable assumption that folk dances are synonymous with coarseness is totally wrong and causes misinterpretation in execution and presentation of our dances. Unfounded shouting and noisy stamping and other contrived 'spontaneities' belittle our dances. Acoustical and physical outbursts of temperament are only appropriate if the mood and environment are correspondingly rustic. Let us not forget that our dances do not only belong on the village dance floor, but have their place in the urban ballroom as well.  The conduct of the dancers should correspond to the dance occasion'

          And finally, Ilka Peter's view on folk dance: '...and above this, there is the duty to cultivate our dances responsible, not simply for the joy of dancing, but with an inner awareness of responsibility..^ great sensitivity is required in the use of ritual dances, among which we count the hoop dances and the ribbon dances **. In no case may we dance these dances, which are tied to especially festive occasions, at any and all events.'

          Gradually the governments and ministries of the various Austrian Lander (states) began to support the research and preservation of folklore. Today young people are introduced to their dance heritage in agricultural colleges, teacher colleges, and similar institutions. Youth organizations, too, play a large role in the preservation of Austrian dance and music. Folk dance associations of the various states sponsor folk dance leader conferences, leadership training sessions and dance workshops to ensure high standards of dancing and leadership.

          Folk dancing for children is just now beginning to attract attention. The general opinion was that dancing is the privilege of single young adults and, because of the strong courtship character of Austrian dance, was considered inappropriate for children. It was also thought that if children danced these dances in the lower grades, when they became young adults they would reject these dances as 'Kid stuff. Since there is a wealth of 'play party' -type dances, it was not deemed necessary to introduce folk dances in the elementary classroom. 

KPG

written for the 'Ontario Folk Dancer", Oct, 1996

 

Zillertal	Brixental
Hochpustertal, Osttirol	Stubaital

 

Information and Photographs Courtesy Karin Gottier