The Kontredans Avande (Fr. L’avant Deux ou En Avant Deux) is one of the nine most popular dances of the kontredans that are danced in Seychelles. The others include: Avantrwa (Fr. Avant Trois), Avankat (Fr. Avant Quatre), Men Gos Men Drwat (Fr. Main gauche main droite), Dozado (Dos à dos), Laboulonzer (Fr. La Boulangaire), Galo (Fr. Le galop), Final (Fr. Final) and Galo Final. There are three other slightly different kontredans to the first group and these are: Lansye (Fr. Lancier), Polonez (Fr. Polonaise) and Karyon (Fr. Carillon). I will attempt, in future posts, to describe each one of these dances in some sort of detail.
Read these posts first
To fully understand the background to this dance, I recommend that you first read the following posts:
- Kontredans -Contredance-, An Introduction
- The Figures and Calls of the Contredance of Seychelles-Figir ek Maloumbo Kontredans Seselwa
What is the kontredans?
The kontredans is defined as the repeated execution of a predefined sequence of figures, carefully designed to fit a fixed length of music, performed by a group of people, usually in couples. The figures involve interaction with your partner and/or with other dancers. The name is derived from the French word ‘Contredance’.
The kontredans consists of a series of elegant, bright and rhythmic dances that were once popular all around the Seychelles and that are now, unfortunately, performed only at special occasions and festivals. It is a social dance, and a partner is always required. The dancers form couples with the lady or danm {Fr. dame) always located on the right-hand side of the gentleman or kavalie (Fr. cavalier). The couples then form sets of two couples in two long lines facing each other. The size of the dance floor would usually dictate the length of the lines.
Avande (Fr. L’avant Deux ou En Avant Deux)
In this post, I will attempt to list all the calls and figures associated with the Avande kontredans and then reproduce the calls for a complete dance together with its embellishments. Please note that the calls and figures are not set in stone. Callers can vary the number of figures to be performed or add extra ones as well as making the dance longer by repeating the calls etc. This results in a few variations of the dance. But in essence, the dance still stays true to its name.
I will also embed or link the dance from YouTube, and I apologise for the quality of some of the videos. I could not source any videos that were professionally filmed but look forward to being able to access them soon. Let us first look at the meaning and possible origin of the dance.
Historical Background
The Traditional French Avant-Deux
The traditional ‘Avant-Deux’ is a family of traditional French dances, which is widely danced over a large part of the western half of France known as the French ‘Grand Ouest’. The Upper Brittany , the Vendée , the Normandy and Poitou are the regions traditionally associated with this type of dance repertoire.
The Seychellois kontredans Avande derives from the ‘Avant-Deux’ which originates from one of the dances of the classic ‘Quadrille Français’ called ‘L’Ete’ or summer in English. There are six dances in the set of the classic ‘Quadrille Français’ and the other five are as follows:
The Basic Figures of L’Eté
The figures of L’Eté include the following (selon Brunet -1839):
En avant-deux; En arrière; Chassé à droite; Chassé à gauche; Traversé; Chassé à droite; Chassé à gauche; Retraversé; Demi-Balancé; Tour de main.
How is the Traditional French Avant-Deux danced?
The Traditional French ‘Avant-Deux’ is made up of a succession of figures, as indicated above. It is a ‘called’ dance, which is to say that the caller announces aloud the various parts of the dance. It is danced, in several variations depending on the region, but it generally consists of two pairs of dancers arranged in a ‘quadrette’ (men and women facing each other). It is danced in the typical ‘quadrette’ fashion whereby only one couple dances while the other waits, in an alternating fashion. When the caller shouts out the ‘avant-deux’ the gentleman and the lady who faces him ‘walk’ forwards and backwards performing the ‘avant-deux’ figure.
Video Links of a Traditional French ‘Avant deux’.
I have linked below a few videos of the Traditional French ‘Avant Deux’ to assist in understanding this sequence of the figures. (Please Skip Ad)
Avant Deux de Nazareth (Plancoët) et Contre-danse de L’Arguenon
Finale concours Avant-deux de travers
Voici la finale du concours d’Avant-deux de travers, organisé à Orvault le samedi 7 janvier 2017. Le morceau est proposé par le groupe Gevelled.
Danse Bretonne – Avant deux de Travers (des Touches) – Sonerien ar Goued
Avant-deux de Bazouges (par Hanter-Vro )
Concours Avant-deux de Bazouges (par le duo Kerno/Buisson ) Monterfil 25/06/2016.
Voici une vidéo de la demie finale du concours d’Avant-Deux de Bazouges, qui a eu lieu lors de la 40ème édition de la gallésie en fête, à Monterfil. Le concours était animé par le duo Kerno/Buisson.
Let is now have a look at the Avande Seychellois
The calls typically associated with the kontredans Avande
Below are the typical calls and figures that are traditionally associated with the avande, excluding all the embellishments. As mentioned earlier, the length of the dance varies greatly among callers who may also add extra figures or who may even change the sequence of the figures.
The calls- Maloumbo
Kavalye a vo plas, serse vo danm. Cavaliers cherchez vos dames et prenez place.
This call requests the gentlemen to find their partner and take their position on the dance floor. The dancers find their way onto the dance floor and all ladies position themselves on the right-hand side of the gentlemen. Two lines of couples are created with all dancers from both lines facing each other. Once on the floor, the dancers may start to gently move to the rhythm of the music while waiting for the caller to start the dance. When all is ready the caller then starts:
Danm vire, kavalie frape vo men/ tour demi ron. Dames virez, cavaliers frappez vos mains et dames fait demi-tour.
The gentlemen clap their hands while the ladies turn clockwise and then anti-clockwise in front of them. Just before the musical phrase is over, the gentlemen and the ladies hold hands, to waist height, and form a small circle and dance by themselves, turning clockwise and then anti-clockwise, while staying in their position.
Tigalo Madanm adrwat. Mesdames fait des petits pas aux galop et passez à droite du cavalier
Ladies, make short steps and move to the right-hand side of your partner.
Travers senn Anglez (lasenn anglez). Formez la chaîne Anglaise
At the end of the figure above, without breaking the rhythm, the gentlemen perform the senn Anglez by using their left hand to hold on to the ladies’ right hand and then they both raise their hands above head level. And, with their ladies in front of them, they leave their original spot and cross over to the other end where the other couple is. This figure is also known as demisenn Anglez
The opposing couple also performs the same figure.
Lasenn Fransez. Chaîne Française
They then perform lasenn Fransez, or chaîne Française by returning to their original spot. The ladies will be continuously swirling in front of the gentlemen during this process, with the gentlemen still holding the ladies’ hand over her head. The gentlemen may leave their arms hanging loose or rest on their hips. The couple at the other end also does the same movement and completes the same figure. This figure loosely resembles a chain, hence the name lasenn (Fr. chaîne). This figure is also known as demisenn Fransez.
Lasenn de Danm. La chaîne des dames.
This call literally means to form the ‘Ladies chain’. The Ladies from each couple perform a full figure of eight by weaving towards the other couple’s spot, using small quick steps, and holding the sides of their skirt, turning around the gentleman and returning to her original spot. During that time, the gentlemen acknowledge the ladies and dance in their location and do not move from their spot. If this figure is to be done twice then the caller calls ‘fer redouble’ or ‘redoublez’.
Balanse. Tournez
This figure is most of the time performed at the end of the second figure of lasenn de danm. As soon as the ladies arrive back at their original spot, they ‘fall’ into the open right arms of the gentlemen and they both ‘spin’ clockwise, and at the end of the phrase, the caller will call, arrier devire or vire devire, meaning to spin anticlockwise. The gentlemen hold the ladies with their right arm around the ladies’ waist and the ladies hold the gentlemen with their left arm just below their shoulder. At the same time the gentlemen hold the ladies’ right hand with his left hand, holding her hand up and as if they are going to dance a waltz, although the steps are very different from that of a waltz.
Annavan Lede Vizavi. En Avant les Deux et Dansez Vis-à -Vis.
The gentleman from one couple and the lady from the other couple move forward and dance in front (vis- à-vis) of each other. When the two dancers are performing their avande, the other gentleman and lady move to the rhythm but stay in their position.
Krwaze Sase– Croisez-Chassez
This figure is performed by the gentleman of one couple and the lady from the other couple. When the caller calls for krwaze sase, the gentleman and the lady, straight after they have performed the avande, stay in the middle and dance around each other without holding hands. At the end of the musical phrase, they return to their original position and perform lasenn de danm.
Travers Senn Anglez (lasenn Anglez or demisenn Anglez). Formez la chaîne Anglaise
Lasenn Fransez/demisenn Fransez. Chaîne Française
Lasenn de Danm. La chaîne des dames.
Balanse. Tournez
(The above set of phrases may be repeated a few times depending on the caller)
Ron salon. Formez une ronde.
Upon hearing this call all dancers form a circle. They all hold hands with the gentlemen and ladies in alternate positions i.e., one gentleman then one lady and so on. They form a large circle and all dancers face inside the circle. But sometime one dancer may decide to face out. All this is done within one musical phrase. Sometimes while forming the ‘ronde’ the caller may also call out ‘atrap lanmen san delase– meaning hold hands and do not let go.
The caller may also call our ‘ronn agos/ronn adrwat, requesting the dancers to dance a few steps to the left and then a few steps to the right, before closing the circle.
Frenm balon. Fermez la ronde
This call asks the dancers to close the circle, and they all make short steps towards each other, and then the caller calls out…
…enn, de, trwa arrier. Un, deux, trois, ouvert la ronde
…asking the dancers to open the circle by dancing outwards while still facing inward. Once the circle is fully open the caller asks the dancers to repeat once more.
May may a gos/ may may adrwat. Croisez les bras gauches/droits
As soon as the circle is fully open, the gentlemen ‘hook’ their right arm underneath the right arm of the ladies on their left, linking arms at the elbow and circle around each other using hopping steps for half a musical phrase. Then, gentlemen ‘hook’ their left arm underneath the left arm of the ladies on their right, linking arms at the elbow and circle around each other using hopping steps for the next half of the musical phrase. At the end of this figure, they merge straight into the pronmnad.
Pronmnad galo– Fait la promenade au galop
The gentlemen hold their partner as if dancing the waltz and dance clockwise for the duration of one phrase and then anticlockwise for the next phrase. The steps the couples make though are faster than those of the waltz. The caller may decide to repeat this figure. When the phrase is about to end, the gentlemen let go of their partner and allow them to turn on their own while holding their right hand above their head like they would do in lasenn Anglez. They then all bow towards the onlookers and the dance stops.
The calls for a Complete Avande Kontredans.
It is worth mentioning here that the length of the dance and the frequency of the calls vary from callers- komander- to callers. I have attempted to reproduce below one of the most popular versions from:
http://filoumoris.com/seychelles_musique-traditionnelle/
You will notice that the sequence of the figures is slightly different to the one detailed above. These complete dance calls also include embellishments.
Embellishments
Please note also that calls that are purely embellishments are in italics. The Kontredans would be very boring, like the classic ‘quadrille’, if it were not for the verbal embellishments. They are calls that are merely ‘fillers’ and not meant for specific figures. They are not essential to carry the overall line of the melody (or harmony) but serve instead to decorate that line/ figure (or harmony). They provide added interest and variety and give the performer the opportunity to add more life and expression to the dance.
Most embellishments are added when the figure is long, creating a ‘lull’ between the calls. For example, when performing lasenn de danm (Fr. La chaine des dames) which is a long figure and there is a wait before the next figure, it is therefore an ideal space to insert an embellishment.
The calls for a complete Avande dance.
Start of Dance
Frap ou lanmen kavalie
Frap ou lanmen kavalie
Frape devan vo danm
Atrap lanmen ou danm
Ron demi ron
Madanm adrwat
Ti galo rwa la balans
Annavan le de vizavi
Annavan le de
Dezade pazapa
Ti galo rwa la balans
Krwase sase
Sase rwa la balans
Sase rwa la kadans
Pazapa…madanm adrwat
Lasenn de danm
Ambelisman–Ale zanfan apre lakontantman depler…
Rotin balanse
Ayer devire
Ti galo rwa la balans
Ti galo rwa la kadans
Annavan lede vizavi
Annavan lede- en danm en kavalie
Annavan le de
Dezade
Krwase sase
Sase rwa la balans
Sase rwa la kadans
Pazapa
Danm adrwat
Lasenn de danm
Ambelisman-Ale zanfan apre lakontantman depler…
Ti galo rwa la balans
Rotinn balanse
Ayer devire
Ti galo rwa la balans
Ti galo rwa la kadans
Annavan le de vizavi
Annavan le de
Dezade pazapa
Ti galo madanm a drwat
Krwaze sase
Sase rwa la balans
Sase rwa la kadans
Pazapa…..madanm a drwat
Lasenn dedanm
Ambelisman–Ale zanfan apre lakontantman depler…
rotinn balanse
Ayer devire
Ti galo rwa la balans
Kavalie plas devan vo danm
Frape vo men devan vo danm
Frap ou lanmain kavalie
Ron demi ron
Madanm adrwat
Demisenn anglez/ demisenn fransez
Pazapa….
Lasenn de danm
Ambelisman–Ale zanfan apre lakontantman depler…
Rotinn balanse
Ayer devire
Ti galo rwa la balans
Tti galo rwa la kadans
Annavan le de vizavi
Annavan le de vizavi
Dezade pazapa
Ti galo rwa la balans
Krwaze sase
Sase rwa la balans
Sase rwa la kadans
Ti galo madanm a drwat
Lasenn de danm
Ambelisman-Ale zanfan apre lakontantman depler…
Ti galo rwa la balans
Rotin balanse
Ayer devire
Ti galo rwa la balans
Ti galo rwa la kadans
Ennavan le de vizavi
Ennavan le de
Dezade pazapa
Ti galo madanm a dwrat
Krwase sase
Sase rwa la balans
Sase rwa la kadans
Ti galo madanm adrwat
Lasenn de danm
Ambelisman–Ale zanfan apre lakontantman depler…
Ti galo mandanm adrwat
Rotin balanse
Ayer devire
Ti galo rwa la balans
Dezade pazapa
Ti galo madanm adrwat
Rotin balanse
Ti galo rwa la balans
ti galo rwa la kadans
Ron salon
Gos drwat
pazapa
Tene lanmen san delase
Enn de trwa arier/ ferm balon
Enn de trwa arier/ferm balon
May gos may drwat
Ambelisman–Ale zanfan apre lakontantman depler…
Rotin balance
May agos may adrwat
Ambelisman–Ale zanfan apre lakontantman depler…
Ti galo madanm adrwat
Pronmnad Galo/ Pronmnad Galo
END OF DANCE
Please find below a link to a lively version of Avande filmed during the Festival Kreol Sesel/ Festivale Creole Seychelles 2011. My apologies for the poor quality of the video, but the dance is good!
Post editor’s note
As I have already acknowledged, I am in no way a specialist in music and dance and rely on my own knowledge and limited research to produce this post. Any contribution that would assist in correcting or making these posts more complete will be greatly appreciated.
Sources:
- The booklet ‘ Lanmisik ek Ladans Traditionnel Seselwa- Ladans Salon / Kanmtole’ has greatly assisted me in this project
- Carnet de Bals: http://www.carnetdebals.com/danse-quadrille-francais.html
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