The vibrant history of the cancan unveils a tapestry of rebellion, creativity, and transformation. As Katherina Radeva articulates, the essence of this dance is far removed from the polished spectacles familiar to modern audiences. Radeva, who co-directs the show Bottoms with Alister Lownie, effectively draws attention to the cancan's roots in the working-class dance halls of Paris, where it emerged as a spontaneous form of expression, often performed by men before evolving into the iconic all-female performances recognised worldwide.
Historically, the cancan has undergone a significant evolution since its inception in the 1830s, transitioning from the amateur dance halls of Montmartre into a staple of professional entertainment in the burgeoning music halls and variety shows. Initially deriving from the quadrille, the cancan was infused with the spirited improvisation of un galop, where dancers would gallop and showcase their unique styles. This energetic dance form soon became a bastion of social and artistic expression, particularly for the working class, despite its later commercialisation. Radeva's assertion that Bottoms seeks to address the complex interplay of value, labour, and creativity in a capitalist society resonates deeply with the dance's origins as a mode of “expressive resistance,” as Clare Parfitt describes it.
Parfitt elaborates on the early cancan's character as a dance of rebellion against the stifling conditions of the Bourbon monarchy in 1820s Paris. The working-class dancers, often men, pushed the boundaries of what was socially accepted, engaging in a form of performance that was far from the choreographed routines we see today. They inhabited a world rife with legal ambiguity regarding indecency, often facing arrest not just for sexual display but for any diversion from the prevailing norms of class propriety. As documented, these early cancan dancers' legacy can be traced through their arrest records, shedding light on the gender dynamics that would later shift dramatically as women began to take centre stage in the 1840s.
This transition marked a pivotal moment in the cancan’s trajectory, as the dance became not only a form of entertainment but a conduit for women, often from impoverished backgrounds, to express their agency. These women, whom Parfitt likens to modern-day influencers, utilised their performances for survival and empowerment, transcending merely "the entertainment" norm to navigate complex social terrains. Radeva and Lownie share an unambiguous enthusiasm for this aspect of cancan's history, rooting their contemporary interpretation in its original spirit while inviting audiences to see a new diversity of bodies on stage.
The playful yet politically charged atmosphere of the cancan would become emblematic of France’s national identity by the late 19th century, a period marked by increasing nationalism. As Parfitt notes, the dance's transformation from a marginalised performance to a symbol of national pride reflects broader cultural shifts within French society, where the cancan began to capture the imaginations of artists such as Toulouse-Lautrec. These artists immortalised the energetic dancers like La Goulue, further embedding the cancan into the fabric of Parisian culture.
With the transition of the cancan into professional theatre by the early 20th century, its character began to shift dramatically. What once celebrated individuality and improvisation evolved into choreographed ensembles, where the emphasis was on unison and mass production rather than the personal flair that characterised its origins. This evolution has left lingering tensions; while the current performances showcase remarkable skill and spectacle, critics and performers alike, including Lownie, voice concerns over the highly sexualised nature of contemporary cancan. Aspects of the original joy and spontaneity can often become overshadowed by the commercial backdrop and audience expectations.
At Tramway in Glasgow, the premiere of Bottoms poses both a tribute to and a critique of the cancan's storied history. Radeva's intention to capture the chaotic joy reminiscent of le chahut speaks to a desire to reclaim and reinterpret a dance form that, while celebrated today, has been stripped of much of its revolutionary context over the years. She advocates for an inclusive vision of cancan performance that resists the strict norms of capitalism and celebrates the diversity of the dancers involved, suggesting that their vulnerability and authenticity will resonate with audiences in a way that echoes the original spirit of cancan.
Ultimately, the cultural journey of the cancan reveals a dance rich with contradictions. It serves as both a vehicle for freedom and empowerment while also languishing under the weight of commodification and objectification. The ongoing reinvigoration of the form, as explored in Bottoms, suggests that, like the cancan itself, the spirit of innovation and rebellion remains vibrantly alive and kicking, ready to inspire anew in the contemporary landscape.
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Source: Noah Wire Services