It was a warm July day when Frau Troffea started dancing. He stepped outside his home, into the narrow streets of Strasbourg, and began his strange steps. She danced uninterrupted for a week, her feet swollen and bleeding. When he was tired of dancing, 34 of his neighbors had joined him; by the end of August, 400 Strasbourg residents were dancing in the streets.
It's hard to say why Frau Troffea started dancing or why her neighbors were so affected by her movements that they felt the need to join her. Yet another historian post that dance is caused by the psychological stress of early 16th-century life. In 1517, the year before Frau Trebea began his dance career, a famine broke out in the city, and one contemporary reporter called it “the evil year.” A bad year was something to be proud of – it wasn't just a bad year, it was many. Before the famine, Strasbourg had endured an outbreak of English sweat, smallpox, and leprosy. Death was rampant and diseases were everywhere and nothing, even the most fervent prayers, could have prevented either. Strasbourg's centers and its remaining residents collapsed in the fall. The citizens there was little to be excited about, but they were dancing, wild and connecting; their dancing blocked the streets, effectively crippling the city's work.
Concerned about the plant and the capital, city nobles and hackers brought doctors to examine the dancers. They determined that the dancers suffered from “hot blood,” a remedy that was not to continue dancing. Strasbourg nobles cleared the halls of the organization and hired artists to accompany the dancers to lure the city's narrow streets. The dance took place on a hill near the mountain that contained the sacred statues of the Virgin Mary and Santa Vitus. But even the revered faces of the saints could not completely capture the dancers, and their medals and pirouettes continued. Then, at the end of summer, the dance came to an irresistible conclusion. Some dancers were cured, some fell dead from exhaustion, and some simply returned home.
Later, the Swiss doctor Paracelsus named their dancer Chorea Sancti Viti or St. Greek Vitus Dance – chorea "dance together" with Santa Vitus, a martyr who clung to God as he was boiled in an oil pit by the Roman Romans at the beginning of the second century. Vitus himself was not a dancer, but on the day of his feast, worshipers danced in front of his idol. It is enough to cement the relationship between dance and saints. Paracelsus believed that Strasbourg dancers were motivated by "empathy" and "thought." He pointed out that their dance was largely melancholy and he did not think that those caught in the dance were mad or mad. Instead, in keeping with his sense of movement, he simply believed that the dance of St. Vitus comes from "after another tremor."
Dancing, he noted, the dance was natural, like an earthquake – a move that needed to be exposed and could not be stopped, not some kind of divine punishment. It was only a long time ago, after Santa Vitus shared tics of the hysteric females, when Frau Trebea (who had low vision, as he did for most women) was branded as the zero zero in the outbreak of dancing mania, the episode of mass hysteria. But as the Strasbourg dancers were unchanged and irrevocably transformed into historical error and moral myth about "the irreversible decay of morals and practices,"The meltdown & # 39; s evil year & # 39; s motivations were unknown. It is now believed that such an action is the result of a greater kind of emotion – resistance to death can affect the face of such a feeling.
Frau Trebea is crushing me now. I'm thinking about the & # 39; s bad year & # 39; we touched him so much that we took him to the streets of Strasbourg for many weeks and to Frau Tretsea's neighbors, so impressed by his dance that they too skipped the body, leaving their homes and imitating him for choreography. That must have seemed obvious to them, as theater historian Kélina Gotman said he wrote, “That the earth would end.”
I thought of her and her team as I watched Sarah Palin to dance to "Baby Back Back" in an awesome costume, neon dress and when I look at a lady "rave"In the electronic beating of a BBC News theme music from inside his kitchen. I thought of him as I was investigating slow motion. article entitled "10 TikTok Dances to Learn At Home," a collection of short dances made with the same precision by young swift. They repeat their movements in the unlimited waist, as if shaking a baby or pointing an invisible clock on their wrist. They look so caught up in the endless dance, they can't escape the look of the smartphone screen. I thought of Frau Troffea when I watched the young man dance In Dua Lipa "don't start now" while (supposedly) waiting for a coronavirus test, a tiny little mask that hides her face. While her dance was going online, commentators decided it was a shadow of an entire generation.
It's danceable too, which is the source of the latest controversy – not the actual debate, but the kind of birth that fills the media. Hospital staff filmed the dance and submitted their shortcuts to TikTok. These fast-paced dances, obviously, deserve to be backed up anger, proof to Conservative commentators that this is a bad year it's just a fairy tale, made by the media in a bid to destroy the country and the president. Hysteria scoffs at these dances, proof that the stories of overworked hospital staff are exaggerated, if not entirely false. Deliveries and dancing should not be intertwined, according to the complaint. The talk of Melkhari's time and leisure time is said to be gone.
But dancing and disease have always been muddied. Before Strasbourg was defeated by dance, German physician Johann Schenck von Grafenberg wrote in his collection of observations Medical Recognition (1584) that St. The Vitus Dance was a “passion,” which was also seen throughout Europe. According to Schneck, it was a "wonderful process of madness that has corrupted many of our ancestors." Schneck was talking about the emergence of a dance movement in the 1370s described as St Vitus Dance, centuries before Frau Trebea and 400 of his colleagues began their dance. Like their 16th-century counterparts, they are enraged by the deep-rooted hatred of uncertainty and stress. As Gotman points out, the 1370s were a decade of devastating flooding: water wasted through Cologne's city gates, churches and homeschool floods. While the residents surrounded their city by boat, they watched, according to one survivor's report, as their horses crossed the streets. Of course, as they navigate through the city's revenue, many of them were impressed by the fact that the Black Death had begun in Europe decades ago.
To see this ruin again must have felt awful. Perhaps they took turns dancing because the call was so normal, so comforting. When the "grandmort" arrived in Europe, people were dancing. In Paris, early 20th-century historian Pierre Champion wrote that people were dancing “apologize (d).” “It's to chase death, they say. So, at least they can forget their misery. ”The Parisians are not the only dancers. To The Great Chronicle of France, a collection of 130 manuscripts from the 13th to the 16th century, two nuns who traveled through the country while the disease spread and found themselves in contact with a leading group outside the gates of their home. Men and women believed, according to leading monks, that their dancing prevented the disease from entering the city, keeping their friends and family safe. "We have seen our neighbors die and we see them die every day," they told the nuns. "But with the demise of the city, we have no hope that our festivals will allow you to come here, and that is why we are dancing."
That dance that was associated with the disease in the imagination of its victims is undeniable. Some art historians have suggested that the story of the monks – which may not have been inspired – may have originated of Danse Macabre, a modern, modern a graphic depicting the personality of death. The first example of this type may have been the now ruined building that erected an arcade wall in a crowded Parisian cemetery, Les Saints Innocents, sometime in the early 15th century. The fresco has included a lawyer, artist, and orthopedic expert, a powerful reminder that the Black Death is not diminished by wealth or refinement. The fresco became enthusiastic, and soon Danse Macabre spread throughout Europe as a plague preceding its creation – holding everything from large factories to illuminated manuscripts and more. a modestly printed book.
Although the genre is now a string, the dance remains, enriched by the sweet memories of the tradition. Death dances almost every year, painted by folk artists and a 19th-century Parisian fashion designer James Tissot. Frau Trebea is featured in a re-enactment of photographic and reconstructed photographs of the Spanish flu virus around the world in 1918 and die-ins made by The 1980s ACT UP activists who were the critics David Gere suggests, a sort of washed up dance of protest. Protestants who wish to make the AIDS epidemic pervade the homosexual community are seen on the floor, which includes a "theater dance," as the act of the fall was blown off the road between the secret knowledge of death and actual death. The strong melancholy was riddled with corpses, a reminder that many of those who did the action, in fact, could become ill and die of AIDS.
For ACT UP, the captured movement was not merely an anti-epidemic action, but a movement that refused to submit to a cultural authority demanding strict guidance. It was a move that refused to accept a case of conduct and subsequent disability that defined the public's perception of AIDS. When the Archbishop of New York dismissed AIDS activists and called it "a good moral principle," ACT UP responded by adding a dead man to St. John's Church. In the morning of December 1989, activists collapsed at home. The archbishop continued with the service, ignoring the redesigned Danse Macabre before him. He refused to look at the bad year.
But refusing to look at a bad year or even acknowledging its existence is a bad idea. Even now, political and cultural leaders are repenting, reducing death and its disastrous consequences. Television doctors measure this it is acceptable mortality rates and elected officials treat the power of thousands of deaths as inevitable. All this life is just numbers in black graph chart. It might be easy to pretend that Danse Macabre is just the beginning and not a strong warning when Americans are back in their homes, moving offices and schools and the rest of the community. The hope of survival, the hope of life, has made us disappear from the streets. But at home, everyone seems to be dancing.
On March 24, TikTok launched the #DistanceDance challenge, aimed at encouraging people to write dances while living at home. The platform has partnered with its celebrated dance queen Charli D & # 39; Amelio, a 15-year-old with more followers than anyone else, who pulled the hashtag dance. Shortly after D & # 39; Amelio posted, dances filled the hashtag; in a row, users followed her choreography and imitated her steps. For the past few weeks, they have danced inside their living rooms and bedrooms and back yards, seemingly unable to stop. The hashtag has approx 5 billion views. About that time, families began to send The challenges of group dance on Sunday's "Blind Lights," which broadcast a dance from people to groups that mimic each other's movements at larger distances than on the narrow streets of Strasbourg.
Stories about these TikTok dilemmas often emphasize the sensitivity of feeling at the center of their creation, the short break of isolation, the most vocal of the terms. "There's nothing quite like a dance to unite us," Buzzfeed said he wrote. According to Los Angeles Times, TikTok dance "during the epidemic is a way of showing and a break from the constant flow of stressful news." There is sensitivity to dance, maybe even distraction from anxiety or loneliness, but dance is not a distraction in our bad year; within its limits. How bad is our bad year for TikTok dance as the trucks in the refrigerator turn into flames of hihi again Convention centers, formerly filled with busy workplaces and hobbyists, transformed into temporary hospitals. It is dead and gathered up Detroit hospital and the daughter dances in the distance and his elderly parents. It's for us by fall-working centers and enthusiastic gray-haired dad he was lifted up into the air. By Frau Trebea and Danse Macabre.
His Memories of the disease that is attacking Florence, Giovanni Baldinucci defined "The streets and churches with nobody in it." He has written in a confused, sad tone, about these abandoned places that were once the history of such passionate relationships. Florentines had been sent home. They are confirmed and isolated, hiding in this invisible disease. But at home, they enjoy what remains of that closeness. A 17th-century survivor report tells the story of two Florentine teenagers, Maria and Cammilla, who were arrested for dancing in their home, when the organization was banned. "To get past my brother's mask, we were dancing and dancing between us," the girls said during the trial.
The dates of Maria and Cammilla are unknown. We do not know if they survived the disease or grew into adult women. Their dance is the only record for girls, as did Frau Troffea of old. But they are covered by the choreography of the evil years, and so are we.
