Italian folk dance
In Boccaccio's masterpiece, a group of men and women have traveled to a countryside villa to escape the Black Death and they tell a series of stories to while away the time.
[12][13] Another variant of the round dance with song is the Righoletto, known from Florence and the surrounding countryside in the 14th and 15th centuries[12] In a 14th-century Italian manuscript in the British Library (Add.
Of the next seven pieces, 4 are called saltarello, one trotto, one Lamento di Tristano, and the final one is labeled La Manfredina.
Vellekoop, on the other hand, looks at the evidence and concludes that estampie was simply a name for early instrumental music.
[14] One of the earliest known depictions of Italian folk dance is part of a set of frescoes at the Palazzo Pubblico in Siena by Ambrogio Lorenzetti (about 1285-1348).
[18] But we also find that couple dances and mimetic elements now appear and formal choreographies emerge for the first time.
This new Art of the Dance can especially be seen at the major courts of Milan, Padua, Venice, Florence, Bologna, Pesaro, Urbino and Naples.
[23] Some of these names are seen again in the 1588 poem about life in Naples, Ritratto ... di Napoli by Gian Battista del Tufo (about 1548-1600) where dances like Spagnoletta or Tordiglione, and Rogier, Lo Brando and Passo e mezzo are mentioned but not described.
Some decades later we find Villanella, and once again Ruggiero, Sfessania and Spagnoletta in Giambattista Basile's collection of Neapolitan fairy tales, the Pentameron (published 1634-36).
[25][26] But the Tarantella as a couple dance telling a story of love in mime does appear in a description by Orgitano in the middle of the 19th century.
Dances of this type from the 18th and 19th centuries in Italy include La Contraddanza, Quadriglia and Il Codiglione.
[30] In 1925, Benito Mussolini's government set up the Opera Nazionale Dopolavoro (OND) or National Recreational Club as a means of promoting sports and cultural activities and one of its accomplishments was a wide survey of folk music and dance in Italy at that time.
In September 1945 OND was replaced by a new organization, the Ente Nazionale Assistenza Lavoratori (ENAL), headquartered in Rome.
[33] Some prominent 20th-century Italian folk dance researchers are Anton Giulio Bragaglia, Diego Carpitella, Antonio Cornoldi, Giuseppe Michele Gala, Bianca Maria Galanti, Giorgio Nataletti, Placida Staro and Paolo Toschi.
[34] Northern Italy refers to the regions of Aosta Valley, Piedmont, Liguria, Lombardy, Veneto, Emilia-Romagna, Friuli-Venezia Giulia and Trentino-Alto Adige.
The inhabitants are mostly Italian speaking as well as the local Friulan language but German and Slovenian are also spoken in some areas.
[50][51] Central Italy refers to the areas of Tuscany, Marche, Umbria, Lazio, Abruzzo and Molise.
This applies to dances done by the modern day Croatian population and by the Italian national minority found today in the larger towns and some villages in the western part of Istria.
[62] According to Austrian censuses, the Dalmatian Italians formed 12.5% of the population in 1865,[63] but this was reduced to 2.8% in 1910,[64] number that decreased further after the Istrian–Dalmatian exodus (1943–1960).
