The pas de bourrée (the name is taken from an old French dance) is essentially the familiar polka-step late of the ballroom, with varied applications. Forward, backward or to the side, it “covers stage”—or gives the dancer progress in a given direction. It furnishes a means of turning, or preserving the continuity of a dance while the performer keeps his place. Always it is useful as a filler when interest is to be directed away from the foot-work—in such case, for instance, as when the hands have important pantomime.
The pas de Basque is of similar value, but commits the dancer to a swinging movement from side to side. Like the pas de bourrée it is an alternating step, with one foot on the floor all the time, and executed without much “elevation“—i. e., variety of level. It runs through many of the dances of Spain, and presumably is, as its name suggests, a native of the Basque provinces. Probably, too, it is a remote ancestor of the Waltz.
In contrast to the sharp, dry quality of the beating steps is the fluid, swinging fouetté. Its many variations conform to the principles indicated in the diagram figures 43 to 46.
The word “fouetté” means literally, whip; the movement, a swing with a snap at the finish, is well named. A relaxed manner of execution gives it a feeling of pliancy, while lightness is preserved by the smart termination.
Start with a plié of both knees, for preparation; sharply lift the active leg sidewise to horizontal (i. e., raised second position); snap the lower leg back, in a movement curving downward, to the crossed leg position in figure 46. There it is prepared to enter into another step, or to lead to an arabesque, or to continue to finish in third or fifth position of the feet. The body has remained facing the spectator.