The number of the ancient Greek dances is so large that we can count on this occasion only those which are already known more or less through classic literature. Wide popularity was enjoyed by the Lysistrata, Dipoda, Bibasis, Hymnea, and the stage dances, Cordax, Emmeleia, Hormos, Endymatia and the celebrated religious Mysteries of Aphrodite, Apollo, Demetrius, Dionysius, etc.
Most of those elegant female dancers whom we find represented on ancient bas-reliefs, with their heads crowned, reeds in their hands raised above them, are executing the Dipoda, which Aristophanes has used as the climax in his celebrated comedy Lysistrata. This is what the author himself writes of the dance: ‘Come here to celebrate Sparta, where there are choruses in honor of the gods and the noise of dancing, where, like young horses, the maidens on the banks of the Eurotas rapidly move their feet, and their dresses are agitated like those of bacchanals, brandishing the thyrsus and sporting, and the chaste daughter of Leda, the lovely leader of the chorus, directs them. Now come, bind up your hair, and leap like fawns; now strike the measured tune which cheers the chorus.’ It is said that the simple, flowing chitons which they wore as garments flowed freely with the movements of their limbs, or fell in naturally graceful lines appropriate to the poses they assumed.
A dance of wonderful agility was that of the Bibasis. According to Max Müller, a Laconian maiden danced the Bibasis a thousand times more than any other girl had done. The peculiarity of this dance was to spring upward from the ground and perform a cabriole en arrière, striking the feet together behind before alighting. The cabriole is executed by the modern dancers with both feet in the air; and both legs act in the beating movement, rapidly separating and closing. To this a leap, called jetté, in the modern terminology, was probably added. The upward spring was made first from one foot and then from the other and striking the heels behind. The number of the successful strokes was counted, and the most skillful performer received the prize. It is said that Æschylus and Sophocles improved considerably the Bibasis Dance, musically and choreographically, for both authors were accomplished musicians and dance authorities.
The Emmeleia was one of the most respected and popular dramatic dances of the Greek stage. Plato speaks of it as a dance of extraordinary gentleness, gravity and nobility, appropriate to the highest sentiments. It possessed extraordinary mobility and dramatic vigor, and yet was graceful, majestic and impressive. This dance, as it was produced on the Athenian stage, is said to have been so terribly realistic that many of the spectators rushed shocked from the theatre, imagining that they really beheld the incarnated sisters of sorrow whose very names they did not dare to mention. These awful ministers of divine vengeance, who were supposed to punish the guilty both on earth and in the infernal regions, appeared in black and blood-stained garments. Their aspect was frightful and their poses emanated an air of death. On their heads they carried wreathed serpents, while in their hands were wriggling scorpions and a burning torch.
The music used for the Emmeleia was supplied by an ‘orchestra’[B] and chorus. Both the musicians and the singers were divided into two groups, one of which was to the right, the other to the left of the dancers. This gives an idea of the so-called ‘strophic’ principle. There are allusions to the fact that the Egyptians used music to the Astral Dances in this form. Though we do not know the character of the Greek dance music, particularly of the Emmeleia, yet fragmentary allusions here and there give an idea that they were mostly in a minor key and of very changeable measure. Kirchoff, who made a special study of this dance, came to the theoretic conclusion that this was predominantly recitative and resembled partly the later operas of Wagner—of course, only melodically—and partly the Finnish Rune tunes. As there was much action that could not be danced, the Emmeleia required a perfect mimic technique and thorough knowledge of ‘eurhythmic’ rules. A few of the old Greek writers speak of dance music as dignified and stately, which attributed seriousness or sorrow to the grave steps, gracefulness and modesty to the gay and joyful poses.
[B] As to the significance of this word, see Vol. I, pp. [120ff].
Of a very opposite character was the Cordax Dance. According to most accounts it lacked in respectability and some writers speak of it as an ‘indecorous dance.’ Lucian says it was considered a shame to dance it when sober. In some parts of Greece it took a comic character and was often marred by buffoonery. According to Burette, people had recourse to this dance when excited by wine. Cordax was a Satyr who gave his name to it. Since it was frivolous and comic, it was performed only by less reputable female dancers. It is said that in its first phase the Cordax was an extremely comic dance and the people enjoyed its refreshing humor and burlesque style. Like the Spanish Zarzuelas, the Cordax dances were small local comic pantomimes. In it the dancers ridiculed public men whom no one dared to criticize otherwise. Like every other stage art of this kind the Cordax dances grew indecent and were later abolished.
A dance of distinctly sexual nature was the Hormos, which was dedicated to Artemis. Lucian tells us that the Hormos was commenced by a youth, absolutely unclad, and started with steps in military nature, such as he was afterwards to practice in the field. Then followed a maiden, who, leading up her companions, danced in a gentle and graceful manner. Finally, ‘the whole formed a chain of masculine vigor and feminine modesty entwined together.’ Sometimes the dance went in a circle, sometimes in pairs of a maiden and a youth. Sometimes passionate and sensuous gestures were made by both sexes, though only for a moment, and the dance ended with a floating, graceful adagio. It was an allegorical playlet in dance of human passions and their control. The music for the youths was twice as rapid as that for the maidens.
Lucian writes that at some of the festivals three great choruses were formed for the dancers: of boys, of young men, and of old men. The old men danced, singing of their life of valor and wisdom. The chorus of the young men took up the theme and answered that they could accomplish deeds greater than any that had been achieved. The boys finished the song boasting that they would surpass both in deeds of glory. The choragos, who acted at the same time as a conductor and ballet-master, was regarded a man of the highest standing.