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Skirt dancing was made famous by Kate Vaughan the 1880s. The
dance was based on the graceful manipulation of the skirts, which
could contain up to 12 metres of fabric. Skirt dancing was thought
to be refined, tasteful and tantalizing. It was said that the
motion of skirts rippled like the froth on the sea (such were
the voluminous underskirts that Victorian ladies wore). Because
it was less specialised and more lady-like than many dance forms,
society ladies were able to learn the skirt dance as drawing room
entertainment.
Skirt dancing was developed by individual dancers each adding
their own style to the dance. When Lettie Lind danced in America
in 1888 the critics were surprised to see a dancer who did not
show her legs and breasts. In the 1890s skirt dancing became wilder.
There was a craze for the Can-Can and some skirt dancers, like
Katie Seymour, incorporated high kicks into their routine. Some
people thought this was a vulgar version of the graceful skirt
dance. Lottie
Collins devised her own cross between skirt dancing and the
Can-Can in her performance of her hit song, ‘Ta-ra-ra-boom-de-ay’.
The manipulation of yards of fabric was developed by later performers,
most notably Loie Fuller. She extended her arms using long wooden
wands to which the fabric was fixed. When she moved the wands
the lighting changed colour over the flowing fabric, creating
beautiful shapes, that were immortalised as figurines and lamps
by Art Nouveau designers. Other dancers used electric lighting
within the costumes. Marie Leyton danced against a Black Background
so that the illuminations in her costume could be seen. This was
called the Electrical Serpent Dance.
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