The Volta dance means “turning” in Italian, referring to a duo dance originating from the Renaissance period. You might also know it as Volte, La Volta, or simply Volta, with more spelling variants in other languages.
Aside from its artistic value, Volta is known for being the bridge of connection between Elizabeth I and Lord Robert Dudley.
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Origin of Volta Dance
The Volta or La Volta originated in France in the middle of the 16th century. Its popularity lasted for a whole century before facing its inevitable decline.
Catherine De Medici was the one credited for bringing Volta to Versailles and introducing it to the Court. As dances for couples were extremely popular then, Volta also quickly attracted so much attention with its signature turns.
Due to a few positions considered inappropriate in Volta performances, it was labeled as scandalous and overly intimate during the old times. The man had to embrace the woman and her skirt might reveal too much of her as she couldn’t keep it controlled while being lifted into the air.
Unfortunately, the church was vexed about La Volta, as it was about dancing in general. Furthermore, Volta was different from other dances because it erased the physical distance between two dancers in a pair.
When the dancers do the signature move of Volta with the female being high in the air and the male pushing her up with his thigh and holding onto her intimate part. For the conservatives, the close gap was hard to defend.
Despite being blamed as a cause of miscarriages and murders unreasonably, La Volta was a favorite dance of Elizabeth I and King James, so it gradually became more respected, paving the way for its predecessors.
Nonetheless, the painting we often know as Queen Elizabeth I Dancing with Robert Dudley, Earl of Leicester could also be easily associated with anyone because the dancers were never identified.
It is entirely up to us to interpret the context, though it is undeniable that the bond between the pair and La Volta has always been great material for the artworks.
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Volta Dance Steps
In the late sixteenth century, French cleric Thoinot Arbeau wrote a detailed guidance for Volta, some notes of it included in MS Douce. There are other interpretations, of course, though the most common instruction is as follows.
Like many other dances in this era, the galliard music was the beginning of the Volta before the performers moved into a closed position.
The lead will put a hand lower than the follower’s busk and the other hand on her back & above her farther hip. Meanwhile, the follower will place her hand on the lead’s nearer shoulder.
An interesting detail about Volta is that the man will look straight ahead while the woman will turn to one side. Maintaining an elegant and aloof vibe while stepping forward with the same foot and initiating a turn.
Unlike many other dances, the steps for a turn in Volta have to be small with some spring. The pressure will be on the outside of your feet, and the inside will be elevated a bit from the floor.
When the second beat is on, the dancers will extend their steps some more and land on the inner side of their feet. The follow will get in position for a spring and jump slightly.
For the next beat count, she will be held up in the air by the lead’s hands while his free leg is beneath hers. This is why Volta used to be controversial for being too suggestive.
At the last beat, the follower will be back on her feet and start another ¾ turns. The pair can repeat this several times as an improvisation before returning to the original open position with the galliard.
Volta with Other Dances
Some dance enthusiasts believe Volta was a close relative of Waltz, though the two dances are essentially different. What tied them together was probably the moral aspect, since both of them were viewed as scandalous.
The Volta dance is closer to the Polska dance if you look deeper into other aspects, although the difference between them is still prominent.
The most sensible reason is the quintessence of Volta directly affecting Waltz and Polska during their development. However, the change in music and social appropriation has taken these younger dances on a whole new route.
Music
The most used song for La Volta is the one sharing the same title by Paul O’Dette. You will find it attached to Queen Elizabeth I.
A lot of Elizabethan ballad songs could fulfill the role, while not compromising on the style and the vibe of the era!
Volta Dance Nowadays
Some films in the middle of the 20th century featured the dance. In recent years, Volta was still frequently mentioned in modern culture.
You can find an inaccurate interpretation of Volta in Elizabeth (1998), starring Cate Blanchett and Joseph Fiennes as the Queen and the Lord. All the false details were fixed in the sequel Elizabeth: The Golden Age.
Also in 1998, another movie named Shakespeare in Love was released with a more precise example of the dance, performed by Joseph Fiennes and Gwyneth Paltrow as William Shakespeare and Viola De Lesseps.
The Volta dance was once again shown in The Tudors series by Jonathan Rhys Meyers and Natalie Dormer. However, it was more like a Spanish religious hymn rather than the original Volta.
On the British series Big Brother 10 in 2009, the contestant performed Volta and received quite positive feedback.
Even to this day, religious and governmental communities perceive Volta (and many public dances) as a risk of indecency, offense, and sins instead of an occasion for people to be physically active and emotionally connected.
Conclusion
How do you feel about knowing the roots of the famous Volta dance? Do you plan to try the steps at home or in a ballroom?
From its era in the 16th century to our day, Volta has inspired many younger dances, including the well-known Waltz and Polska. The comparison you can make while learning the dances might be a delightful surprise!