Farandole

The Farandole is an open-chain community dance popular in Provence, France. The Farandole bears similarities to the gavotte, jig, and tarantella. The carmagnole of the French Revolution is a derivative.
Traditional dance.
The Farandole was first described in detail by the English folklorist Violet Alford in 1932. The following description is from the county of Nice:"Traditionally led by the "abbat-mage" holding a ribboned halberd, the dancers hold hands and skip at every beat; strong beats on one foot, alternating left and right, with the other foot in the air, and weak beats with both feet together. In the village of Belvédère, on the occasion of the festival honouring patron Saint Blaise, the most recently married couple leads the dance."Musically, the dance is in time, with a with a strongly accentuated rhythm, moderate to fast tempo, and played by a flute and drum. Another description of this dance comes from Grove's dictionary,"The Farandole consists of a long string of young men and women, sometimes as many as a hundred in number, holding one another by the hands, or by ribbons or handkerchiefs. The leader is always a bachelor, and he is preceded by one or more musicians playing the "galoubet," i.e. a small wooden flûte-à-bec, and the "tambourin." With his left hand the leader holds the hand of his partner, in his right he waves a flag, handkerchief, or ribbon, which serves as a signal for his followers. As the Faraudole proceeds through the streets of the town the string of dancers is constantly recruited by fresh additions. The leader (to quote the poet Mistral) 'makes it come and go, turn backwards and forwards ... sometimes he forms it into a ring, sometimes winds it in a spiral, then he breaks off from his followers and dances in front, then he joins on again, and makes it pass rapidly under the uplifted arms of the last couple.'"The Farandoleis usually danced at all the great feasts in the towns of Provence, such as the feast of Corpus Domini, or the 'Coursos do la Tarasquo,' which were founded by King René on April 14, 1474, and take place at Tarascon annually on July 29. In the latter the Farandole is preceded by the huge effigy of a legendary monster—the Tarasque—borne by several men and attended by the gaily dressed 'chevaliers de la Tarasque.'
Historical context.
Folklorists of the early 20th century (e.g. Alford 1932) interpreted most folk dances as being very ancient, and postulated even for the Farandole an ancestry traceable to ancient Greece, remaining more or less unchanged "during its two or three thousands years of life".
No satisfactory derivation has been given of the name. Diez ("Etymologisches Wörterbuch der Romanischen Sprachen") connects it with the Spanish Farandula, a company of strolling players, which he derives from the German "fahrende". A still more unlikely derivation has been suggested from the Greek "Φάλαγξ" and "δούλος," because the dancers in the Farandole are linked together in a long chain. The dance is very probably of Greek origin, and seems to be a direct descendant of the Cranes’ Dance, the invention of which was acribed to Theseus, who instituted it to celebrate his escape from the Labyrinth. This dance is alluded to at the end of the hymn to Delos of Callimachus: it is still danced in Greece and the islands of the Ægean, and may well have been introduced into the South of France from Marseilles.
Many recent websites, older encyclopedias, and some music history books claim that the Farandole is a medieval dance, but never provide an actual medieval quote mentioning the Farandole. While there exist Renaissance descriptions of chain and circle dances, and medieval and renaissance iconography showing people dancing in chains and circles, there is no connection between these early dances and the recent folk Farandole: Arbeau, the most well-known source for renaissance chain and circle dances such as the branle, does not contain any dance with Farandole-specific steps and figures. The term "Farandole" is not found in dictionaries of Old French or of Old Occitan "farandoulo", and the earliest appearance in the French form "farandoule" (as being derived from Occitan) is in 1776. Its earliest appearance in English is even younger, 1876. Consequently, the medieval dance researcher Robert Mullally concludes that there is no evidence that the modern folk Farandole resembles any kind of medieval dance.
The Farandole has occasionally been used for less innocent purposes than that of a mere dance: in 1815 General Jean-Pierre Ramel (the younger) was murdered at Toulouse by the infuriated populace, who made use of their national dance to surround and butcher him.
In classical music.
Charles Gounod used a Farandole, set in front of the Arles Amphitheatre, to open the second act of his opera "Mireille" (1864). Georges Bizet features the Farandole as the fourth and concluding movement of his second "L'Arlésienne" suite (1872). However, the dance is not suited for the purposes of the ballet. In Tchaikovsky's "The Sleeping Beauty" ballet (1890), the dames propose a Farandole in the fourth scene of the second act. There is a Farandole in Camille Saint-Saëns' opera "Les Barbares" (1901), and a Farandole is present in the classical saxophone piece "Tableaux de Provence" (1958) by Paule Maurice, the first movement of five.
In popular culture.
In the 1940 Abbott and Costello film, "A Night in the Tropics," the movie ends with the singing and dancing of "The Farandola."
In 1969, a band by the name of "Love Sculpture" had an album entitled "Forms & Feelings". One of the songs was "Farandole" by Georges Bizet.
Bob James on his album "Two" performed Bizet's Farandole in a jazz funk style. Released in 1975, the album charted at number two on the Jazz Album Charts.
During his time as a member of the 1980s metal band Talas, Billy Sheehan performed another rock cover of Bizet's "The Farandole", which was subsequently covered, in a similar manner by Dream Theater. 
In Madeleine L'Engle's "A Wind in the Door", the Farandolae are fictional organelles of mitochondria, which have a similar endosymbiotic relationship with mitochondria, as mitochondria have with eukaryotic cells. Over the course of the novel, characters physically journey inside a mitochondrion and encounter the farandolae as sentient creatures that do circular "dances" around their "trees of origin" that drain the elder fara of energy.
Within the Society for Creative Anachronism and other associations who attempt to recreate dances of the Middle Ages and Renaissance, the Farandole is sometimes danced due to its assumed medieval origin (but see the historical concerns above). Examples can be found on YouTube.