La Danse De Cleues
(The Dance of Kleve)
Burgundian Basse Dance
Les Basses Danses de Marguerite d'Autriche (Brussels ms. 9085), c. 1500
One couple
Moderate

 
I A 1-6 Reverence
7-12 Branle left (step left, swing right foot over and back, close left foot to right)
13-18 Singles on left, right
19-36 Doubles on left, right, left (up, up, up lower-heels)
37-42 Singles on right, left
43-48 Double back on right
B 1-12 Man: Singles forward on left, right and Double back on left while
Woman: Singles on left, right and Double turning to right in place
  “Flowers”
13-24 Woman: Singles forward on right, left and Double back on right while
Man: Singles on right, left and Double turning to left in place
C 1-6 Double forward on left
7-12 Singles on left, right
13-18 Desmarche on right (step back right, rock forward, rock back)
19-24 Branle left
D 1-6 Singles forward on left, right diverging from partner; Drop hands   “Hearts”
7-12 Double on left turning toward partner; Take hands
13-18 Singles forward on left, right diverging from partner; Drop hands
19-24 Double on left turning toward partner; Take hands
E 1-6 Singles on left, right
7-24 Doubles on left, right, left
25-30 Singles on right, left
31-36 Double back on right
37-42 Branle left
43-48 Reverence
 

R b ss d d d ss dr L'omme se part de la femme, marchant deux ss avant; apres, une double desmarchant. Et ce temps pendant la femme se tourne sur pie coy. Ichi fai la femm che que l'omme a fait, et parellement l'omme ce que la femme a fait. ... En tournant tous deux par dedens. ss ung d. soy returnat comme on estoit par devant.   R b ss d d d ss dr The man parts from the woman doing two singles advancing before a double retreating. And during this time the woman turns on the coy foot. Then the woman does that which the man did. And in parallel the man does what the woman did. ... While both turning by dedens two singles and a double turning over line one estoit in front.

Reconstruction based on that of Ingrid Brainard. Text based on Almond transcription. Partial translation by Peter Durham.