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Outside France, the can-can achieved popularity in music halls, where it was danced by groups of women in choreographed routines. This style was imported back into France in the 1920s for the benefit of tourists, and the "French Cancan" was born—a highly choreographed routine lasting ten minutes or
198:
management did not permit dancers to perform in "revealing undergarments". Occasionally, people dancing the can-can were arrested, but there is no record of its being banned, as some accounts claim. Throughout the 1830s, it was often groups of men, particularly students, who danced the can-can at
66:
321:
53:
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As the dance became more popular, professional performers emerged, although it was still danced by individuals, not by a chorus line. A few men became can-can stars in the 1840s to 1861 and an all-male group known as the
126:
65:
194:, which had an open crotch, and the high kicks were intentionally revealing. There is no evidence that can-can dancers wore special closed underwear, although it has been said that the
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in Boston. It was billed as "Grand Gallop Can-Can, composed and danced by Mlles. Morlacchi, Blasina, Diani, Ricci, Baretta ... accompanied with cymbals and triangles by the
305:
325:
163:, a social dance for four or more couples. The exact origin of the dance is obscure, but the steps may have been inspired by a popular entertainer of the 1820s,
190:
The dance was considered scandalous, and for a while there were attempts to suppress it. This may have been partly because in the 19th century, women wore
244:
from 1928. This was a combination of the individual style of the
Parisian dance-halls and the chorus-line style of British and American music halls.
563:
324:
279:
and the grand écart (the flying or jump splits). It has become common practice for dancers to scream and yelp while performing the can-can.
365:
833:
110:
of female dancers. The main features of the dance are the vigorous manipulation of skirts and petticoats, along with high kicks,
28:
660:
Dictionnaire de la Danse
Historique, Théorique, Pratique et Bibiographique, depuis l'Origine de la Danse jusqu'a Nos Jours
440:
starring Frank
Sinatra and Shirley MacLaine. Some other songs that have become associated with the can-can include Aram
142:
528:
produced several paintings and a large number of posters of can-can dancers. Other painters of the can-can included
853:
525:
406:
33:
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164:
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in the spectacular "French Cancan", which he devised at the Moulin Rouge in the 1920s and presented at his own
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843:
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492:
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featured one of its lead characters, Coco, performing the dance before destroying the set around her.
275:(turning on one leg, while grasping the other leg by the ankle and holding it almost vertically), the
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229:
516:
457:
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more, with the opportunity for individuals to display their "specialities". The main moves are the
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543:
The can-can has appeared in numerous film and TV productions. The can-can featured prominently in
571:
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By the 1890s the can-can was out of style in New York dance halls, having been replaced by the
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228:(Valentin the Boneless), a frequent partner of La Goulue. The professional dancers of the
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95:
778:
The Earl of
Harewood and Antony Peattie, eds. "Jacques Offenbach: Orphée aux Enfers", in
697:
Renée Camus, "Cancan: Blurring the Line between Social Dance and Stage
Performance", in
604:
L'Incroyable
Histoire de Cancan: Rebelles et Insolentes, les Parisiennes Mênent la Danse
529:
436:
415:
212:
By the 1890s, it was possible to earn a living as a full-time dancer and stars such as
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388:
Many composers have written music for the can-can. The most famous is French composer
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701:
of the annual meeting of the
Society of Dance History Scholars, Baltimore, Md., 2001/
548:
537:
505:
466:
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to this day. Originally danced by couples, it is now traditionally associated with a
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performed in London in 1870. However, women performers were much more widely known.
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461:
445:
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168:
141:, oil on canvas, 170 cm × 141 cm (67 in × 56 in),
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featured the music as one of its themes, while a promotional advertisement for
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developed the can-can moves that were later incorporated by the choreographer
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269:(quick rotary movement of lower leg with knee raised and skirt held up), the
344:, where theatrical performances feature can-can dancers to the present day.
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136:
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as the director of a music hall which features the can-can, was released.
309:
Giuseppina
Morlacchi introduced the can-can to American audiences in 1867.
645:
Francis Henry
Gribble, "The Origin of the Can-can" (1933), reprinted in
332:
Can-can girls participate in Golden Days Parade, Fairbanks, Alaska, 1986
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224:
and elsewhere. The most prominent male can-can dancer of the time was
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478:
337:
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The can-can is believed to have evolved from the final figure in the
98:) is a high-energy, physically demanding dance that became a popular
183:—both popular features of the can-can; his greatest success was in
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411:
372:
364:
346:
319:
304:
147:
125:
804:
Criterion
Collection, released by United Motion Pictures, 1955.
282:
The can-can was introduced in America on 23 December 1867 by
42:
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is actually another sort of dance. Other examples occur in
220:
emerged, who were highly paid for their appearances at the
728:
Moi, La Goulue de Toulouse-Lautrec: Mémoires de Mon Aïeule
434:(1954), which formed the basis for the 1960 musical film
662:(1895), Classic Reprint (London: Forgotten Books, 2017).
369:
The Moulin Rouge featured in a Toulouse-Lautrec painting
102:
dance in the 1840s, continuing in popularity in French
503:. Another example is the climax of Jean Renoir's film
619:, edited by Selma Jeanne Cohen and others (New York:
578:, there are some can-can dolls that dancing near the
302:." The new dance received an enthusiastic reception.
782:, 11th ed. (New York: G. P. Putnam's, 2000), p. 575.
509:. A well-known can-can occurs at the finale of the "
791:Debra Crane and Judith Mackrell, "Can-can", in
752:Philippe Le Moal, ed., "Sandrini, Pierre", in
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8:
582:to represent the origin country of can-can,
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270:
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615:Marie-Franççpose Christout, "Can-can", in
684:Marie-Françoise Christout, "Can-Can", in
649:(London), October 1953, pp. 28–29, 66–67.
27:
595:
671:Jacques Pessis and Jacques Crépineau,
76:
715:Ambassadeurs: Quadrille des Clodoches
675:(New York: St. Martin's Press, 1990).
7:
54:Cancan section from the overture to
717:(Colombes: Atelier Choubrac, 1890).
686:International Encyclopedia of Dance
658:G. Desrat, "Mazurier, Charles", in
617:International Encyclopedia of Dance
564:Foster's Home for Imaginary Friends
477:The can-can has often appeared in
14:
795:(Oxford University Press, 2000).
756:(Paris: Éditions Larousse, 1999.
167:(1798–1828), well known for his
77:Problems playing this file? See
62:
793:The Oxford Dictionary of Dance
336:The can-can became popular in
1:
632:Mary Clarke, "Quadrille", in
817:(London: Cygnus Arts, 1998).
481:, such as Léonide Massine's
32:Depiction of the can-can by
623:, 1998), vol. 2, pp. 52–53.
185:Jocko, or The Brazilian Ape
872:
834:19th-century introductions
780:The New Kobbé's Opera Book
606:(Paris: Parigramme, 2014).
94:as in the original French
20:
730:(Paris: Publibook, 2008).
526:Henri de Toulouse-Lautrec
407:Orpheus in the Underworld
165:Charles-François Mazurier
34:Henri de Toulouse-Lautrec
769:(New York: Knopf, 1929).
754:Dictionnaire de la Dansw
636:(New York: Crown, 1961).
521:by Amilcare Ponchielli.
23:Can-can (disambiguation)
621:Oxford University Press
570:In all versions of the
410:) (1858). However, the
286:, dancing as a part of
206:Quadrille des Clodoches
743:(Paris: Phebus, 2005).
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767:The Gangs of New York
485:La Boutique fantasque
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143:Kröller-Müller Museum
129:
46:
31:
634:The History of Dance
377:Can-can doll in the
351:Dancer performing a
284:Giuseppina Morlacchi
199:public dance-halls.
21:For other uses, see
497:(1938), as well as
458:Ta-ra-ra Boom-de-ay
288:The Devil's Auction
226:Valentin le Désossé
576:It's a Small World
511:Dance of the Hours
448:" from his ballet
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383:It's a Small World
371:
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334:
311:
157:
154:Jane Avril Dancing
152:Toulouse-Lautrec,
146:
48:
38:
854:The Muppets songs
765:Herbert Ashbury,
513:" from the opera
401:Orphée aux Enfers
390:Jacques Offenbach
329:
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56:Orphée aux enfers
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726:Michel Souvais,
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673:The Moulin Rouge
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493:Gaîté Parisienne
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428:'s musical play
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398:in his operetta
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16:Music-hall dance
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534:Georges Rouault
524:French painter
500:The Merry Widow
452:(1938) and the
421:The Merry Widow
363:
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315:hoochie coochie
300:corps de ballet
292:Theatre Comique
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238:Pierre Sandrini
173:acrobatic dance
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530:Georges Seurat
442:Khachaturian's
395:Galop Infernal
362:
359:
249:
248:Outside France
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131:Georges Seurat
123:
120:
90:(also spelled
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61:
52:
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15:
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844:French dances
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813:David Price,
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647:Dancing Times
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574:'s boat ride
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549:Moulin Rouge!
546:
541:
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538:Pablo Picasso
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506:French Cancan
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467:French Cancan
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361:In other arts
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342:Yukon, Canada
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265:rond de jambe
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234:fin de siècle
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230:Second Empire
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849:Moulin Rouge
839:Erotic dance
814:
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741:Mes Mémoires
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739:Jane Avril,
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580:Eiffel Tower
572:Disney Parks
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545:Baz Luhrmann
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435:
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419:
418:'s operetta
405:
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272:port d'armes
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222:Moulin Rouge
211:
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196:Moulin Rouge
189:
184:
158:
153:
91:
87:
85:
55:
18:
699:Proceedings
551:. The 2009
517:La Gioconda
489:(1919) and
470:, starring
462:Jean Renoir
460:". In 1955
446:Sabre Dance
426:Cole Porter
424:(1905) and
416:Franz Lehár
381:version of
242:Bal Tabarin
192:pantalettes
181:jump splits
177:grand écart
133:, 1889–90,
108:chorus line
828:Categories
590:References
558:Fairy Tail
472:Jean Gabin
456:standard "
454:music hall
379:Disneyland
218:Jane Avril
116:cartwheels
100:music-hall
79:media help
296:coryphees
277:cartwheel
259:battement
255:high kick
214:La Goulue
161:quadrille
137:Le Chahut
464:'s film
232:and the
187:(1825).
96:/kɑ̃kɑ̃/
815:Cancan!
688:(1998).
555:series
437:Can-Can
431:Can-Can
290:at the
122:History
104:cabaret
88:can-can
584:France
536:, and
479:ballet
450:Gayane
338:Alaska
261:, the
114:, and
112:splits
92:cancan
58:(1:46)
36:, 1895
553:anime
412:galop
340:and
298:and
216:and
171:and
169:mime
86:The
547:'s
392:'s
257:or
179:or
830::
713:,
586:.
540:.
532:,
317:.
118:.
444:"
404:(
81:.
25:.
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