Ball Cerdà in the seat of the Market or, more well-known, like of Patalín. Photo of Ricard Lobo. (To click to see the great image but).
In the first place it is forced to say that the name of "Ball Cerdà", comes from Cerdanya, as far as his origin, at least as it is danced at the moment. We can date it, as other dances of equal cadence of the passages of dance (it dances plane), in century XVII. Yes we analyzed, but, its sequences, a transformation of a dance more primitive is guessed than it would make reference to a hymn pave. The importance that we can attribute to him is that it has stayed throughout the time almost without great alterations. Like an opened dance, mayores they have been masterful of youngest. Only small variations have affected the clothes of which we will speak to you more ahead. It is necessary to emphasize that the Seu d'Urgell does not conceive its Greater Celebration without the Ball Cerdà, so that, without giving it tells us, it has become the official dance of the city. We must also remember that it was danced, until before Civil war "1936-1939" by Carnival. It had, but then, a more serious air by the intervention of the "hunter", a farcical personage whom the attention of the public attracted, dress with short trousers, velveteen jacket, leguis and slippers "viguetanes". The grace of this malignant man was the one to surprise the confused ones of the seat while they watched the dance. With a cane it touched to them the buttock and, when turning itself these enharinaba, which towards laughing, mainly, to that they were protected in the balconies. This that we explained did Sunday of Carnival.
Tuesday was danced with the dress to shine (the first day the farmer dress took) with mantón of "Manila" and flower in the chest. Of this clothes it was said of "majorales". always it has been danced in the seat of the market, or Patalín, to 12 of the noon. The balconies (as it is observed in the photo of the left) filled to top and we almost dare to say that those great balconies of the main floors of the houses were constructed to receive the people who met in them. Also it was custom, during a time, to throw caramels, almonds and change to the dancers. The risk that this tolerated for the physical integrity of these has made lose the custom.

The Ball Cerdà seven putting in scene versions and nine of musical comedies are known, without remarkable differences among them; in all the moderate and satately structure of the one of the Seu stays. In some sites, like in the Berguedà, they use as "Sunday dance" and repeat accelerated music more, denominated "rebaut", with the purpose of animating the atmosphere and causing that the dance is more difficult to follow. With respect to the music, it is forced to mention, that the present version of the Seu is work of the unfortunately missing Josep Maria Pampliega. Few "urgelenses" do not have in their house some photography of their ancestors dancing the Ball Cerdà. Like this (although seated) that we can see your right (extracted of an opuscule of the Greater Celebration of the 2001) and in that surely you will find, some well-known... or relative.

Thus it is, in 1971 only dance smallest. The mayor, then Josep Llangort, throws a S.O.S., distressed. He had myself to save the Ball Cerdà to all critical moment. The idea was happily gathered by Roman Peguera and his woman Maria Rosa, of the Andria Hotel. Both, with the aid of the "local Esbart dansaire", obtained that the following year the recovery returned the Ball Cerdà again to the Seu... was magnifies! Between the anecdotes we can mention the retailers, that contributed money, and that the conclusion of the dance took place in the recovered "Café Orient". In the following year he was already claustro of the convent of the Sagrada Family, who welcomed the event and, luckily the tradition follows... although it is as it dances forced of the Greater Celebration of the city. At the present time the Ball Cerdà totally is recovered and, reason why it is seen, his mantenedores: Aril, Carrillo, Galabert, Martí Clotet... guard, not only by the purity of the movements, but also so that the way is not failed to dress. We cannot forget the group small dancers, who, after heroic tests on the part of Dolors Carrillo from Lourdes Moliné, have arrived at a degree of highly remarkable perfection. We left many names by the way... would be inexhaustible the list. Separate mention deserves our dear Elvira Farràs, without who, at the present time, "Ball Cerdà" would not exist.

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