Abstract
In their exhaustive survey of contrapassi and ‘doppi on one foot’ in fifteenth-century Italian balli in the last volume of Dance Research, Lo Monaco and Vinciguerra present a novel and thought-provoking model for the development of these puzzling steps. Its great value lies in opening up new ways of looking at the detailed organisation of steps in such dances; but whether this has any relevance to contrapassi is quite another matter, and many will remain sceptical.
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