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Michelle Obama and a girl curtsying – one leg ahead of the other with both legs bent. The heel is up for the back leg. The back leg crosses the front leg.
Queen Mary of Denmark (then Crown Princess of Denmark), curtsies to King Charles III, 5 May 2023.
A young girl presenting flowers to Queen Elizabeth II outside Brisbane City Hall in March 1954.

A curtsy (also spelled curtsey or incorrectly as courtsey) is a traditional gendered gesture of greeting, in which a girl or woman bends her knees while bowing her head. In Western culture it is the feminine equivalent of bowing by males, and people will commonly curtsy in some churches as a simplified genuflection.

By the 17th and 18th centuries, it had become a standard social custom for women when greeting superiors, royalty, nobility, aristocracy or elders[1][2].

Overview

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In more formal variants of the curtsy, the girl/woman bends the knees outward (rather than straight ahead), often sweeping one foot behind her. She may also use her hands to hold her skirt out from her body.

It is also acceptable in some cultures for the female to curtsy if wearing trousers or shorts.

The word "curtsy" is a phonological change from "courtesy" known in linguistics as syncope.

History

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The origins of the curtsy can be traced back to royal court customs in Medieval Europe.

Courtly dance and etiquette manuals from the Renaissance describe movements of women dipping one knee and lowering the body that evolved into the curtsy. Italy and France under the Valois and later Bourbons were central in codifying this gesture.[3]

By the Elizabethan era (1558–1603), court etiquette grew increasingly elaborate. While men were expected to perform deep bows or kneel in deference, women began adopting the curtsy as a gendered alternative, often assisted by the wide farthingale skirts which emphasized the downward motion.[4][3] According to Desmond Morris, the motions involved in the curtsy and the bow were similar until the 17th century, and the sex differentiation between the actions developed afterwards. The earlier, combined version is still performed by Restoration comedy actors.[5]

By the 1600s, during the Baroque era the curtsy became more widely codified in monarchies like France, Britain, Spain, Austria, or Russia, particularly under monarchs like Louis XIV and Charles I. At the Palace of Versailles, rituals of etiquette including deep curtsies to royalty were embedded into daily life as part of a strict court hierarchy.[3] A lesser but still noticeable curtsy was expected when meeting nobles like dukes/duchesses or counts/countesses, particularly in formal contexts like court gatherings or balls.[6]

In 18th-century Britain, during the Georgian era, the curtsy had become a standard part of feminine etiquette. Girls from aristocratic and upper-middle-class families were trained in deportment schools, where curtsying was taught alongside posture and comportment.[7][8] In Colonial America, American colonist women of elite families were taught the curtsy. Diaries and etiquette manuals from the colonial period mention young girls practicing the “courtesy” (older spelling) when being introduced or attending church.[7]

In the Victorian era, when women wore floor-length, hooped skirts, they curtsied using the plié movement borrowed from second-position in classical ballet in which the knees are bent while the back is held straight. Both feet and knees point out so the torso lowers straight down. This way, the lady lowers herself evenly and not to one side. Traditionally, women and girls curtsy for those of senior social rank just as men and boys bow. Today this practice has become less common. In Victorian courts, the curtsy was done as a signal for courtship availability, and social status dominance or submissiveness, in order to be successful socially.[9] Further, some female domestic workers curtsy for their employers.

In the United States, enslaved African and African American women were often expected to curtsy when addressing or passing white masters, mistresses, or other figures of authority until the abolition of slavery in 1863. Enslaved people were compelled to use body language and curtsying was one of the expected gestures, especially when entering a room, serving food, or greeting a white mistresses.[10]

By the 18th–19th centuries, outside formal court culture, the practice in everyday life was less rigid. People still curtsied/bowed to landlords, patrons, and social superiors, but it might be more of a polite nod or small dip than a dramatic movement.[11]

Decline

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The French Revolution and later the World War I (1914–1918) destroyed much of Europe’s traditional class order. Aristocratic households shrank or disappeared and the elaborate codes of conduct associated with courts and the landed elite became less relevant as the political power of the nobility eroded[12].

In the interwar years, combined with women’s suffrage movements, a democratic ethos in social life was on the rise. The idea of visibly "submitting" to another person began to feel inappropriate in more middle-class and professional settings.[2]

By the mid-20th century, handshakes and verbal greetings had largely replaced bows and curtsies in Western social life.

Today

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Today, the curtsy survives in limited ceremonial contexts and it retains a formal and symbolic role in royal protocol[13]. Women are often expected to curtsy when meeting monarchs or members of the royal family. The rules of curtsying in such contexts vary depending on country, rank, and the specific expectations of each royal household.[14][15]

During her coronation, Queen Elizabeth II performed a curtsy, or rather a half-curtsy, half-neck bow to King Edward's Chair.[16]

During the funeral of Diana, Princess of Wales the Queen bowed her head in a half-curtsey as the Princess's coffin passed her.[17]

Dance

[edit]

By the Baroque era curtsy also plays a significant role in dance, both as a performative gesture and a part of formal etiquette in the dance world. Dance masters and etiquette instructors taught noble girls to perform "reverences" (French for curtsy), often in tandem with social dancing lessons.[3]

Female dancers often curtsy at the end of a performance to show gratitude or to acknowledge applause from the audience. At the end of a ballet class, students will also curtsy or bow to the teacher and pianist to show gratitude. According to Victorian dance etiquette, a woman curtsies before beginning a dance. Female Scottish highland dancers performing the national dances and the Irish jig also curtsy (at both the beginning and end for the national dances and at the end for the Irish jig). Some female ballroom dancers will curtsy to their partners before beginning the Viennese Waltz.

It is also common for female square dancers to curtsy as a method of greeting their male dance partners prior to the dance, while her partner bows. This square dancing practice is called "Honor your partner." Female cloggers also sometimes curtsy at the end of their performance.

It is customary for female figure skaters to curtsy at the end of their performances at figure skating competitions or shows.

The "Texas dip" is an extreme curtsy performed by a Texan debutante. The young woman slowly lowers her forehead towards the floor by crossing her ankles, then bending her knees and sinking. The escort's hand is held during the dip. When the debutante's head nears the floor, she turns her head sideways, averting the risk of soiling her dress with lipstick.[18]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Curtsy

View on Grokipedia
from Grokipedia
A curtsy is a of involving a bend at the knees with one foot placed slightly forward, accompanied by a lowering of the body and often a bow of the head, traditionally performed in formal settings to denote . The practice, originally not restricted by , emerged as a variant of in the , rooted in medieval courtly traditions where physical signified submission to superiors. By the , it had become primarily associated with women as the counterpart to the male bow, symbolizing hierarchical acknowledgment in social and monarchical contexts. Historically, the curtsy evolved from broader gestures of obeisance in European courts, where depth and form varied by rank and era, as depicted in Regency literature and Victorian illustrations. Its etymological link to ""—from courtoisie, denoting courtly manners—underscores a causal connection to structured systems that reinforced through ritualized . In practice, execution involves shifting weight to one foot, bending the knees while keeping the back straight, and rising slowly, ideally in attire that facilitates the motion without excess. Though diminished in contemporary egalitarian societies, the curtsy persists in specific protocols, such as British royal encounters, where women perform a small curtsy to the or senior royals, while men bow from the neck; handshakes often follow or substitute in public. Within the Royal Family itself, it delineates precedence among members, though optional for commoners meeting royalty today. This endurance reflects the inertia of institutional traditions amid broader cultural shifts away from overt displays of deference.

Definition and Etymology

Definition

A curtsy is a formal of or reverence, traditionally performed by women and girls, consisting of a slight lowering of the body achieved by bending the knees while maintaining a straight back and often inclining the head slightly forward. The movement typically involves placing one foot slightly forward of the other, with the performer dipping briefly rather than descending deeply, to convey without ostentation. This gendered courtesy contrasts with the bow, which is the equivalent for men, and serves as an act of in hierarchical social contexts, such as presentations to royalty or superiors. The curtsy originates from medieval practices of but has evolved into a refined, concise motion emphasizing poise and restraint over exaggeration. Its execution prioritizes , avoiding forward leans or excessive depth that might compromise balance or .

Etymology and Linguistic Origins

The word curtsy emerged in the 16th century as a variant of courtesy, denoting the physical act of expressing respect through a bending of the knee and lowering of the body. This specialized usage reflects the broader medieval sense of courtesy as refined or courtly conduct, which itself derives from Old French curtesie (or cortoisie), meaning politeness or good manners associated with courtly life. The earliest recorded instance of curtsy as a noun appears in 1525, in John Bourchier, 2nd Baron Berners's translation of Jean Froissart's Cronycles, where it signifies a gesture of reverence. By the 1570s, it specifically described the knee-bending motion, initially without strict gender association, though it later became predominantly feminine. Linguistically, entered around 1300 via Anglo-Norman French, ultimately tracing to Latin cohortem (accusative of cohors), denoting an enclosed yard or , which evolved to signify a royal or noble . This root underscores the gesture's origins in hierarchical court protocols, where physical symbolized and respect for , rather than mere abstracted from . The phonetic shift in curtsy—with its abbreviated form and 'ts' cluster—likely arose from colloquial pronunciation of courtesy in performative contexts, distinguishing the action from the abstract virtue. As a , to curtsy is attested from circa 1553, emphasizing the performative aspect over time.

Historical Development

Origins in Medieval Courtesy Practices

The curtsy emerged in medieval European courts as a formalized of reverence within the framework of courtoisie, a code of polite conduct emphasizing hierarchical and chivalric refinement that developed from the onward. Derived from Old French curteisie—denoting courtly generosity and gentlemanly behavior—the term and associated physical act reflected practices where individuals, particularly women, demonstrated respect to superiors by bending the knees and lowering the body, often with one knee touching the ground to signify submission. This paralleled male genuflections or bows but adapted to gendered norms of and posture in feudal societies, where visible acts of reinforced amid rigid class distinctions. Medieval conduct literature and etiquette guides prescribed such knee-bending reverences as essential to moral and interpersonal propriety, instructing women to perform deep curtsies upon approaching higher-status figures, accompanied by and lowered gaze to avoid impropriety. These texts, emerging in the 13th to 15th centuries, portrayed the curtsy not merely as politeness but as a bodily enactment of , where physical lowering mirrored the inferior's position in the chain of vassalage and . In practice, the appeared in everyday interactions, from lords to participating in ceremonial audiences, underscoring its role in maintaining through ritualized compliance rather than verbal assertion. By the , the curtsy integrated into performative contexts like Burgundian courtly dances of the , where the révérence—explicitly described as a formal curtsy or bow—concluded movements or initiated encounters, blending with artistic expression in noble assemblies. This evolution from ad hoc reverences to standardized form highlighted causal ties to Europe's centralized monarchies and aristocratic systems, which demanded tangible symbols of amid expanding royal courts; unlike egalitarian greetings in non-feudal cultures, the curtsy's depth varied by rank, with deeper bends reserved for kings or clergy to calibrate respect precisely.

Evolution in Renaissance and Early Modern Europe

During the , the curtsy emerged as a refined gesture of female deference within the burgeoning courtly cultures of and , evolving from medieval practices of into a stylized movement emphasizing grace and hierarchy. Italian humanism, as articulated in etiquette treatises, promoted —the art of effortless elegance—which influenced bodily salutations, including the female reverence performed by bending the knees while lowering the head and body. In works like Giovanni della Casa's Galateo (1558), refined manners encompassed precise greetings to superiors, underscoring the curtsy's role in navigating social ranks without overt rigidity. This period saw the gesture integrated into daily court protocol, where women performed it upon entering a room or approaching , reflecting the era's emphasis on performative civility over crude feudal obeisance. Courtly dance manuals further standardized the curtsy as the opening riverenza, a foundational step distinguishing gender roles and status. In Fabritio Caroso's Nobiltà di dame (1600), women executed the riverenza by placing one foot behind the other, sinking deeply on bent knees with skirts lifted slightly for poise, while maintaining an upright torso to convey dignity rather than subservience. This evolution paralleled the shift from 15th-century basse danse reverences—simpler knee bends in linear formations—to more intricate 16th-century galliards and corantos, where the curtsy marked transitions between partners of unequal rank, reinforcing patriarchal and monarchical orders. Italian innovations spread northward; by the in England (1558–1603), the curtsy acquired defined angles—typically a 45-degree knee bend with feet positioned heel-to-toe—and became a mandatory in aristocratic households, as evidenced in contemporary conduct adapting continental forms. In (c. 1500–1800), the curtsy deepened in ceremonial contexts amid absolutist courts, such as those of the Valois in , where it signified to the . Thoinot Arbeau's Orchésographie (1589) details the reverence in social dances as a profound dip, executed with hands extended or on skirts to avoid tangling, adapting medieval courtesies into a tool for political display. Yet, variations emerged by rank: noblewomen performed shallower curtsies among peers to preserve equality, while deeper ones honored monarchs, illustrating causal links between depth and power differentials. This period's proliferation of printed manuals democratized the form somewhat, yet preserved its exclusivity to elite women, as lower classes retained simpler nods, highlighting the curtsy's function in upholding class distinctions amid expanding and court centralization.

Usage in the 19th and Early 20th Centuries

During the 19th century, the curtsy served as a formal gesture of deference for women encountering superiors in hierarchical social structures, especially in royal courts and aristocratic gatherings. In Victorian Britain, etiquette demanded that ladies perform curtsies upon presentation at court, where debutantes approached Queen Victoria (reigned 1837–1901) with a deep bend, often extending to kiss her hand while managing crinolines or bustles to avoid entanglement. This practice underscored rigid protocols at events like Her Majesty's Drawing Rooms, where participants executed reverences varying in depth based on the recipient's rank. Technique emphasized poise amid cumbersome attire; manuals instructed drawing back one foot—typically the right—and descending as low as feasible while maintaining a straight back, adapting ballet-inspired pliés for stability in hooped skirts. Beyond court, curtsies featured in entries and initial greetings to hosts or elders, though handshakes increasingly supplanted them in less formal upper-class interactions after first acquaintance. In the United States, parallels required women at formal balls to curtsy to hostesses, reflecting transatlantic influences. Into the early , curtsies endured in elite contexts despite emerging egalitarian shifts, particularly for royal audiences. Edwardian court presentations mandated precise execution on the right foot, with practice to ensure sideways movement and recovery without faltering. A 1912 guide described it as a sweeping bow from tiptoes, lowering near floor level for formality, aiding balance and grace in receiving lines or departures. Public figures, such as French tennis player in 1926, demonstrated its persistence by curtsying to Queen Mary at the Auteuil Hippodrome, blending athletic and ceremonial worlds. This usage highlighted the curtsy's role in affirming monarchical respect amid interwar social flux, though practicality waned for everyday deference.

Decline in the Mid-20th Century and Factors Contributing to It

The curtsy, once a staple of female in formal greetings, underwent a pronounced decline in Western societies during the mid-20th century, particularly from the 1940s through the 1960s, retreating from general social to niche ceremonial uses such as royal audiences or presentations. By the late 1950s, everyday curtsying had largely ceased outside aristocratic or monarchical contexts, supplanted by handshakes and verbal salutations that aligned with emerging egalitarian norms. This shift mirrored broader erosion of hierarchical rituals, with the gesture persisting longest in debutante cotillions, where participation itself waned amid cultural upheavals of the 1960s and 1970s before a partial revival in later decades. A primary driver was the post-World War II reconfiguration of social structures toward greater informality and merit-based equality, as wartime mobilization blurred class lines and fostered expectations of reduced deference. Economic expansion and mass education expanded middle-class influence, diminishing the aristocratic underpinnings of courtly gestures like the curtsy, which Debrett's etiquette authorities later framed as relics of rank-based compliance incompatible with modern mobility. In the United States and , this manifested in etiquette manuals progressively omitting instructions for curtsies in non-royal settings, reflecting a societal pivot from embodied to verbal or gestural neutrality. The 1960s countercultural movements and second-wave feminism accelerated the trend by challenging gendered rituals as emblematic of patriarchal subjugation, with critics associating the curtsy's lowered posture with enforced female inferiority. Traditional debutante events, which ritualized curtsies as markers of social entry, experienced sharp attendance drops during this era, signaling rejection of inherited privilege amid youth-led pushes for authenticity over formality. Concurrently, the rise of casual attire and interpersonal styles—evident in the abandonment of gloves, hats, and structured greetings—rendered the curtsy's physical demands archaic, as informal handshakes became the egalitarian default even in semi-formal encounters. These factors intertwined causally: wartime weakened institutional hierarchies, enabling ideological critiques that targeted as obstructive to individual agency, while cultural normalized alternatives unburdened by historical symbolism. In Britain, where monarchical traditions endured, the curtsy survived in protocol for female subjects meeting the , but its broader societal footprint contracted irreversibly by the . This decline underscored a transition from ritualized to pragmatic interaction, though pockets of persistence highlighted lingering attachments to symbolic order in elite spheres.

Technique and Execution

Standard Form and Posture

The standard curtsy involves a brief bending of the knees while maintaining an upright and straight back to convey respect without exaggeration. According to etiquette authority , the movement should be discreet and dignified, avoiding deep pliés or sweeping descents that could resemble theatrical rather than a of . To execute the standard form, the performer begins by standing with feet parallel and weight shifted primarily to one foot, typically the left. The ball of the other foot is then placed slightly behind and outside the supporting ankle, allowing the front to bend while keeping the back straight and erect. is maintained with the person of respect, and the head may incline slightly forward, though an exaggerated bow is unnecessary; hands remain relaxed at the sides unless holding a edge lightly for balance or in formal attire. The descent creates a subtle bobbing motion lasting only a few seconds, after which the knees straighten slowly to return the feet to a parallel position, ensuring poise and avoiding abruptness. This posture emphasizes , with the back remaining straight to prevent forward toppling, a risk highlighted in observations of public performances. In royal protocol, such as at , the curtsy is described as small and contained, aligning with these principles to uphold decorum without ostentation.

Variations by Context and Depth

The depth of a curtsy varies primarily according to the level of required, with shallower forms involving a brief bend and head inclination suitable for general social , while deeper descents signify profound submission in hierarchical settings. In traditional , a shallow curtsy entails transferring weight to one foot, bending the knees slightly outward while keeping the back straight, and bowing the head modestly, often lasting no more than a second to maintain balance and poise. Deeper curtsies, by contrast, require sinking the body toward the ground by extending one foot behind the other on its toe, distributing weight progressively, and lowering as far as physical limits allow without losing equilibrium, a maneuver demanding practice to avoid ungainliness. This distinction in depth reflects causal hierarchies in social protocol, where greater amplitude correlates with elevated status differences, as evidenced in historical European practices where full descents prevented accidental contact with superiors. In royal and court contexts, the full court curtsy predominates as a deep, elaborate gesture, historically performed with skirts lifted to prevent tripping during the descent, and reserved for audiences with monarchs or high . Protocol dictates this form for presentations at events like debutante balls or state receptions, where the performer places the left foot behind the right, bends deeply with knees turned outward, and rises fluidly while maintaining or a lowered gaze as custom varies by court. For instance, British royal since the has emphasized the court curtsy's depth to denote precedence, though modern adaptations allow optional handshakes for foreign dignitaries, reducing insistence on profundity. In contrast, social or informal contexts favor the simple curtsy—a shallower bob executed while walking or in passing—to acknowledge elders, , or superiors without halting proceedings, as seen in 19th-century where it preceded dances but avoided the full reverence's disruption. Ballet and performance arts employ specialized curtsy variations known as révérences, which adapt depth and posture to stage dynamics and artistic tradition rather than pure deference. These typically involve an effacé position with one leg extended, a controlled plié descent that may be moderate in depth to preserve and alignment, followed by a head bow to honor instructors, audiences, or partners at class conclusions or curtain calls. Unlike forms, curtsies prioritize fluidity and recovery for subsequent movement, often shallower to align with physical conditioning demands, though historical depictions from the show deeper bows in romantic-era ballets to evoke aristocratic homage. In non-Western or hybrid protocols, such as diplomatic receptions involving royalty from multiple traditions, curtsy depth may hybridize, with shallower versions accommodating cultural equivalents like bows, ensuring mutual respect without imposing European norms uniformly.

Gender and Symbolic Dimensions

Gendered Nature Compared to Male Bow

The curtsy functions as the female equivalent to the male bow in Western traditions of deference, with both gestures originating from medieval practices aimed at signaling to superiors or acknowledging social hierarchy. While the male bow emphasizes a forward inclination of the torso from the —exposing the and upper body as a of vulnerability and submission—the curtsy involves a bend at the knees, with one foot drawn behind the other, lowering the body while maintaining an upright posture. This distinction emerged by the , when bowing solidified as a primarily masculine form, diverging from earlier shared knee-bending rituals. The term "curtsy" derives from "," entering English in the 1540s as a general expression of via knee-bending, without initial specificity; by the 1570s, it denoted the lowering of the body in . ing occurred as European courtly prescribed sex-specific forms: men bowed to project controlled formality suited to or , while women adopted the curtsy to accommodate voluminous skirts and gowns, which a waist bow would rumple or lift, risking immodesty by exposing ankles or underlayers. The curtsy's knee flexion preserved balance in restrictive attire—such as 18th-century hoop skirts—and allowed skirts to spread outward, visually amplifying grace and containment rather than overt exposure. Causal factors include not only apparel constraints but also cultural ideals of : the bow aligned with male physicality and martial symbolism (e.g., baring the sword side), whereas the curtsy evoked feminine delicacy and subservience, reinforcing patriarchal norms without requiring physical . manuals from the 18th and 19th centuries codified this, mandating curtsies for women upon presentation to royalty or elders, contrasting with male bows or handshakes. In practice, depth varied by rank—the deeper the curtsy or bow, the greater the —but the forms remained segregated to uphold gendered propriety. This binary persisted into the Victorian era, though cumbersome bustles and crinolines further challenged execution, prompting shallower versions or alternatives like nods; yet, the curtsy's endurance in royal contexts underscores its role in preserving symbolic distinctions tied to biological sex and historical dress codes.

Symbolism in Hierarchy and Social Order

The curtsy functions as a ritualized embodiment of hierarchical deference, wherein the performer lowers their center of gravity and bends the knee, spatially mirroring the social subordination to a superior. This physical diminishment—reducing one's height and exposing vulnerability—symbolizes voluntary submission and acknowledgment of the recipient's elevated status, a principle rooted in medieval European courtesy practices where gestures codified rank to avert conflict. In courtly contexts, such as presentations to monarchs, the depth of the curtsy inversely correlated with the performer's proximity to power, with deeper bends reserved for absolute rulers, thereby visually enforcing precedence among nobility and attendees. Within broader social orders, the curtsy upheld stratified norms by distinguishing interactions based on status differentials, often performed by women toward men or elders of higher rank, reinforcing feudal and aristocratic structures through habitual rather than egalitarian informality. authorities note its role in marking compliance, as seen in 18th- and 19th-century British society, where failure to curtsy could signal or disrupt communal harmony predicated on accepted inequalities. This symbolism extended beyond royalty to everyday hierarchies, such as in educational or religious settings, where girls curtsied to figures like nuns or teachers, embedding as a cultural mechanism for order and legitimacy. Historically, the gesture's etymological tie to "courtesy"—denoting courtly politeness and respect through bodily lowering—underscored its utility in stabilizing monarchies and estates by ritualizing fealty, a causal dynamic where repeated performances internalized hierarchical acceptance over generations. In non-royal applications, such as diplomatic or familial encounters, it delineated power asymmetries without verbal confrontation, preserving social cohesion in pre-modern Europe where overt equality threatened established orders. While modern egalitarian critiques diminish its practice, its persistence in select ceremonial roles attests to the enduring appeal of such symbols in contexts valuing tradition over uniformity.

Contexts of Use

Royal and Aristocratic Settings


In royal protocols, particularly within the British monarchy, the curtsy functions as the prescribed gesture for women to express deference to the sovereign and his consort upon formal greeting. Men perform a neck bow from the head only, while women execute a small curtsy, though handshakes are an acceptable alternative for non-royals. This practice underscores hierarchical respect, with all members of the royal family, including those titled His/Her Royal Highness, required to curtsy or bow to King Charles III and Queen Camilla during initial daily encounters, whether public or private. The execution emphasizes dignity and restraint: the right foot is placed behind the left, knees bend briefly without excessive depth, is maintained, and the rise is slow and composed to avoid ostentation. Within the royal household, an internal determines curtsies among family members, with deference shown to the first, followed by the consort and senior royals, though Royal Highnesses do not curtsy to peers of equivalent status. Foreign royals and dignitaries, such as Princess Charlene of at receptions, have adhered to this when engaging with the British , reflecting its role in diplomatic and ceremonial contexts. Historically, curtsies in royal courts involved more elaborate forms, including deeper bends during presentations to the , where women approached the , lowered nearly to the , held the position momentarily, and rose while averting eyes briefly in submission. This evolved from medieval gestures of , becoming standardized in early modern European courts as a marker of feminine and courtly . In aristocratic settings outside the core , curtsies denoted respect to titled superiors, such as peers or , but were not extended laterally among equals unless protocol dictated, with practices persisting longer in formal estates and hunts than in everyday noble interactions. Today, while less rigid among non-royal , the gesture endures in select hereditary ceremonies and private audiences to maintain traditions of .

Dance, Ballet, and Performance Arts

In , the curtsy is termed révérence, a formal of executed by female dancers through bending the s with one foot placed behind the other, maintaining an upright torso, and frequently incorporating ports de bras (arm movements). A deeper variation, known as grande révérence, emphasizes greater knee flexion for dramatic effect. Male dancers perform a corresponding bow. This movement concludes classes as a of toward instructors, pianists, and accompanists, reinforcing traditions of elegance and discipline within the art form. During performances, révérence appears in curtain calls, where principal dancers and ensemble members curtsy or bow to acknowledge audience appreciation, often in sequence from leads to supporting roles. Dancers typically learn the through rather than formal instruction, adapting it to for fluidity and poise. In historical and courtly dances, such obeisances originated as deferential acts toward , evolving into standardized elements of that symbolize and artistry. Beyond , curtsies feature in certain folk and social dances with aristocratic roots, such as 18th- and 19th-century forms, where they denote entrances, exits, or partner transitions as markers of . In contemporary performance arts, including musical theater or historical reenactments, the curtsy may be stylized for dramatic or cultural emphasis, though less rigidly than in . These applications underscore the gesture's role in conveying respect and narrative intent across dance genres.

Other Formal and Ceremonial Applications

The curtsy appears in select diplomatic and state ceremonial settings as a voluntary of by women toward foreign sovereigns or high dignitaries during official engagements, distinct from obligatory protocols in domestic royal contexts. While U.S. advises against Americans performing obeisance to foreign potentates, including curtsies, some participants in international opt for it to signal . For instance, in 2009, the wife of Thai Abhisit executed a curtsy to Sultan Hassanal Bolkiah of amid bilateral interactions, reflecting a choice to employ traditional Western courtesy amid cross-cultural exchanges. Such instances underscore the curtsy's adaptability in modern statecraft, where it supplements handshakes without implying subordination under egalitarian norms. In non-diplomatic formal ceremonies, particularly educational and civic presentations, the curtsy serves to convey and poise. Tradition recommends that female recipients, such as students, perform a curtsy upon receiving honors from authorities like principals or officials, reinforcing hierarchical acknowledgment in structured events. This practice, rooted in rather than rigid protocol, persists in conservative or traditional institutions to instill and respect, though it remains optional and context-dependent.

Modern Perceptions and Debates

Persistence in Contemporary Society

The curtsy remains a standard element of protocol when greeting members of the British royal family, with women performing a small curtsy while men offer a neck bow, as outlined in official guidelines from the royal household. This practice applies to both royals and members of the public during formal presentations, though handshakes are also accepted. Within the royal family, all members, including those holding HRH titles, are required to curtsy or bow to the sovereign and his consort upon greeting, a rule reaffirmed following King Charles III's accession in 2022. Recent instances include Catherine, Princess of Wales, performing synchronized curtsies with Sophie, Duchess of Edinburgh, to King Charles at the Order of the Garter ceremony in June 2025. Similarly, the Duchess of Edinburgh executed a formal curtsy to the King at the Royal Windsor Flower Show in June 2025. Politicians and public figures continue to observe the curtsy in royal settings; for example, former Prime Minister performed deep curtsies to Queen Elizabeth II during audiences in 2018. Spouses of political leaders, such as , wife of former Prime Minister , have also curtsied to senior royals, as seen in 2022. The practice extends beyond the to other monarchies and diplomatic contexts, with examples including the wife of Thailand's Prime Minister curtsying to Brunei's in 2009, illustrating its role in international ceremonial respect. In and performance arts, the curtsy endures as a traditional closing , though this is distinct from social protocol; its ceremonial use in royal and aristocratic environments underscores a commitment to historical hierarchies amid modern egalitarian pressures.

Criticisms from Egalitarian and Feminist Perspectives

Critics from egalitarian perspectives contend that the curtsy reinforces monarchical and aristocratic hierarchies incompatible with democratic equality, where citizens are not expected to perform ritualized to hereditary figures. The All Lawn Tennis and Croquet Club abolished the requirement for players to bow or curtsy to the Box at Wimbledon effective 2003, with club officials citing the need to modernize traditions amid evolving social norms. Prominent female leaders have exemplified this stance by forgoing the curtsy in favor of neutral greetings. On October 19, 2011, during Queen Elizabeth II's visit to , Australian Prime Minister , Australia's first female , bowed her head twice instead of curtsying, adhering to protocol that permits a head bow as an alternative. Gillard defended the choice as a matter of personal comfort without breaching guidelines provided in advance, though it provoked backlash from Australian monarchists who viewed it as disrespectful. Feminist critiques emphasize the curtsy's gendered asymmetry, portraying it as a mechanism of patriarchal control that demands greater physical submission from women—via knee-bending and body-lowering—relative to the bow's upper-body inclination, thereby embedding female in form. This disparity is argued to perpetuate symbolic inequality, with the gesture's origins tied to medieval displays of that positioned women as structurally deferential within courtly and familial orders. Instances of refusal, such as Gillard's, are interpreted by some as acts of feminist agency against such embodied norms, aligning with broader egalitarian rejections of sex-differentiated protocols in public life.

Defenses Based on Tradition and Respect

Etiquette authorities maintain that the curtsy serves as a traditional of toward individuals of higher rank or , embodying compliance and in formal interactions. This practice, rooted in historical European , is praised for its grace, dignity, and inherent , distinguishing it as an attractive form of that conveys without ostentation. Proponents argue it preserves by upholding rituals that signal acknowledgment of established hierarchies, which they view as essential for maintaining and decorum in ceremonial settings. In modern royal encounters, the curtsy is defended as a voluntary expression of good manners and esteem for monarchical institutions, as exemplified by former British Prime Minister Theresa May's performance during a 2018 meeting with Queen Elizabeth II, which protocol experts described as appropriate rather than subservience. Similarly, advisors emphasize that the , when executed modestly, signals genuine without exaggeration, countering criticisms by framing it as a refined protocol aligned with longstanding traditions of where lower rank yields to higher. Traditionalist perspectives further contend that retaining the curtsy resists egalitarian pressures that undermine and propriety, insisting it appropriately honors superiors and instills instinctive homage, as observed in instances where individuals naturally defer to figures of elevated status. These defenses highlight the curtsy's role in sustaining interpersonal respect within structured societies, positing that its discontinuation could erode the symbolic gestures that reinforce mutual regard and institutional continuity.

References

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