flve-rAcrryarchives.mvfolkdancers.com/0_Other Items of Interest/0...GAITANAKI Greece C Rhodes) RECORD: Kleftes KL-101 B FORMATION: Circle dance for women. "Basket hold", right arm

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Camp Russel Oglebay Park

INSTRUCTORS

FALL FOLK DANCE CAMP Roster

JANE FARWELL, Folklore Vi I !age Farm, Dodgevl I le, Wisconsin DENNIS BOXELL, 3032 34th Ave., S.W., Seattle, WA 98126 AL SCHWINABART, Rt. #I - Box 50, Elk Garden, WV 26717 EARL GULLEY, 431 I Bel !wood Dr., N.W., Canton, 0 44708 DICK ATLEE, 508 Thoyer Ave., Sl lver Spring, MD 20910

Wheel lng, West Virginia September 4 - 7, 1981

53533

OGLEBAY INSTITUTE STAFF, Stlfel Fine Arts Center, 1330 National Road, Wheeling, WV 26003 Phone: 304-242-7700

John W. Ellis, Director, Folk Dance Camp Rose Chlazza, Dance Specialist Bl I I Herman, Dance Instructor Ph! I Maxwell, Craft Specialist Virginia L. Burlg, Secretary June Watsoh, Typist

CAMP STAFF AND COMMITTEE: Smith, Peggy, Chairman, Box 2216, Wheel lng, W. Va. 26003 Carnahan, Lloyd and Shirley, Co-Chairman, Stone Church Road, Wheeling, W. Va. 26003 Cl lne, El lzabeth, 1025 Indiana Street, Martins Ferry, Ohio 43935 Conrad, Helen and Charles, Middle Wheeling Creek, Triadelphia, W. Va. 26059 Denham~ James, 18 Broadway Avenue, Bridgeport, Ohio 43912 Fordyce, Betty, 1330i National Road, Wheeling, W. Va. 26003 Forshey, Ann and Paul, 28 Poplar Avenue, Wheeling, W. Va. 26003 Kafka, John, R. D. 2, Box 137, St. Clalrsvi I le, Ohio 43950 Nolan, Mrs. Edward J., 10 Locust Avenue, Wheel lng, W. Va. 26003 Sberna, Mrs. Almeta, 18 Hickory Avenue, Moundsvi I le, W. Va. 26041 Shockey, Fredrick and Juanita, 107 Elmcrest Drive, Wheel lng, W. Va. 26003 Sheppard, Ray, 28 Kennedy Avenue, Bridgeport, Ohlo 43912 Tomlinson, Bob, 2237 Market Street, At. 8, Wheeling, W. Va. 26003 Tocash, Mar·y and P. J., 327 Main Street, Ti ltonsvllle, Ohio 43963 Uhl lch, Floyd, I 16 Harding, Wheeling, W. Va. 26003

CAMPERS: Action, Rus, 1219 Robinson, Danvl I le, I I linois 61832 Alkire, Bi I I and Marianne, 5214 Clear Creek Val ley, Wooster, Ohio 44691 Ast, Herman, 2895 East I 18th Street, Cleveland, Ohio 44120 Bat ley, Mary Lea, c/o World Wide Games, Box 450, Delaware, Ohio 43015 Bailey, Michelle, Rt. 4, Box 269, Catlettsburg, KY 41 129 Barln, Judy Bellamy, John, 2500 Derbyshire Rd., Cleveland Heights, Ohio 44106 Bishop, Ernest and Florence, 4321 Lincoln Rd., Loulsvl I le, KY 40220 Boyles, Blanche, 3460 Whitfield Ave., Cincinnati, Ohio 45220 Brigham, Martha, 6520 Ll lac Street, Pittsburgh, PA 15217 Buchanan, Dorothy, 7616 Waverly Street, Pittsburgh, PA 15221 Carter, Lois and Beverly, 1735 Louden Heights Rd., Qh~rleston, W. Va. 25314 Caruso, Henry, 7245 Grant Boulevard, Middleburg Helghfs, Ohio 44130 Castellano, Charles, 2905 Aerial Ave., Apt. 4, Daytdri, Ohio 45419 Code, Doug, 500 Maple Avenue, Madison, Wise. 53704 Cutler, Jack, 3725 Windom Pl. N.W., Washington, D. C. 20016 Deary, Patricia, 9928 Grayson Ave., Silver Spring, MD 20901 Domash, Jonathan, 1860 Brett St., Apt. 31 I, Pittsburgh, PA 15205 Durbin, Rebecca, I I 14 South A Street, Elwood, lndlana 46036 Edler, Karl and Barbara, 14710 Poplar Hi I I Rd., Accokeek, MD 20607

Finke~ Irene M., I 127 N. St. Clair, St., Pittsburgh, PA 15206 Fl lnt, Pauline, 372 Larkin Ave., Akron, Ohio 44305 Flyne, Jennifer, 805 East Jackson, Muncie, Indiana 47305 Forshey, Kenneth, 28 Poplar Avenue, Wheeling, W. Va. 26003 Fraley, Mae, 405 Baltimore Road, Rockvi I le, MD 20850 Hasenauer, Dennia, 1667 Cedarwood Dr., #106, Westlake, Ohio 44145 Hoi I Ish, Connie and Frank, 439 Morningview Ave., Akron, Ohio 44305 Horvath, Susan, 528 Bostwick Ave., Daytona Beach, Florida 32018 Huppuch, Ruth Ingram, Anne Gayle, 4330 Hartwick Rd., Apt. 203, Col lege Park, MD 20740 Jacobsohn, Jim and Gale, 3081 Fairfax, Cleveland Hts., Ohio 44118 Janish, Donald, 390 Summer St., Buffalo, N. Y. 14213 Jartz, Louis and Betty, 17635 Lakeport Rd., Cleveland, Ohio 44119 Kangas, Pel lp 842 Park Avenue, Baltimore, MD 21201 Koblenz, Esther, 918 High Street, Madison, Wisconsin 53715 Lazarus, Jeannette, I 14 Summit East, Cincinnati, Ohio 45237 Lever, Max and Beatrice, 108-49 64th Avenue, Forest Hi lis, N. Y. 11375 Lewis, Sonya, P. 0. Box 1801, Ashland, Ky. 41101 Matlack, Wi II lam, 3329 Ward Street, Pittsburgh, PA 15213 Mays, Kay and Karen, I 105 W. University, Muncie~ Indiana 47303 Merritt, Bruce and June, 3315 Evergreen Drive, Murrysvl I le, PA 15668 Nelson, Brenda, 9413 Clifton Blvd.,Cieveland, Ohio 44102 Patton, Bi I I, 2709 Indian Run Rd., Flatwoods, KY Pepic, Momir, 3935 Mistletoe Drive, Indianapolis, Ind. 46227 Prietzel, Rudi, Carole, Julie, Rt. 4, Box 269, Catlettsburg, KY 41129 Rentschler, Irene, 355 Park End Dr., Dayton, Ohio 45415 Risley, D. L., 1710 Prospect Ave., Cleveland, Ohio· 44115 Russ, Maxine, 6833 Meade St., Pittsburgh, Pa. 15208 Schnack, Nancy, 28 Arden, Columbus, Ohio 43214 Shapiro, Harry and daughter (Enid), 2727 Lancashire, B-40.9, Cleveland, 0. 44106 Sneddon, Jane, 47 AI ice Avenue, Wheeling, W. Va. 26003 Snider, Paul, 448 Water Street, Indiana, PA 15701 Solomonoff, Nicole, 3245 Redwood Rd., Cleveland Hts., Ohio 44118 Travis, Patricia, 36 Cedar Blvd., Pittsburgh, PA 15228 Vetchel, Alicia, 322 West 57th St., 9Q, New York, N.Y. 10019 Vydra, Richard, I 178 Onondaga Ave., Akron, Ohio 44305 Warner, L. A., P. 0. Box 362, Conneaut, Ohio 44030 Weber, George and Marty, 14808 Caves Road, Novelty, Ohio 44072 Winz, Greg, Ridgeway, Wise. 53582 Worley, Virginia, 455 Austin Ave., Pittsburgh, PA 15243 Wr·i ght, Frances A., 15004 Reserve Rd., Accokeek, MD 20607 Yahner, Nikki, 33 Grant St., Greensburg, PA 15601

Oglebay Institute Fall Folk Dance Camp Wheeling, West Virginia, September 4-7, 1981

Instructors: Jane Farwell, Dennis Boxell, Al Schwinabart

TABLE OF CONTENTS

Dances presented by DENNIS BOXELL

Page i 2 3 3 4 4 5 6 7 8

B I LATt Ef(! ZLI I SKO HORO GAITANAKI SOUSTA RODOU KOFTO STA TRIA SHE I KHAN I SI<UDR I NKA BUFCANSKO BAVNO ORO BUC I tV! IS TRUGNA LA RUtv'JJ ANA

Dances presented by JANE FARWELL

Page 10 II 12 13 14 15 16 16 17 17 17 18 19

FEIAR MFD VALS FYRAfv1ANNADANS PANT CORLAN D t E ~1UHLE PARt SARPOLKA SONDERHONING & RANKAN KALlA DER SCHLEDERER SPINNRADI ZU DRITT SWES!AH POLKA MIXER BALANCE THE STAR KONTRASEJRE FRA ODSHERRED THE DIGGING DUTCHMAN LEV I JACKSON RAG

Dances presented by AL SCHWINABART

Page 20 20 21 21

STREET FAIR RANDY 1 S MIXER HULL'S VICTORY YUCCA JIG



RECORD:

Bl LATI <Assyrla)

Folkraft LP-4 "Tanzara"

I •

FORMATION: Arms straight down, fingers Interlocked, shoulders close to neighbor's, Kurdish style.

METER:

Measure

2/4 PATTERN

FacIng center, step-hop f rwd on L ft (ct. I ) ; step-hop bkwd on R ft (ct. 2).

2 Touch L heel frwd Cct. f); Step-hop on L ft frwd (ct. 2).

3 Step-hop on R frwd (ct. I); touch L heel frwd (ct. 2).

4 Step b kwd on L ft (ct. I ) ; touch R hee I frwd (ct. 2).

5 Step-hop frwd on R (ct. I); step-hop b kwd on L (ct. 2) •

6 Step-hop bkwd on R ft (ct. I); touch L hee I f rwd (ct. 2) •

Frequent varl atlon for Meas. ·I and 2, ct. I;

Turning to faceR, step-hop on L ft ln pi, tucking L hand l nto sma I I of back C ct. I ) •

RECORD:

Turning to face center, step on R ft ln pi (ct. 2).

Touch L hee I frwd (ct. I).

EKIZLIISKO HORO (Bulgaria)

Fo I kraft 1548 x 45, MH 3052·, MH LP I

FORMATION: Line dance. Belt hold, R arm In front, L arm behind.

NOTE:

METER:

Measure I

Dance came from vii lage of Lui In near Yambol in Thrace. · Th~ village was originally known as Ekizl11. '·

2/4 PATTERN

PART I Facing center, step sideward Ron R ft. Cross and step on L ft behind R ft. Continued ...



2 Step sideward Ron R ft. Cross and step on L ft ln front of R ft.

3 Same as Measure I. 4 Step sideward Ron R ft.

Hop on R ft, I lftlng L knee sl lghtly. 5-8 Repeat pattern of Measures 1-4, reversing footwork and direction. 9-16 Repeat pattern of Measures 1-8.

PART II

Facing center, step sideward Ron R foot~ Cross and step on L ft behind R ft.

2 Step sideward R on R ft. Hop on R ft, I lftlng L knee sl lght!y.

3 Step sideward L on L ft. Cross and step on R ft behind L ft.

4 Step sideward L on L ft. Hop on L ft, I fftlng R knee slightly.

5-6 Same as Measures 1-2. 7 Facing center, step forward on L ft.

Close and step on R ft next to·L ft. 8 Stamp forward on L ft.

Hop on L ft.

GAITANAKI Greece C Rhodes)

RECORD: Kleftes KL-101 B

FORMATION: Circle dance for women. "Basket hold", right arm under, left arm over.

METER:

Measure

1-2 3

4-6 7

8 9 10 II 12

2/4 PATTERN

PART I

Facing slightly Rand moving R, two steps CR,L) forward. CCt 1-2, 3-4) Turning to face center, step sideward Ron R ft Cct. 1). Close L ft to R without touching (ct. 2). Repeat pattern of Measures 1-3, reversing direction and footwork. Facing center, step forward on R ft(ct. I). Close L ft. toR without touching (ct. 2). Step-Close* Cleft) backward Ccts. 1-2). Cross and step on L ft In back on R, bending knees s I i ght I y (ct. 1-2 )·. Step-Close (Right) sideward R (cts. 1-2). Step sideward Ron R ft Ccts. 1-2). Turning to face slightly R, step forward on L ft Ccts. 1-2).

REPEAT pattern of Measures 1-12 for a total of 4 times.

PART II

I Turning to face center, step sideward Ron R ft (ct. 1). 2 Close L ft to R without touching (ct. 2). · 3-8 Same as Measures 7-12 above.· 9-15 Repeat pattern of Measures 1-8 for a total of 2 times.

*Step-Close (Right), Step on R ft Cct I). Close and step on L ft beside R Cct 2). Repeat, reversing footwork, for Step-Close (Left).



SOUSTA RODOU

RECORD: FEZ 708-B and Kleftes KL-101 B

FORMATION: "Basket Hold" R arm under, L arm over.

METER:

Measure

2 3

2/4 PATTERN

VARIATION t

Facing center, step sideward Ron R ft Cct I) Close and step on L ft next toR ft Cct 2). Same as measure I except not to take wt on L ft Cct 2). Step fwd on L ft C ct I ) • C I ose R ft to L ft (no wt) ( ct 2) •

NOTE: These steps are bouncy and on the balI of the foot.

REPEAT pattern of Vartatton I as often as destred.

VAR I AT tON I t

facing center, a small leap sideward Ron R ft at the same time swinging L ft across In front of R ft (ct 1). Hop on R ft Cct 2). Step on L ft behind R ft Cct 2 and)

2 Step backward on R ft Cct 1). Two I ittle steps fwd CL, R) Ccts 2, 2 and);

3 Continue fwd on L ft Cct I) Cross and step on R ft In front of L ft Cct 2) Step on L ft In place Cct 2 and)

REPEAT pattern of Variation I I as often as desired.

KOFTO STA TRIA (Greece)

RECORD: Folklorist LP-1

FORMAT I ON: L1 ne dance, "W" pas It I on.

Measure

PATTERN

VARIATION t

Facing sl lghtly right, two walking steps forward R L Cct. I & 2). -· Turning to face center, step sideward right on R ft Cct. 3).

3.

~ift* on R ft, swinging L leg, knee bent in front of R leg Cct. 4)~ Step sideward Lon L ft (ct. 1). Lift* on L ft, swinging R leg, knee bent, in front of L leg Cct. 2). Crossing In back of L ft, step on R ft sl lghtly to left of L ft (ct. 3). Lift on R ft, closing L ft toR ft (ct. 4)~

VARIATION II

Facing sl lghtly right, two walking steps ~wd R,L Cct I & 2). Continued



RECORD:

Turning to face center step stde on R foot (ct. 3). Cross and step on L foot dtrectly In front of R foot (ct. 4). Step back on R foot In pI ace (ct •. 4 and L Step s r deways I eft on L foot Cct. I ) • Cross and step on R foot directly In front of L foot (ct. 2). Step back on L foot In place Cct. 2 and). Quick step on R foot next to L (ct. 3). Cross and step on L foot In front of R (ct. 3 and). CloseR foot next to L.foot Cct. 4).

SHEtKHANI <Assyria)

Folkraft LP-4; Folkraft 1547 "Aino Kchume" "Shelkhani"

FORMATION: Arms straight down, shoulders close to nelghborts, fingers inter locked, Kurd 1 sh sty I e.

Meter: 2/4 PATTERN

Measure

4.

I 2 3

Facing center, step frwd. on L ft (ct I); step-closeR, L (cts 2, 2&). Step frwd on R ft (ct I); touch L hee I frwd Cct 2).

NOTE:

Step bkwd on L ft, pivoting to face R, tucking L hand and neighbor's R hand Into small of back (ct I); continuing R, step frwd on R ft ( ct 2). Step frwd on L ft (ct I); step-close R, L (ct 2, 2&)'~ Step frwd on R ft (ct I); step-close L, R Cct 2, 2&). Step frwd on L ft Cct I); turn tng to face center, step bkwd on R foot and bring hands straight down to begin dance steps.

The walking In measures 3 and 4 (ct I) can also be step-hops. Same In measure 5Cct I) and measure 6 (ct I).

SKUDRINKA (Western Macedonia)

RECORD: Folkdancer MH-3037

FORMATION: Originally danced by men alone. Dancers hold nelghborts right hand near own shoulder, left arm bent, with right arm held straight out to side, resting In left hand of dancer to right.

Meter: 2i4 PATTERN

Measure

1 Facing sl lghtly R, tap balI of L ft fwd, L knee straight (cts 1,2). 2 Tap balI of L ft twice again In same place (cts 1,2). 3 Tap balI of L ft fwd, L knee straight (cts 1,2).

Continued



4 Lift slightly on R ft, raising L knee high (ct 1>. Lift again quickly on R ft whl le closing and stepping on L ft next to R to face s I fghtly L Cct 2).

5-8 Same as meas. 1-4, reversIng footwork and direction, except

5.

on ct 2 of meas. 8 close and step on R ft next to L to face ctr. 9 Swing L ft out to side, (a preparatory movement on count "ah"

of the preceding beat) and close L ft sharply toR cl !eking both ft together (ct 1). HoI d (ct 2).

10 Slight lift on R ft, raising L knee high (ct 1). Slight lift on R ft, closing and stepping on L ft in place next to R (ct 2).

11 A slight lift on L ft, ralsing R knee high to swing R ft sharply across and In front of L (ct 1).-HoI d (ct 2).

12 Turning to face sl lghtly R, R knee stl I J raised high, I ift on L ft (ct 1). Step fwd on R (ct 2).

13 Lift on R ft, raising L knee high (ct 1). Step fwd on L Cct 2).

14 Lift on L ft, raising R knee high (ct 1). Step fwd on R ft, In preparatdon to begin dance again (ct 2).

Translation:From the town of Skudrlnje.

BUFCANSKO ( B l to I a ref I on )

RECORD: Folkraft LP-15, side B band 2 (2:23).

FORMATION: "W" position. Left foot free. (Line dance for women, no partners)

Meter: 2/4 PATTERN

Measure PART I <Mus lc AA) 1 STEP-CLOSE (L) backward (cts. 1-and),

Cross and step on L ft. In front of right (ct. 2). 2 Step sideward right on R ft (ct. 1),

Cross and step on L ft In back of right (ct. &>, Step sideward right on R ft (ct. 2).

3 Turning to face slightly and moving right, three quick walking steps (L,R,U forward Ccts. 1-and-2), pause (ct.&).

4 Turning to face center, step sideward right on R ft (ct. 1), Close and step on L ft beside right (ct. 2).

5-8 REPEAT pattern of measures 1-4. PART II (Mus l c BB)

9 STEP-CLOSE (,~-backward (cts. 1-and), Step forward on L ft (ct. 2).

10 Cross and step on R ft. In front of left (ct. 1), Step sideward left on L ft (ct. &>, Cross and step on R ft in front of left (ct. 2).

11 REPEAT pattern of measure 10 reversing direction and footwork. 12 Step sideward right on R ft (ct. 1),

Close and step on L ft beside right (ct. 2). 13-16 REPEAT pattern of measure: 10 reversIng direction and footwork.

Translation: From vi I lage of Buf.



.,BAVNO.ORO" Macedonia

6 .

"Bavno oro" CBAHV-no O-ro, 11 slow dance") Is the title under which Bulgarian ·accordionist Boris Karlov recorded.his arrangement of the melody of a Macedonlan folk song, Snosti sakav da tl dojdam, in the early 1950's. Two versions of the accompanying dance were introduces to U.S. and Canadian folk dancers: the first was presented at Stockton Folk Dance Camp in 1955 by Anatol Joukowsky--the second version was introduced under the name Makedonsko bavno oro by Dennis Boxel I. The I atter is the one descrl bed here.

"Bavno oro" Is essent i a I I y an adaptat l on of the Macedon ian Lesno ro Pravo oro, the single most popular dance in present-day Macedonia (see NAMA #2). The distinguishing feature of Lesno oro Is !ts slow-quick-quick rhythm pattern" conventionally notated In 7/8 or 8/8 and having 3 dancer's beats per measure. This universal rhythm is known among Balkan folk dance and music special lsts as the "Macedonian seven" ( 11mak!$donska sedmorka"):

Dancer's beats (counts): 1 Rhythm: S

2 3 Q Q

Figures 1 and 2 of "Bavno oro" are in the above rhythm. In Figure 3 1 after a transitional single-beat measure of 3/16, the rhythm changes to a quick-quickslow pattern, notated in 7/16:

Dancer's beats (counts): 1 2 3 Rhythm: Q Q S

FORMATION: Open line, men at front of I lne, women at left end, hands joined at shoulder height, a bit forward. Last man and first woman hold a kerchief between them. End dancers' free hands on hip or waving kerchief.

MEAS RHYTHM PATTERN

( 1-9)

2

3 4-24 25

2

3

Introduction - oancers either wal.t or)l if desired, can begin dancing the mov'ts of Fig~ 1 Immediately.· Figure 1 - Slow vocal ...;. 25 meas Facing about 1/8 R of ctr, ste~ Rft toR (1); step Lft across in front of Rft and beyond it C2~ and hold (3). Facing ctr, step Rft sdwd R (1); sl lght bounce In place on Rft, M bringing L knee up high and crossln@ Lft in front of R leg)l W raising Lft low in front (2); slight bounce again on Rft, Lft remaining in i~s position in count 2 (3). Reverse mov!ts of meas 2 of this Fig. 1. Repeat the movtfs of meas 1-3 seven more times, for a total of eight. Same mov!ts as meas 1 of this Fig. 1. · Figure 2 ·-Slow Instrumental - 17 meas Facing ctr, step Rft very slightly sdwd R (1); gently tap L heel fwd and slightly Lor R toe, L knee straight (2); gently tap L heel In same place again (3). Sti I I facing ctr, step Lft in place (1); gently tap R heel fwd and slightly R of L toe, R knee straight (2); step Rft very slightly sdwd R (3). · Turning very slightly R of ctr, step Lft across ~nd beyond Rft, flexing L knee so that body dips (1); facing ctr, step Rft sdwd R (2); step Lft across in back of Rft (3).

Continued



7. 4~15 Repeat the mov~ts of meas 1=3 of this Fig. 2 four more times, for

a total of five. 16 Same mov'ts as meas 1 of this Fig. 2. 17 Facing ctr, step Lft In place (1); gently tap R heel fwd and

sl lghtly R of L toe, R knee straight (2); gently tap R heel In same place again (3).

NOW REPEAT FIGURE 1 - Slow vocal - 24 meas, doing movtts of meas 1-3 of Fig. eight times In alI. Note that his repeat of Fig. 1 does not have a meas 25 as it did the first time through.

NOW REPEAT FIGURE 2 - Slow instrumental - 15 meas, doing mov 1ts of Fig. 2 five times in all. This is followed by a single-beat meas (meas 16 cut to one beat) In which dancer leaps on Rft sdwd toR, bending R knee and thrusting Lft fwd (1), as a transition into Fig. 3 •

.EJ_gure 3 - F.§..st · lnstrumenta 1. tLII eo.d~ Facing ctr, step Lft sdwd L ( 1); step Rft behind Lft (2); fall onto Lft sdwd L, bending L knee and thrusting Rft fwd (3).

2 Step Rft sdwd R ( 1); step L ft behInd Rft (2); I i ght step onto Rft sdwd R (3); step Lft across In front of Rft, bending L knee C&).

3 Reverse mov 1ts of meas 1 of this Fig. 3. Repeat the mov'ts of meas 1-3 of this Fig. 3 ti I I end of music.

BUCIMIS Bulgaria

Buclmis (boo-chee-MEESH, "hemlock") is a dance from around the town of Pazardzik in western Thrace, Bulgaria. The origin of Its name is knknown; the melody of Bucimls is undoubtedly that of a now-forgotten folk song which made mention of in its first I ine. Vi I lagers today, however, know no such song.

The movements of Buclmis are similar to those of other west Thracian dances such as Gankino (KI-ivo) hero; its uniqueness lies ln Its unusual 15/.16 meter, with 7 dancer's beats In a qulck-qulck-qulck-qulck-slow-qulck-qulck rhythm pattern:

Dancer's beats (counts): Rhythm:

1 2 3 4 5 Q Q Q Q s

6 7 Q 0

Buclmls is less popular now In Bulgaria than It was a generation or two ago, when it was often done at vi I I age dance gatherings, In long I lnes with the men concentrated at both ends and the women in the middle. The belt hold was used. Nowadays, Bucimis is preserved primarily by pel-forming groups, and numerous choreographed figures have been added to it. Of the 5 variations described below, #1, #2, and #3 are original folk variations; #4 and #5 are examples of later exhibition-type elaborations.

FORMATION:: Belt hold, grasp neighbor's belt, R arm in back, L arm In front. End dancers have free hands on hlp or flourish a kerchief

MEAS PATTERN

(1-2) Introduction - 2 meas drum solo; dancers wait.

Variation ·1_:- Basic step Facing ctr, step Rft sdwd R (1 ); step Lft sdwd R (3); step Ut behind Rft (4); step beside Rft and bounce on both H together ft together (7).

behind Rft (2); step Rft Rft sdwd R (5); close Lft (6); bounce again on both

Continued



2

2

2

Rever·se and dlrectl

~

sdwd R (3); step Lft behind In piace, turning to faces bending fwd from waist (6 ; straightening abru

of meas of this vad lono

behind Rft (2); Rft Rft sdwd R (5); on Rft rp r·alsl L knee and

(no wt) beside R toe 9

and turning to ctr (7). Reverse i'oot~rJod<. and d lon of meas 1, this variation.

r, Lft behind Rft (2); R>ft (3); step Lft behind with wt on Lft and L knee bent,

lean fwd and tap R heel dlag (5); R heel directly fwd Ctwd ctr ~·no wi·) (6); sllde Rft along floor· ll ly back to Its place beside lft and take wt on Rft In place (7). Reverse footwork and dJr··ectlon of meas this variation.

mov n meas rlatlon 3 2 Stl I I facing ctr, tap L heel directly fwd (no wt), L knee stra! (1

slide Lft along floor· ll ly to Its place bes de Rft and take wt on Lft ln place (2); R heel d rectiy fwd (no wt), R knee straight (3); I lghtly sl de Rft along floor back to Its place beside Lft and take wt on Rft In place (4 ; L heei dlag fwd/L (no wt), L knee straight (5); tap L heel directly fwd, L knee stral (6); hoI d, wt st 1 I I on i~ft (7).

3-4 Reverse footwork and direction of meas 1-2 this variation.

YarJ at! on 5 - Ree 1. .. ..2~s v'IJJ:.b_}a£§. Facing ctl~; hop on L·ft In place, br nglng Rft around ln a srna! I ar·c to a position behind L ankle (1); on Rft beh nd and very close to L heel (2); hop an R·ft in place:. br"1ng1ng Lf-t~ around !n a smali ar·c a position behind and v'er·y close toR hee.! (3); step on Ltt behlnd and very close to R heel 4); close Rft beside and chug bkwd with both ft together sharing wt (5); fwd on Lft to original p ace, raising R knee fwd and bending fwd from waist (6); stamp R heel (no wt) beside L toe, straightening abruptly (7).

2 Rock fwd onto Ri't 11on its o~ttri t ( l. e. fl not cl-oss l ng in f roni' of Lft) (1); rock back onto Lft In Its piace (2); rock fwd again onto Rft (3); rock back onto Lft agal (4); R heel no wt) beside L toe (5); leap onto Rft n placE' beside Lft (6)$ stamp L heel (no wt) beside R toe (7).

3 Reverse footwork of meas 1-2, this variation.

SEQUENC~l. The order and number of tl mes each I' i t-e Is done l s up to eade:r, Twice through each figure as written above has proven to be a comfortable sequence for learning purposes (!.e., each figure to R-L-R-L before p ,-oceed l ng to next).

~~rou11d: t\s a i'olk songp "Tr·ugnala Rumjana 11 CTRU~-nah-lah roo~MY/\H-nah) Is widely known, In many variants, In Macedonia, East Serbia and Bulgaria. In many places tt Is dances as an ordinary 3-meas Pravo (Lesno). The Bulgarian ver"slon given here represents a 4-meas form known as 11 Pravo11 or l knoveno ho in south·-centra I and southeast Bulgaria (Rhodopes and Stran ). It Is a standa national dance



taught to Bulgarian children as part of their elementary-school physical education program. It was learned by Didk Crum from I I ija Rizov, lead dancer of the Kutev Bulgarian State Folk Dance Ensemble.

RECORD: XOPO 329-B "Trgnala Rumjana 11

FORMATION: Open mixed circle or I ine, arms on neighbors' shoulders <"T" formation) or sometimes with hands joined at shoulder height C"W" formation).

METER: OrcHnari ly notated in 7/8, with 2 dancer's beats in a "slow-slower" pattern:

1 2 S S+

MEASURE ACTION

Facing slightly R, wtep Rft toR (ct 1); continuing toR, step Lft across in front of Rft Cct 2).

2 Turning to face ctr, step Rft sideways R (ct 1); step:- L ft behind Rft (ct 2).

3 Sti I I facing ctr, step Rft sideways R (ct 1); point Lft OR raise L leg, across in front of R (ct 2).

4 Do movements of meas 3 with opp ftwk and direction.

Style Notes: Macedonians (or U.S. and Canadian folk dancers accustomed to Macedon ian style) learning this dance wi I I have a tendency to divide ct 2 omtp 2 parts, i.e., add an extra bounce, especially in meas 3 and 4, and men wi I I raise active knee rather high in those measures. No Bulgarian would "object" to this, although it Is not part of the standardized form as it is taught in Bulgaria.

Song Text: Trugnala Rumjana za voda studena, lele vse sutrin rano po ladovina, lele vse vecer kusno po meseclna. Na sresta i ide edno ludo mlado, lele ta na Rumjana tihom govori, lele "Ja kazi, Rumjano, kakvo da tl storja, lele kitki da ti zema, drugi ste naberes, lele stomni da ti scupja, drugi ste si kupis, hem pohubavi, hem posareni, lele. Ja togaz, Rumjano, daj date celuna, ce celuvkata se s pari ne kupuva, ce cel~vkata e mehlem na surceto, lele, mehlem na surceto, balsam na dusata."



FE I AR MFD VALS

RECORDE: Aqua Viking V300B.

FORMATION. Couple dance for any number of couples. Free hand on hip, thumb forward.

STEPS: Waltz, Two-step, Hamborgarpols Pivot

Hamborgarpols Pivot: Thls ls a distinctive turning step bordering between a bal 1-of-foot pivot and a step-hop. Counted as follows: count 1: Step on the whole foot, with knee bent count&: I 1ft heel from floor and straighten knee a bit to raise

the body, while turning on balI of foot count 2: repeat above motion wlth other foot count &: finish above motion with other foot.

There are thus two distinct motions on each measure. A smooth "bounce" is maintained, the knees, flexing lightly, never completely straight.

SEQUENCE: 1. Waltz 2. Feiar (Aweeper). (Two-step forward and back, with .stomping) 3. Hamborgarpols pivot and I lft

1. Waltz. Closed shoulder-waist position. 15 waltz steps LOD. M starts on L foot; woman on right foot. On 16th measure, couple stops, facing each other, instde hands joined at shoulder level, held out to man's right.

2. Feiar. Start on outside foot. 3 open two-steps LOD: face-to-face, with arms projected back; back-to-back with arms projected forward; and face-to-face with arms back again. Release hand hold. Join opposite hands,. while turning half around' (man cl, woman CCL), stomping both steps.

Repeat the 3 open two-steps, etc. In opposite direction, starting with outside foot, ending with two stamps on last measure.

3. Pivot & I ift. Placing right arm around woman~s waist, man dances a two-step (left, close, left) more or less In place, but turning to his left CCC1), with a stamp on the last beat, whl le bringing woman over in front of him. Woman dances a longer two-step (right, close, right). Closed shoulder-waist position.

Repeat above step In opposite direction (clockwise), starting on opposite foot and with a stamp on the 1st beat.

Continue turning clockwise with 2 two-steps, no stamp, but with a trace of a hop of the last beat of each measure. Pivot clockwise, with 6 Hamborgarpols pivot steps. On the final measure, man lifts woman from his left to his right sid~.

Pause during pick-up notes.

Repeat entire dance.

10.



I I •

Fyramannadans

PRONUNCIATION: FEER~a mahn-a dahris

TRl\NSLATION: Four" per-sons dance

RECORD: Aqua VIKING V 201-b

FORMATION: 2 couples In ring

STEP: Same for M & W. Ostgota step.

Ostgota steQ. Named after the province of OstE:H·gotiand, East Gothia, fn Sweden. a 3-count step, progressing sidewards. CW) in clr'cle, all facing center-.

count &: hop on right foot count 1: step on left foot count &: step on right foot count 2: step on left foot count & : Cpa use) count 3: cross right foot In front of left

Cueing is thus "ah One and two~ Cross" or" "Cpauses), left right, left, cross"

Sty I ing: dancers face squarely Into center of r"'lng. No hlp swivel when right foot crosses over. Step Is airy, I lght, with dancers on their toes at a II times.

Dance works best with 4 persons of approximately the same height/weight.

Measures A. Circle

1-8 Hands joined firmly at shoulder level with enough tension to maintain 11 V11 In elbows, dancers facing squarely Into center· so as to move sideways, 8 ostgota steps to the left, turning circle CW.

B. Mill

Transition: with handclap on 1st beat» circle hold ls released and each person turns to own left with one ostgota step, making a ful I CCW turn around Individually.

2~8 Facing center of set again, an 8~hand rni II Is ·formed by placing both hands on right arm of person to own left, right hand grasping the wrist and L hand grasping just above the elbow of said person. Mill 1 s moved about CW with 7 more ostgota steps.

9

10-16

C. Basket

Tr·ansltion: With handclap on 1st beat, mlll-hoid Is r·eleased and each person turns to own left with one ostgota step, making a ful I CCW turn around Individually, as before.

In rapid succession, W grasp each other's hands with flngergrfp; M grasp each other's hands In same manner below the W's hands. W then I lft their hands over M1s heads and place them behind M1s backs.



FYRAMANNADANS, continued ,. ;

Meas. C. Basket, continued

M lift their hands over W's heads and place them behind W's backs. <AI I hands should be held squarely in center of the back). AI I during this time the set should continue to move about CW with 7 more ostgota steps.

9-19 Basket thus formed is kept in motion for 8 more measures of ostgota steps, during which time set can pick up speed.

Without transition, hands are dropped from basket hold, circle is formed again (without ceasing CW move~ent). and dance is resumed at A- Circle.

ENGLAND (WALES). PANT CORLAN

Pant Corlan Yr Wyr

The Lamb's Fold a Welch dance

RECORD: Folk Dancer MH 9893.

FORMATION: Sets of threes, one man and two girls, or vice versa, or three men, or three ladies.

The two girls hold inside hands behind the man 1s back, the man extends both hands out in front to the sides the girls hold man's hand with outside hand.

Part 1: In this position do 4 schottische steps (starting on R) then do 4 backwards, and on the last count, bring joined hands over middle person's head and face the middle person.

Part 2: Do 4 step-swings in place starting on R, then run lightly toR 8 steps and finish facing front with only inside hands joined. Do 2 schottische steps forward and then walk backwards 4 slow steps.

Part 3: The CAST OFF: the middle person dances straight forward with 2 schottische . steps to take the two people ahead of him as new partners AS AT THE SAME TIME The two end people cast off, the Inner person to the left, the outer to the right with 2 schottische steps to join hands with the middle person behind them. All assume new position as in Part 1, and walk forward 4 slow steps.

Repeat dance from beginning. The style of the dance is nice and I ight.



13.

Die Muhle (Folklore Vi I lage not yet avai !able)

German Folk Dance

FORMATION: 4 couples in a square

Figure 1 Starting L foot, alI circle 12 steps to left, accenting the mazurka beats of the first two measures. Repeat to right, back to place.

Chorus: A. Four men make a Left hand mi I I. Woman's left hand is on partner's shoulder, man's arm around her waist. 16 running steps.

Figure 2

Chorus:

Figure 3

Chorus:

Figure 4

Chorus:

Figure 5

Chorus:

Fl gure 6

Chorus:

Figure 7

B. Man and woman shift positions. As she passes to his left side women make a left hand mill. Woman 1s right arm in on partner's left shoulder, man's left arm is around her waist. 16 running steps.

C. Grand Rand L: Partners face, taklnf R hands and with running step do Drand R and L untl I partners meet, turn half-way round with R hand and return to place in reverse direction.

Right hands joined with own partner, two Mazurka steps, beginning with R foot, two Mazurka steps and 6 running steps.

Using same Mazurka steps as above, join both hands with partner, going first to Land then R.

Same step to L and R with back grasp. Hook R elbows and join R hands and L hands. Change and repeat in opposite direction.

Waist hold with L hand extended above head - repeat Mazurka step as above in each direction.

Men with backs to center of circle -join in regular dance position, two Mazurka steps in Line of Direction - 6 running steps, repeated.

Repeat Figure 1.



PAR I SARPOLKA

REDOR~: Aqua VIking V 301-a or RCA LPM 9910 or LPNES 65.

FORMATION: Couple dance for any number of couples. Free hand on hlp, thumb forward. Open, and closed, shoulder-waist position.

STEPS: Walking steps; open two-steps; plvot.

FIGURES:

I. Basic. With woman's left hand In mants right, start with outside ft and dance 3 walking steps LOD. On count 4, set Inside ft lightly on the floor. Starting with Inside ft~ dance 3 walking steps RLOD, and on count 4~ set outside ft llghtly on the floor.

Dance forward in LOD on 2 two-steps, starting on M's left and W's right. Shoulder-waist position and turn CW twice on 4 pivot steps. Repeat.

2. Turning separate with claps. Same as I, except when moving forward In LOD, make I complete turn; M counterclockwise, W clockwise, on 3 walking steps.· Step on count 4* with Jnside foot, turn once around: M clockwise, W counterclockwise, on 3 walking steps, while moving RLOD. On ct. 4, touch floor with outside ft as described above.

2 two-steps LOD and pivot as In I. Repeat. *Note addition: On count 4 above, both M and W clap hands, as they

simultaneously touch floor ~ith toe. ·

3 •. Dl shrag. Same as 2, except join both hands, whereby the turning away from each other (LOD) becomes a "dish-rag turn". Keep hands close together overhead, and bodies close together to be able to do the turn comfortably.

Do "dish-rag turn" back (RLOD) In same manner. 2 two-steps LOD and pivot as in I. Repeat.

4. Chest hold. M facing LOD, W facing RLOD, Won M's right side. Join hands, W's rlght In M's left, W's left In M's right.

3 walking steps and touch on count 4, LOD, starting on M1s left, W's right, with woman going backwards. As one turns to go the other way <RLOD), on 3 walking steps and touch on count 4, man lifts right arm (stl I I holding woman's left), and W turns under the arms counterclockwise. W's right and Ws left hands end up, still joined, behind W's back. At the same time, M turns clockwise (not under ar'ms), M~s left hand and W's right are stl I I joined, now across man's chest. (The turning around Is completed whl le doing the first walking step RLOD.

As botb: are movIng forward In LOD, the M on 2 two-steps, the W on 4 wa I king steps, W turns twice clockwise~ under man's right arm.

Shoulder-waist position and pivot as In I. Repeat.

·5. Turning the Girl Dance forward LOD with M's right hand holding W's left hand above W's head. W turns CW once on 3 walking steps, and L touch on count 4. M moves forward as in I. Turn and move RLOD while W turns CCW once on 3 walking steps and touch floor with R ft on Count 4. Man's step as in I.

Whl le both are moving forward LOD; M on 2 two-steps 1 Won 4 walking steps, W turns CW under man's right arm.

Shoulder-waist pos!tlon and pivot as In I. Repeat I or 3 times.

The length of the recorded music may not always be tal lored to thls particular sequence of figures. If the music Is long(i;lr, one can start over again on Fig. I.



SONDERHONING DENMARK

RECORD: HMV AL 1358 A Danish Dance Another dance brought back from Denmark by Jane Farwel I from whom we learned the dance. For those of you who find the Hambo too strenuous this is the answero A tricky I ittle thing, but once mastered much fun to do. We teach the men and ladies separately first, as both have different steps.

PART 1: Couples side by side with free hands on hlp. Man holds lady's left WRIST with his right hand ••• unusual! All walk forward side by side 16 steps starting on man's left, lady's right foot. At end of part 1, Immediately take this position: Face partner and without dropping hands, the girl places her left hand behind her own back with the man sti I I hanging on to that wrist. The lady also remembers to place her right hand under man's left armpit to put it around his back. Man's left hand goes around lady's back. A kind of cozy hold!

PART 2: In position described above the following steps wl I I be done:

Note:

MAN: Step and pivot on balI of left foot •• count one Bring right foot down besr·de left foot •• count two Step forward on right foot •• count three. The above Is done with rather a I lght spring on the bal Is of the feet.

LADY: Do a qufck "two-step" starting on right foot (right, left, right) then leap on left foot forward and pivot slightly with a slight hold on this leap.

At the end of Rart 2, both man and lady finish with a quick "step-together-step" in order to come out with the outside free to start Part 1. If you forget, then change step during the march of Part 1. Girl should straddle a I ittle to the left on the leap. On count 3 of the man's step the right foot should be between the lady's feet.

RANKAN KAL I A F I n n I s h MIxer

ACTION A MUSIC MEASURES

1

2 1-2

B MUSIC 1 2

3-4

1-4

Double circle formation, partners with Inside hands joined, outside fists on. hips, alI facing LOD.

AI I walk 3 steps forward starting on outside feet (3 counts), close inside foot to outside, no weight (4). B@ek up in the same way starting on inside foot (4 counts). Repeat above end facing partners with weight on both feet, fists on hips.

M bow - W curtsey (2 counts) clap 3 times and pause (2 counts). Repeat AI I face 1the person diagonally L, join both hands and turn once around CW. facing t~is new person. Repeat atLl of pS'rt B- keep new partner to begin dance again.

End



16.

DER SCHLEDERER Austr1 a

RECORD: Tanz SP 230680 Circle mixer for as many couples as wl I I.

FORMATION: Couples in promenade position, lady's L hand rests on manfs

ACTOON: 1. Starting with outsfde feet, promenade 16 steps ln dance direction. 2. Couples separate, emn movfng toward Inside of circle, ladles toward outside

on opposite feet, one two step away, one back toward each other. Take own partners In regular dance posltlonp turn CN with 4 "Dreher" steps~ (flat footed pivots with sl lght suggestion of hop on each one). Repeat, each man moving forward to turn with new glrl 9 each girl moving back toward new boy.

3. Promenade 16 steps with new partner. 4. Partners In regular dance position~ men with backs to center of circle. Step

toward man's L, close R foot. Repeat ln oppos!te direction. Do 4 Dreher steps, progressing forward slightly. Turn lady under man's L hand one turn (2 full counts). rlnlsh by swinging joined hands ln-out-in (pause). Clap own thlghsr own hands, thighs, own hands, partners hands 3 times. Repeat Part 4.

SPINNRADI ZU DRITT Csplnnlng Wheel for three)

RECORD: Tanz 58 118

Austrl a

FORMATION: One M between two W, outside hands of W joined with his hands, W join inside hands behind theM. Threesomes standing on the line of the circle, facing LOD. DURING THE INTRODUCTION he greets flrst his right, then his left

MEASURES: 1-8

9

10

11

12-14 15-16

17-24

partner.

Starting on L foot, move with three-steps In LOD; he looks once to his right and once to his left ptr, moving slightly to the left and to the right wlth each st rea-step. ~ Both women take one step fwd (ct. 1) and I lft their joined hands across hls head as he bends his knees and immediately c9mes up again. L W finishes her three-step in place; M begins to move CCW arounp right W; right W makes CCW turn with two steps and stands now between M and left W. R W dances through joined hands on M and left W, as they move sl lghtly fwd, left W with a complete turn CW, M finishes hls way around R W. M half turn CCW- alI are In starting Qosltlon. DURING MEAS. 9-11 THE THREESOME MOVES SLIGHTLY FWD IN LOD. As 9-11 but M goes around left W first. With three light running steps and a light, springy jump fwd In I ine of direction. Do not stamp. Repeat measures 9-16



17.

SWEDtSH POLKA MIXER A Swedlsh-rtnntsh Dance ustng the Ftnnlsh Swing (a good Swedish or rlnnlsh Polka)

FORMATION:

ACTION: Measures

1-4 A MUSIC

5-8 1-8

B MUSIC 1-8 1-8

Double circle~ men·on the· Inside

Partners join R hands and walk 8 steps around

L hands back Swing- Join L hands, place Ron partner•s R shoulder and buzz step swing.

In varsouvienne position, eromenade In LOD with 16 walking steps. Release hand; W cast off to face 0 LOD- men continue walking LOD, W OLOD 16 steps. At the end of the B music reach out to join right hands with the nearest partner and begin dance again. Those without partners go to the "lost and found" in the middle of the circle.

BALANCE THE STAR <Appalachian)

FORMATION:

ACTION: 1

2

Couple facing couple around the circle-Won M•s R.

AI I join R hands with own sex to form star -Balance in - Balance out Repeat (8 counts) With hands sti I I joined walk once around to place with 8 steps. Repeat alI of above with Left hand star.

Do Se Do R shoulders with opposite (8 counts) Take crossed hands with opposite and swing CCW to bring the new partner to old partners position -Now everyone is facing own partner, (8 counts) Do the same with own partner but instead of stopping in original positions, continue on to new coup I e, M passing L shou I ders. ( 16 counts).

KONTRASEJRE FRA ODSHERRED - Danish

RECORD: Tanz EP 58401

FORMATION: Four couples in a circle or square formation- head couples and side couples.

·Figure I (Figures are all done with buzz step) AI I join hands and circle alI the way around to the left, making a round circle, beginning by crossing R foot over L In buzz step.

Chorus: I. Changing Place and Turning Head couples only give partner right hand and change places turning CW. The step used to cross over Is a two step beginning on the R foot. Step L and make a half turn to the R, pointing R toe forward towards partner. Taking L hand return to place turning CCW, starting with R foot again, with two step, step Land turn half to the Lending facing opposite partner.



KONTRASEJ F'F\f\, ODSHERRED ! d)

Chorus: 2"

Fi gut-e i I

F i gur·e l I I

Figure V

Finale

FORMATION:

ds w l th r·tne d dt:J a g to place with a wa!kl g : .. 1sua I the chorus enthusiast cal I •

rtne r and :sw ::;1

• head es simple ml! arm R hand on lower R arm lean

a II o1~

S l de I es ( doub I e m l l I ) Both W join hands across, M In hands girls and L hands un -Buzz swing

chorus

This can be done

plac ng R 16 measures

ds an around Wand behind their

shou de %

i"I#O

between ihe

time joined hands up and around men's shou ders - Buzz same

'16 rneas u res i· o

swoop down and pick p women p ace 24 me~sure buzz , W ean ng out. I~

Begin

f\ I I !n hands facl over .. "

C l r .. c I e M l XEH"

I 1 sh 1'o I

The tune machine

de

Couples :n varsouvlenne room.

out, 16 measures of

DIck ~~\t ee and J ana Rea •

was l nsp i r·ed ch ln the ast

It was Fe I k I or"e V! I i

step L foot cr·oss I

n the

a tTee·"iransp I ant l ng years has tr·ansfonned

Douglas Clark, a

ltlon ali facing counter-cl lse around the



THE DIGGING DUTCHMAN (Cont 1 d.)

Music/Measures A 1 1 ~8

A2 1~4

5-8 B 1 1·-4

5-8 82 1-8

A! I walk forward 8 steps. Man then moves on to the next woman and continues the varsouvlenne promenade. Face new partner, man now has back to center. Do a R shoulder "do~si-,do". <To go smoothly fr·om the var·souv!enne promenade man d L hands w!th partner and passes R arm over her· head, with R hands sti II joined. Begin the "do-sl- do" by pulling towar·ds each other·.) Join L hands and turn once around with the ~erson diagonally L. L shoulder 11 do-si-do" w·itn partner. Join R hands and turn once around with the person diagonally R. Return to partner, balance and swing.

LEV I JACKSON RAG

FORMATION:

Mixer for a five-couple set.

This sprightly five-couple dance and ragtime-style ·rune was commissioned of the late Pat Shaw by the Mountain Folk Festival, Adult section, of Berea Col lege. The Adult Festival was establIshed In 1952 and Is held annually at Levi Jackson State Park near London? Ky.

A five-couple set with one head and four side couples. WM WM

head fvl side couple w couples

MW MW

Mus i c/Measur·es A 1-8 Side couples Right and Left thr'ough and back with the opposite Side couple

9-12

B

5-8

9-10

11-12 13-16

whl le, on bars 3 and 4, the Head couple move halfway down the center, and on bars 7 and 8 continue down to the bottom of the set, Side couples circle 4, left once around with opposites, whl lethe Head couple separate and cast back to home places. AI I 11 do-si-do" with partners. All five Ladies Chain, i.e. a! I five ladies right hand star past partner~ and next man to the third man, who chains the lady around with the left hand In the usual manner. (The Head man should chain his lady around fairly fast, so that she may get back easl ly Into the star that follows.) A I I five Ladies Chain on two mor-e pI aces as above where they shou I d meet their new partners, I.e. their original corners. With four steps all pr·omenade new partner to next place counter-clockwise around the set. Ba I a nee partner. AI I swing new partners In new places. Start again from this position.

Repeat the whole dance four· more times, ending in original position.



lve and c over·

Act ves with your partner, do-sa-do heel and toes, slIde

Up the center~ Lead to the outside, weave down th

Up the center and cast off - -Two ladles chain

ln back With r partner, do-sa-do

!ves meet partner·:-; In middle, join both hands, using man's Land lady's R ·footp I and toe twice$ si ide, si ide~ si!dep slide down the center.

the same ln rever·sep s ldlng up the center·.

r sl lding up the center, actlves each Into place he left vacant. a polka step (two step) dance behind the first In ve, In front of second

!nact ve, behind the third, come nto center and continuing to use polka step, come up center and cast off, using walking steps on cast off.

\flagon i c:. fl") I UVL

Randy Ca i I i son

Comment: An mixer using the lnsti·~umental side of r TIme Hans~ t Corne

I ntTo: ~4

D,A.NCE ""'""""'""""'"~

i~4

The dance star·ts w l th the me i

OPEN. Wait 4 meas.

Fwd, 2, 3, Brush; Fwd, 2 3, brush; Circle away, 2, 3, brush; On around 2, 3, touch. (End in right hand r) Star around, 2, 3, brush; on around, 2, 3, brush; (End open facing LOD). Forward, 2, 3, kick; Back Up, 2, 3, fac~/touch (iv1 face wa II) J Back away, 2, 3, I ap

diag to Rl~ht and new partner, 2, 3, Back away, 2, 3, tch I ap; Fwd right to new partner, 2, 3, to butterfly, tch. Side, close, side, tch; side close, side, tch.

Dance goes thru seven times. Twl r·l and ack.



HULL'S VICTORY

For·mat I on: Contra with every other couple active. Music: Folk Dancer MH 165, MH 1065; Folkraft Fl 156.

Measures 1-2 Actives JOin right hands and, ~n four steps, turn half-way around to finish

between the couple below. Join left hand with the dancer below to form a I lne of four, men facing down, women facing up.

3-4 Balance four In line (step-swing to right, then to left). 5-8 Actives release partner's hand and turn with the left hand once around. 1-2 Actives join right hands again and turn~ around in four steps and

join hands four in I ine again. 3-4 Balance four in I ine. 5-8 Actives swing in the center of the set; finish facing down with lady on

gent's right. 9-16 Down the center (turning as a couple to keep lady on the right) and back

and cast a place. 9-16 Right and left.

YUCCA JIG - by Don Armstrong

Format! on: Contra I ines, I, 3, 5, etc., couples active and crossed over. LS 195 Music:

Counts:

1-8

9-16 17-24

25-32 33-40 41-48

49-56

Actions and explanations:

WITH THE COUPLE BELOW LEFT HAND STAR- Actives face the couple below (down the set) and with them star left once around. SAME FOUR RIGHT HAND STAR- Star right to original positions in original I ineso ACTIVE COUPLES DOWN THE CENTER - Actives dance down the center of the set with near hands joined. They usually pass two inactive couples (seven steps), before turning out on count 8 to BELOW TWO THEN UP THE OUTSIDE- Separate,go to outside of set to return to placeo ACTIVES DO SA DO IN THE MIDDLE- Actives do sa do with partners in the centero WITH THE ONE BELOW SWING- Actives swing one below (corner) (down the set) and finish with lady on that man's rlght,facing center of set. Progression has been made, actives have moved down one place in I ine, Inactives up one place, alI dancers in original I ines. PUT HER ON RIGHT AND HALF PROMENADE -The couples who have just finished swingIng exchange places with a half promenade.

57-64 WITH THE MUSIC RIGHT AND LEFT THRU- Without rushing the phrase the same couples right and left thru.

To prompt this dance: lntro- , With the couple below left hand star 1-8 - - - - Same four star right 9~16- Act:ive couples down the center

17-24 - Below two then~ the outside 25-32 - Actives do sa do in the middle - -33-40 - - - - With the~ below swing -41-48-- Put her on right and half promenade 49-56 - - - - , With the music right and left thru* *Caller indicates CROSS OVER every second and alternate sequence through the danceo

As the dancers 57-64 -

1-8 - - - -9-16 -

17-24

learn the figure, less - - Below star left

- Star right - Actives down -~the outside

prompting is necessary. For example: 25-32 - - Actives do sa. do 33-40 - - - - - - Corner swing 41-48---- --Half promenade 49-56 - - Right and left thru



Documents

flve-rAcrryarchives.mvfolkdancers.com/0_Other Items of Interest/0...GAITANAKI Greece C Rhodes) RECORD: Kleftes KL-101 B FORMATION: Circle dance for women. "Basket hold", right arm