Wheeling, West Virginia - archives.mvfolkdancers.comarchives.mvfolkdancers.com/0_Other Items of Interest/0_Dance... · SPRING FOLK DANCE CAMP Roster Camp Russel Oglebay Park INSTRUCTORS

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Oglebay Institute's Folk Dance Camps ~~~'@'@'@

Wheeling, West Virginia

Spring Camp, May 22-25, 1998 '@~@~~~

Instructors: Don Annstrong & Roo Lester

SPRING FOLK DANCE CAMP Roster

Camp Russel Oglebay Park

INSTRUCTORS

Wheeling, West Virginia May 22 - 25, 1998

Don Armstrong, P.O. Box 99, Macks Creek, MO 65786 7 '3 Roo Lester, 342 Sheridan Drive #2A, Willowbrook, IL 60514-Harry J. Khamis, 535 Greene Tree Place, Fairborn, OH 45324~

OGLEBA Y INSTITUTE FOLK DANCE COMMITTEE

A. Lloyd & Shirley Carnahan Laura & Melissa Carnahan

R.D. #2, Box 29, Stone Church Road, Wheeling, WV 26003 Fred Wade, Co-Chairman, R.D. #1, Box 416, Wellsburg, WV 26070 Vince Baker, 386 Clearview Avenue, Wheeling, WV 26003 Helen Cindrich, P. 0. Box 118, Neffs, OH 43940 Audrey Ciripompa, 71 Brentwood Avenue, Wheeling, WV 26003 James Denham, 66479 Kirkwood Heights Road, Bellaire, OH 43906 Hazel Ellison, R.D. #2, Box 77, Triadelphia, WV 26059 Ann & Paul Forshey, 1810 National Road #B2-207, Wheeling, WV 26003 Beverly Fox, 55991 W. Second Street, Bridgeport, OH 43912 Janet & Charles Kalo, 4411 Wetzel Street, Wheeling, WV 26003 Ethyl Kloss, 116 Commodore Lane Apt. 9, Barnesville, OH 43713 Nicki Melissinas, 1902 Center Street, Moundsville, WV 26041 Betty Parker, 794 Mozart Road, Wheeling, WV 26003 Diane Rock, 136 Meadow Lane, Wheeling, WV 26003 Patty Sampson, 1810 National Road #B1-104, Wheeling, WV 26003 Jane Sneddon, 47 Alice Avenue, Wheeling, WV 26003 Ingrid Timmin, 137 South Park Street, Wheeling, WV 26003 Mary Tocash, 327 Main Street, Tiltonsville, OH 43963 Bob & Kathy Tomlinson, 71628 Treadway Road, Martins Ferry, OH 43935 Tess Vaglienti, 64602 Patterson Hill Road, Bellaire, OH 43906 Dolores Williams, 1810 National Road #B1-103, Wheeling, WV Janice Whipkey, 2520 Cadillac Avenue, Wheeling, WV 26003

OGLEBA Y INSTITUTE STAFF

Stifel Fine Arts Center, 1330 National Road, Wheeling, WV 26003 Phone (304) 242-7700 Kate Crosbie, Director Phil Maxwell, Craft Specialist

VIDEOTAPING Videotaping is permitted during the review sessions only at the discretion of the instructor. Anyone choosing to tape one of the review sessions must make arrangements with the instructor. The instructor has the right to govern individual use of these tapes.

OGLEBA Y INSTITUTE FOLK DANCE MEMORIAL SCHOLARSHIP FUND

Contributions for the maintenance of this scholarship fund are greatly appreciated and are all tax deductible. Donations to the Fund should be made payable to Oglebay Institute.

Oglebay Institute Spring Folk Dance Camp Wheeling, West Virginia, May 22-25, 1998

Instructors: Roo Lester, Don Armstrong

CAMPERS

Allen, John 1530 Green Valley Drive, Ashland, KY 41102 Bailey, Mary Lea 2859 West SR 37, Delaware, OH 43015 Brazelton, Linda 4567 Wildwood Loop, Clarkson, MI 48348 * Caruso, Hank & Dorothy, 7245 Grant Blvd., Middleburg Heights, OH 44130-5350 ~ffey, Don & Sylvia * Davidson, Geraldine 658 E. 13th Street, Erie, PA 16503 Fassnacht, Pollyann 885 Florida Ave., Akron, OH 44314* Fehr, Gina 3576 Leona Ave., Shadyside, OH 43947 Fluke, Mary 243 Second Ave., SW Carrollton, OH 44615 Foster, Robert 3432 Audubon Avenue, Detroit, MI 48224* Garlow, Coretta & Ry Rt. 1, Box 146A, Maidsville, WV 26541 Graham, Robert 5082 Cheltenham Blvd., Lyndhurst, OH 44124 Khamis, Harry 535 Greentree Place, Fairborn, OH 45324 Morgan, John 53650 Belmont Ridge, Beallsville, OH 43716 Peterson, Beth 4163 Klein Ave., Stow, OH 44224 Ranhart, Kathy & David 70064 Colerain Pike, Martins Ferry, OH 43935 Rybeck, Blanche Rt. 1, Box 146A, Maidsville, WV 26541 Sallee, Deborah 3701 Circle Bkvd., lt?-dianapolis, IN 46220 ·- tf'- s

. Schockey, Juanita 14533 Maidstone Rd., Orlando, FL 32826 ~Spears, Karen 10180 Halsey Road, Grand Blanc, MI 48439 *

Tanabe, T.Y.. & Betty 101 Oakmont Rd., State College, PA 16801 Troll, Bill 50190 S. Rustic Dr. #71B, St. Clairsville, OH 43950 * Vidmar, Cecilia 4075 Monticello #201A, Cleveland Hts., OH 44121 Webb, Donald 17606 Archdale Ave., Lakewood, OH 44107

* Attending on scholarship. 1

Campers list complete as of May 12, 1998.



TABLE OF CONTENTS

Dances presented by Roo Lester

Scandinavian -------. Polksa fran Arnot

(f[;~t~. 7~~Attetur :_La Ask~~ ~~~~ / Barnere1nlender

Boston Waltz 7 ·Gammalkilspolska

Rambo fran Tyringe Rambo Kumletro

...-Mona's Festvals Pols fra Fosen Reinlender fra Fosen

,.,Reinlender Mixer· Roros Ringlender -Rundslangarn Sex Change Schottis Telegangar Vi Skal Danse

v~sser£!1

Harga Legend

International "'1/Baztan Dantza

Kolo Najstarje La Demiere Danse

Dances presented by Don Armstrong

The Super Corsair ~oodFriday

Boxwood Billy ~ecket 0' Blood VGtcties Revenge -spitfire Swing

--Elizabeth (Waltz) Fred's Folly

/Don Tremaine's Reel El Paso

1/Kittyhawk Hornpipe vBalance in the Barn ~ay for Heather

Melody and Motion 11../tJ n wind the Clock

Heart of the Rockies Bitter Creek

vThe Heathfield Rag -Mountain Ranger A Girl's Best Friend Hurricane Hornpipe Newbury Park Jennifer's Dance Oakley's Pizza Delight The Travel Air Triple

/A Waltz for Terry



May 1998

Dear Participants at Oglebay Institute Folk Dance Camp:

Many people think of Scandinavian turning dances as the best thing this side of heaven. Some find the music to be lyrical and flowing. Others find it full of drive and passion. Now you will have the chance to decide for yourselves.

Included in this syllabus is a collection of dance "descriptions". Most likely there are more dances listed than we will have the time to dance. Hopefully the variety of dances to be presented suggests the extraordinary richness of the dance in Scandinavia.

All of the dances incorporate turning of some sort Key themes of our classes will include developing balance both alone and as part of a dancing couple, and learning techniques for leading and following. We will expand our capacity for turning while learning skills for turning while dancing. The skills used for these dances are fun and often thought of as quite different from those used for other dances. The challenge of learning and dancing couple turning dances is, in my opinion, well worth the effort.

I assume that everyone knows that the dance descriptions are intended as reminders of the dance experiences we have in class and on the dance floor. Please add notes to the descriptions that will help you to remember the dances. If you have any questions, please do not hesitate to ask. I will do my best to answer or help you.

One may order Scandinavian recordings and music books from: Norsk Ltd., c/o Jofrid Sodal, 770 Linden Avenue, Boulder, Colorado_80304, (303) 442-6452, /~~---~~--

[email protected] ( http:/ I ares.csd.net/ ,...,sodaling "',

'---~

I look forward to meeting you all, and if possible, dancing With each every one of you. Please help me with this! I am thrilled to have the opportunity to share with you some of my favorite dances. I do hope that you will enjoy them and have many more opportunities to dance Scandinavian dances.

Beste~· en, ~ I ,

· Roo ster 1998



Polskvariant fran Arnot Gastrikland, Sweden

Music: 3/4, 16th note polska Bengt Jonsson tapes (Jonssonlinjen)

RC 206 (pink) RC 216 (green)

music after Rimsen and Jarnberg

Formation: Couples dance CCW = LOD around the room.

Dance holds: 1. Waltz position.( open and closed). Open waltz position is ballroom position with the

palms clasped and the couple facing the dance direction. 2. Woman's R hand in man's L hand. 3. Polska hold: Man's R hand on the Woman's L side of the. upper back. Man's L arm

is bent at the elbow to make a right angle and holds the Woman's upper R arm. Woman's L hand rests on the Man's R shoulder. Woman's R arm is bent at the elbow to make a right angle and her hand comes from below and up to hold on the Man's upper L arm, keeping her elbow in contact with the man's fore arm.

Steps: For both forsteg/introductory or resting step and polska/one measure CW turning one steps only on counts 1 and 3. In the forsteg dance forward in LOD. For the polska, make one full CW turn in each measure stepping on counts 1 and 3 only, turning on the soles/balls of your feet to make the tum smoothly.

Man: 1. L, 2. continue transferring weight, 3. R. Woman: 1. R, 2. continue transferring weight, 3. L.

Dance sequence:

Notes:

1. Dance forward with forsteg, use open waltz position. 2. Man turns the woman one full CW tum in each measure under his raised L arm

while holding the woman's R hand. 3. Polska: Couple makes one full CW tum in each measure dancing face to face in

closed position, use either closed waltz position or polska hold.

1. Man may emphasize the start of turn under, (sequence 2) and polska tum (sequence 3) by marking or emphasizing L step, on count 1 of the measure.

2. Note that the signal for the woman to begin either sequence 2 or 3 comes from a lead through the arms from the man to the woman before the emphasized step mentioned above.

3. The tum in the polska is accomplished by pivoting on the soles/balls of the feet between the steps.

4. There is no set number of measures for any part of the dance. However, one should use the phrasing of the music for changes.

Character: Smooth, gliding, or flowing throughout the dance.

Roo Lester Polska fran Arnot May 1998 Oglebay Institute Spring Folk Dance Camp Wheeling, West Virginia, May 22-25, 1998


Attetur fra Asker Norway

Attetur fra Asker is a figure dance in waltz rhythm. It is danced in Norwegian folk dance groups both in Norway and the USA. Klara Semb collected and documented the dance in Norske Folkedanser II, Turdanser, Oslo 1991, ISBN 82-521-3657-5. Asker is just west of Oslo. Semb documented many Norwegian dances in her books.

Music: 3/4, special melody found on Norwegian Folk and Figure Dances I, EMI C054-37340, Dans deg Glad, Noregs Ungdomslag CD nr. 2, or TD-5, Norsk Grammofonkompani A/S, Oslo.

Formation: Circle of any number of couples holding hands shoulder height, facing the center

Svikt: Steps:

of the circle. Note that the original description calls for circles of 4 couples. Down on count 1, up on count 2, and down to normal on count 3. Attetur step:

counts 1 2 3 svikt down up down steps L action sink on L extend R leg fwd w/ the foot parallel to the floor, and

lift on the L on count 3 Waltz step: Maintain the svikt while waltzing with forward and backwards on the first beat of each measure.

Meas. Dance pattern Figure 1 Circle CW & CCW

1-8 Facing slightly L (CW), dance 8 Attetur steps CW around the circle beginning with the L, arms bent with hands about shoulder height (W position). At the end of the 8th measure pivot on the ball of the R to face slightly R (CCW).

9-16 Dance 8 Attetur steps CCW around the circle, starting on L. At the end of meas. 8, W starts to turn to face her partner.

Figure 2 Chain to the 5th person and back 17-32 Use Attetur steps, beginning with L foot, giving R hand to ptnr. Chain (grand R

& L) keeping hands shoulder height to the 5th person (your partner was the 1st). Note that M have traveled CCW while the W traveled CW.

With the 5th person raise R hands and arms as you walk CW around each other to end facing the opposite direction. (M will now be facing CW and W, CCW)

Chain back to place. End facing ptnr. Do not pass ptnr, but end in ptnr's original position. Close feet together, arms at your side at the end of the phrase.

Note that there is a little less than 2 measures per hand.

Figure 3 Waltz. 33-34 Bow to ptnr. M cross arms in front of chest, and bend down from the waist and 2 meas up. W holding her skirt, places her L ball on the floor slightly behind her,

bending her R knee until the L knee touches the floor, then rises. W' s head bows and is the last thing to be lifted.

35-46 Take shoulder, shoulder-blade position and dance 12 measures of CW turning 12 meas waltz. On the 1st meas. (meas 35), dance sideways toM's Rand W's L. The

turning begins on Meas 36 with W stepping forward on R, M back on L.

Roo Lester 1 May 1998 A ttetur f ra Asker



Me as 47

48

Roo Lester

Dance pattern continued Dance one waltz step 'fudging' to end the measure facing one another with weight on both feet.

Light greeting. Face ptnr, w/ M facing CCW, & W CW. Man takes W's L hand with his R to shoulder height, all step back on R, leaving L extended forward, count 1. Rise on count 3. M's L hand is on his hip where the leg meets the torso. W's R hand holds her skirt. Bow heads slightly.

2 May 1998 Attetur fra Asker



Barnereinlender

Norway

Bamereinlender means children's reinlender/schottische. I learned the dance from Alix

Cordray who indicated it is used to help children learn to move with music.

Music: 2/4 or 4/4- any Norwegian reinlender with even/regular phrasing

Formation: Individuals, where ever you want around the dance space, usually facing

the same direction

Begin with weight on both feet with feet parallel, toes facing forward.

Measures

1. Keeping your heel in contact with the floor, turn the Right toe out, in, out, in (In

2/4 count 1, and, 2, and, for the four toe movements)

2. Keeping your heel in contact with the floor, turn the Left toe out, in, out, in

3. Lift the Right knee, up, down, up, down

4. Lift the Left knee, up, down, up, down

5. Place your Left hand on your nose then make 4 small CCW circles with your

Right hand in front of your face

6. Place your Right hand on your nose then make 4 small CW circles with your Left

hand in front of your face

7. Jump forward, pause, jump backward, pause (count 1,jump forward, count and,

pause, count 2, jump backwards, count and, pause)

8. In the rhythm of Q Q S (QQS equals counts 1, and, 2,) jump CW around, making

about 113 of a turn on each of the three jumps to end facing the same direction

from which you began

The dance repeats until the music ends. To add another dimension, the dancers need not always end up facing the same

direction. You can change the facing during the turning jumps at the end and interact with others while doing the dance.

It is fun to do this dance to live music. Request that the musicians begin slowly and gradually increase the speed as the participants become more comfortable with the dance. \ . \\~

'«-~~ Roo MJcl ~ Barnereinlender February 1991

revised September 1997



The Boston Waltz

Henry Sjoberg taught this waltz variant when he was touring the U. S. in 1985. The dance may have originated in Boston.

This is a style of waltz where one steps only on the first count of each measure that is called the Boston or occasionally the hesitation waltz. This style is thought to have developed when the tempo/speed of the waltz had increased so much that stepping on each beat was uncomfortable. It was popular in the early part of the twentieth century and was not seen after World War I. It is thought that it took up too much space on the dance floor and died out.

It is possible that it was created by a dancing master and taught around the European continent and Scandinavia. It has now traveled back to the USA thanks to Henry Sjoberg. Note that the version that returned to the US has quite a slow tempo, perhaps a reflection of the aesthetics of the mid 1980's in Sweden.

The dance has a rather elegant character that depicts its ballroom history.

Music- a special waltz melody played by Marianne Palm and Ingvar Andersson who toured with Sjoberg in 1985, or use any slow and stately waltz with even phrasing.

The Dance- Progresses CCW around the dance space. Position -couples facing LOD, M on the inside W outside, inside hands joined at shoulder

level.

Begin outside feet Each figure takes four measures of music

Figures: 1. Dance forward in LOD, stepping only on count 1 of each measure.

2. Left hand in left, dance four measures moving forward around a spot (CCW), stepping only on count 1 of each measure.

3. Man grasps the woman's L hand with his R from above, then turns the woman CW. The woman makes one complete tum in 2 measures. M and W stepping only on count 1 of each measure.

4. Closed position waltz, use ballroom position. The man begins with his back to LOD. Use normal waltz steps, man begins stepping backwards with his L, woman forward with herR. Open out on the fourth measure preparing to begin the dance again.

The dance repeats.

Roo Lester The Boston Waltz 1989 revised May 1998



Gammalkilspolska fran ostergotland Sweden

"Aackpolska"

Background: Most of the polske-dances which are preserved from the southern and south eastern

parts of Sweden (Sodermanland, Ostergotland, Smaland, Blekinge and Skane) have a very ancient character. You can find the polska's different parts on pictures and paintings from the 17th century. They are also described in stories about the peasants life from the same time. As already mentioned the polska consists of different parts. The dance with more or less all their parts are maintained in some areas, for example "Slangpolska fran Sormland (short for Sodermanland), while in other places only a few parts of the original dance are left.

Until the beginning of this century the sHingpolska was the most important dance at a wedding.

Typical for these old polskas are that they are danced "on the spot". The couple didn't need much more space of the floor than while standing on it. "Aackpolska" means polska on the spot.

Holding:

Steps:

During the foresteps: Open holding During the dancing around ("omdansning"): Polske-holding with stretched right arms.

Forestep: Tresteg (three-step) Both M and W starting with their left foot. Dancing around: Polske-step on the spot; The same step for both M and W. Counts:

1. Place the left foot in front of the right foot turned outwards. 2. Turn the soles of your feet clockwise a quarter of a turn. 3. A short step forward with your right foot.

The three counts above equal one bar of music.

Execution: During the forestep the couple are looking for a spot/space where they can dance around ("omdansning"). They'll start after they've "felt in the beat" by rocking their knees up and down (being springy in your knees).

Then repeat everything from the start.

Revised and translated by Doriz Zsiga, 1990



Hambo fran Tyringe Hambo Mixer from Sweden

This dance was introduced by Sven and Britt-Marie Olsson at Folklore Village, Wisconsin in 1992. This hambo variation comes from Skane in the southern part of Sweden. The dance utilizes sixteen measures for one full dance sequence.

Music: 3/4 meter Use appropriate hambo music. Formation: Couples in a circle facing CCW, men on the inside, women on the outside

Steps: dal steps- the dancers step only on the first beat of the measure running steps- the dancers step on each beat of the measure hambo turning step - The dancers make one complete CW turn in each

measure of the hambo step. The turning occurs both during and between the steps. The largest amount of tum is accomplished while one has weight on the L foot. One begins each measure with the same foot.

Hambo steps Counts 1 2 3 Men's steps R forward in the L facing out Both facing center

dance direction Women's steps L facing out Both facing center R forward in the

dance direction

Dance position: Use the hambo/polska hold for the hambo steps. Man's R hand on the Woman's L side of her upper back. Man's L arm is bent at the elbow to make a right angle and holds the Woman's upper R arm. Woman's L hand rests on the Man's R shoulder. Woman's R arm is bent at the elbow to make a right angle and her hand comes from below and up to hold on the Man's upper L arm. W should keep her elbow in contact using a small amount of force/pressure with the man's L fore arm.

Svikt: Refers to the down and up movement(s) or spring that is characteristic of dance and movement in general. The springiness comes from using one's knees, feet and ankles both to cushion the steps and to add the down and up movements that are characteristic of the dance. The svikt should be applied to all parts of the dance at all times. Counts 1 2 3 Svikt down up normal (small down and up

The dance sequence: Measures 1-2 Facing one another with M's back to the center of the circle, begin M's Land W's Rand

dance two dal steps M holding W's R hand with his L, and her L hand in his R. 3-4 Dance 6 running steps (2 meas) making 1 CW circle on the spot with R elbow hold with

partner. 5-8 W progress CW, M progress CCW (around the circle) to the 4th person using running

steps. Use one measure per hand/person (grand Land R or chain). 1-2 Couples hold R in R with Lin L underneath and dance 2 dal steps. 3 Progress to next partner with 3 running steps (1 meas.). 4-7 Hambo steps using hambo/polska hold. 8 M and W each take 3 running steps preparing to begin again .

The dance continues until the end of the music.

Roo Lester Hambo fran Tyringe May 1993



Hambo Sweden

The hambo is one of the folk dances of Sweden that quite possibly derived along some of the same lines as the mazurka and polska (Sjoberg 1980). In both the polska and hambo the dancers make a full clockwise one measure tum, beginning on the same foot each time.

The late Gordon Tracie referred to the hambo as "the national dance of Sweden" (Lidster & Tamburini 1965). It is perhaps the most well known of the folk dances in Sweden, with Swedish cultural groups around the world, and with American folk dancers.

The hambo has been danced continuously for at least the last hundred years. It is basically the same dance throughout Sweden, yet one can see regional as well as individual characteristics.

In 1965 Halsingland began an annual hambo competition. That competition has influenced the style of the hambo. It has provided a lot of visibility for the dance, for up to 1500 couples may join the competition each July.

The hambo style described here is as one might find in the Halsingehambo contest. It is based on what I have learned from Tommy and Ewa Englund, who have won the contest a number of times, Stig and Helen Eriksson who have also won the contest, the well known Swedish dance researcher Bo Peterzon, and from the late Gordon Tracie.

Music: Use the hambo recording of your choice, there are many available. There is a great variety of difference in the tempos of the hambo. In Halsingland they tend to use slower melodies. Two well know melodies are Hargalaten and Karis Pers Polska.

One may order music from: Norsk Ltd., Jofrid Sodal, 770 Linden Avenue, Boulder, Colorado 80304, (303) 442-6452, [email protected] http://ares.csd.netf,...,sodaling

Formation: Couples progress CCW around the dance space.

Dance positions/holds: Open position: M and W face the dance direction, Won M's R. Inside hands joined, M's R and W's

L, held chest to shoulder height with the arms bent. Outside hands M's L and W's R are usually placed on the hip with the fingers forward when in competition or performance, but hang at one's side when dancing recreationally.

Closed position, also called polska position: Man's R hand on the Woman's L side of her upper back. Man's L arm is bent at the elbow to make a right angle and holds the Woman's upper R arm. Woman's L hand rests on the Man's R shoulder. Woman's R arm is bent at the elbow to make a right angle and her hand comes from below and up to hold on the Man's upper L arm, pushing up a little while keeping her elbow in contact with the man's L fore arm.

Svikt: svikt refers to the down and up movement(s) or spring that is a characteristic of dance/movement. The springiness comes from using one's knees, feet and ankles, both to cushion the steps and to add the down and up movements that are characteristic of the dance. The svikt should be applied to all parts of the dance at all times. The following graph indicates the line our heads might draw as we dance.

Counts 1 2 3

rs3L:f 1 1 2 3 1 down up down to normal

Steps: dal steps, running steps, hambo tum steps,

Roo Lester Hambo 1

1998



dal steps: one step in a measure, described as step lift balance, M and W use opposite feet Counts 1 2 3

step bend rise up come back to normal

running steps: a step on each beat, thus there are three steps in a measure, they are not actually running, but light springy steps

Counts 1 2 3

part of foot step heel/whole

step ball

step heel/whole foot

hambo steps: each person makes one complete CW tum in each measure. The turning occurs both during and between the steps. Much of the turning is accomplished while one has weight on the L foot. One begins each measure with the same foot.

Counts 1 2 Men's steps R forward in the L facing out

dance direction Women's steps L facing out

Notes:

Both facing center

3 Both facing center

R forward in the dance direction

1. The dance progresses forward in the dance direction during each measure, including while turning with the hambo steps.

2. One makes a complete CW tum in one measure dancing hambo steps, beginning each hambo step sequence with the same foot.

3. Most of the turning is on the ball of the left foot for both the man and the woman, and occurs during and between the steps.

4. When one places his or her right foot on the ground for the 'both', there is only a partial weight on the right foot, and one will step with the right foot on the next beat.

5 When one steps on the right foot their body should be facing forward in the dance direction, and stepping forward in the dance direction between your partners feet.

6. The arms dance as well as the feet. This is noticeable especially during the first three measures. 7 This style of hambo is sometimes referred to as nighambo meaning dip or curtsy-hambo, referring

to the svikt in the dance.

Dance sequence: Uses 8 measures and repeats. Measures

1 M L dal step forward in the dance direction W R dal step forward in the dance direction Open position with the joined hands moving forward

2 M R dal step forward in the dance direction W L dal step forward in the dance direction Open position with the joined hands moving back to the beginning position

3 Three running steps forward in the dance direction, M- L, R, L, W- R, L, R. Open position with the joined hands moving forward again

4 Hambo steps and close into polska position. This is the only hambo tum sequence that does not make a complete tum. M: R, L, Both, W: L, Both, R.

5-7 Continuing with hambo steps making a full CW tum in measures 5, 6, and 7

' 8 Three running steps while the couple opens and progresses forward in the dance direction,

Roo Lester

M: R, L, R, W: L, R, L to open up and prepare to begin the dance again.

Hambo 2

1998



Kumletr0 Mazurka mixer from Norway

Kumletr0, also spelled komletr0 is an easy mixer danced to mazurka music. I learned the dance from Alix Cordray who lives in Oslo, Norway.

Music: 3/4 meter Any mazurka melody with 8 measure phrases.

Formation: Couples dance CCW = LOD around the room. The men progress forward to the next woman in the last measure of each dance sequence.

Position: Men on the inside of the circle with their partners on their R. Facing LOD join L hand in L and R hand in R, with R hands on top.

Step: Light walking or light running steps are used throughout the dance. Step on each beat.

Sequence: As follows. Musical phrases

Measures 1 1 - 4 Dance forward in LOD

2

3

5-8

9- 10 11-12

Facing forward, dance backwards

Wheel/revolve CW Wheel/revolve CCW

4 13-14 15

Let go of L hands, man turns the woman 2 times CW Man turns 1 time CCW

16 Man progresses forward to the next woman

The dance repeats.

Notes: Usually the man begins with the L foot and the woman with the R, although it does not reall v matter Kumle or kor{1le are potato dun1plings It is thought that the dance is based on an Austriean mixer [Cordray 19931.

Roo Lester Kun1letr¢ October 1989 revised October 1991



Mona's Festvals (Swedish)

Source: Yvonne Holland, who learned it in Sweden

Music: Benny Anderson's Fodelsedagsvals till Mona, recorded on "Klinga mina klockor"

Choreographer: Ann-Louise Jonsson

Formation: Couples in a circle, hands at sides

Steps: Waltz

Measures Directions:

Figure 1. In and out and progress around circle

1-2 Dance 2 waltz steps in and out of circle (forward and back), arms swinging freely at sides. Men begin with left foot and women with right.

3-4 Dance 2 waltz steps to progress around the circle. Women progress CCW (to the right) by dancing into the circle towards the right and turning (or casting) CW into the place vacated by the woman to the right. Men progress CW (to the left) by casting CW around their right shoulder to take the place vacated by man to the left.

5-8 Repeat this sequence of 4 waltz steps. 1-8 Repeat the above. 5-8 Repeat one more time. (5 times in all).

g

10 11-12

13-16 13

14 14-16

17-24

9-24

Figure 2. Chain (Woman begins on right foot; man, left).

Fig. 2 a. Woman turns CCW to her left to begin chain by giving right hands to the man at her left side (the last man she passed in Figure 1). The man turns to his right. Man and woman give left hands and pass by with another waltz step Giv_e right hands. When man meets the third woman, he turns her CW in place (~from the center) with his right hand, using 2 waltz steps, the first forward in LOD and the second backwards so that their arms are outstretched.

Repeat Figure 2a. The grand right and left (chain) continues. Count the woman as 1 whom the man turned CW on measures 11-12. Man gives left to next woman. Man gives right hand to third woman whom he turns CW. *Man finishes measure 16 on inner side of woman.

Couples waltz With third woman dance position.

Repeat Figure 2.

During the coda, the couples continue waltzing off the floor during

Translated by Ingrid Christian~en



Pols fra Fosen West Tr~ndelag district

Norway

The pols is found throughout the areas of 0sterdal, Tr~ndelag and north Norway. It is a member of the bygdedans family and is written in 3/4 meter. There are regional as well as local variations in the various pols dances. Tor and Randi Stallvik demonstrated this pols in Julian, California, 1990 and taught it at Scandinavian Week at Buffalo Gap in 1992. Stallvik, originally from the peninsula of Fosen, said this dance is as it was danced in his grandfathers generation.

Music: use appropriate pols music from western Tr~ndelag. Yare Str~k cassette by BUL i Nidaros Livat I Lag by BUL i Nidaros. Pols tunes on Orsalmusikken by H~rkelgadden work well also.

Formation: couples, progress CCW around the dance space.

Positions: two hand hold as the M and W partially face each other and the dance direction. M's R holds W's L, while his L holds the W's R. In the one measure tum, the couple dances almost face to face, with shoulders parallel in ballroom position, M's Land W's R arms fully extended.

Svikt: the largest down movement is on the second count. One slides down slightly after the second count.

Measure 1 - use the two hand hold Counts 1

M step L W step R

Measure 2 M w

Measure3 M w

Measure4

step R stepL

step L traveling LOD step R traveling LOD

2 swing R swing L

swing L swing R

3

step R traveling LOD step L traveling LOD

M step L traveling LOD step R traveling LOD W step R traveling LOD step L traveling LOD

Measures 5 through 8 - use closed ballroom position, making one complete CW turn in each measure. M step L and tum tum~ng step R & tum turning W step R and tum turning step L & tum turning Pivot on the balls/soles of your feet to accomplish the turning.

The dance repeats until the music ends.

Stallvik indicated that there are a number of pols variants that are similar in Tr~ndelag. Some of the variants use different couple holds and others have variations in the svikt style. Variants may be referred to as springpols.

Roo Lester Pols fra Fosen April 1992 .... .,; ... "",.-~ n.o .... o...-. ho .. 1 00'7



Reinlender fra Fosen Norway

This reinlender from Fosen in western Tr¢ndelag was introduced by Tor Stallvik in 1992 in California and Illinois.

Music: Reinlender music with even phrasing from Tr¢ndelag Formation: Couples, progress CCW around the dance space Dance Holds: Measures 1 and 2 open ballroom position facing the dance

direction Measures 3 and 4 closed ballroom position, for turning

Character: There is a light and springy quality to the steps in this dance. There is a svikt, or down and up movement on each beat of the music. The amount varies with the music.

Steps: Normal schottische steps as described below .. Men begin the dance step with L foot and women begin with R foot.

Dance sequence: Counts

measure 1 open position Men Women

measure 2 Men Women

Measure 3 closed position Men Women

Measure 4 closed pos Men Women

The dance repeats.

Roo Lester

1 2 3

step fwd step fwd step fwd L R L R L R

step bkwd step bkwd step fwd R L R L R L

step pivot step L R R L Making one full CW tum in one measure

step LOD pause step RLOD L R R L

Reinlender fra Fosen

4

touch free foot fwd touch R touch L

lift/pause

pivot

pause

April 1992 revised May 1995



Reinlendcr Mixer Schottische mixer from Norway

The Reinlender Mixer is a schouische mixer that I danced in the R0ros district of Norway in 1983 and 1985.

Music: Any Norwegian reinlender will work if it has even phrasing.

Formation: Couples in a circle, facing the center, woman on the man's right. Women may hold their skirts when their hands are free.

Steps: Normal schottische steps as described below. Men begin the dance step with L foot and women begin with R foot. Counts 1 2 3 4

measures 1 and 2 step step step hop measures 3 and 4 step hop step hop

Dance sequence: Musical phrases

Measures 1 1 - 2

2-4

2 1 - 2

3-4

3 1 - 2

3-4

4 1 - 2

3- 4

The dance repeats.

Women Men Women Men

Women Men Women Men

Women Men Women Men

Dance R L R hop, L R L hop towards the center of the circle. Dance L R L hop, R L R hop on the spot. Dance 4 step hops out from the center of the circle back to place. Dance 4 step hops on the spot.

Dance R L R hop, L R L hop on the spot. Dance L R L hop, R L R hop towards the center of the circle. Dance 4 step hops on the spot. Take shoulder hold and dance 4 step hops CW around the inner circle.

Dance R L R hop, L R L hop on the spot. Dance L R L hop, R L R hop CW around the inner circle. Dance 4 step hops on the spot. Release shoulder hold, and dance 4 step hops out from the center to

find a woman partner and turn to face CCW = LOD.

Couples take shoulder - shoulder blade position and dance 2 schottische steps forward around the circle in open position.

Couples change to closed position, each with R arm on upper back and L resting on the opposite shoulder and dance 4 step hops, opening to face the center of the circle on the 4th step hop.

Character: There is a light and springy quality to the steps in this dance.

Roo Lester Rein lender Mixer October 1989 October 1991



R~ros Ringlender Norway

This is a reinlender variant danced by people in the area around R¢ros in eastern Norway. It has many "cousins" both within the area (for example "Stabberinglender'' presented by Alix Cordray in the US in 1985) and in other parts of Norway. In each area these are claimed as "our local variant"!

A common trait to this "family" of variants is the unsquare relationship to the music. Because the dance begins by crossing the musical phrase, it invites a variety of solutions as to when and on which foot to transition into and out of the various figures. This quality is more typical for older regional dance forms (bygdedans) than for newer standardized folk dance forms.

In the real world of the local dance floor few couples dance alike. Differences occur, for example:

• • • •

•

in how and when couples choose to transition from one figure to another

in how long couples chose to dance each figure in the order in which the figures are used and the number of figures used from one dancer to another (in the couple, theM generally decides, though compromise is known to occur) in the same dancer from one occasion to another (this is to a lesser degree)

But, there are some elements that all have in common:

• the dance moves mostly LOD, CCW around the room •

•

the dance generally begins with open position and includes eventually some kind of closed tum

dancers follow the music (as they interpret it) and M and W dance to~ether

The version described below is as commonly used in the R¢ros Folkdance Club.

MUSIC: any reinlender, but preferably a "ringlender" in R¢ros dialect, played by musicians of the R¢ros/Glamos/Brekken area. Lilting 2/4

FORMATION: circle of couples, LOD, CCW

STEPS AND STYLING: natural walking steps, step-hops. Feet close to the floor. Steps are described forM. W use opposite footwork.

TURN POSITION: ptnrs facing and slightly to R of each other. M' s R hand on W' s back above waist level. M' s and W' s L hand on ptnrs upper R arm just below shoulder. W' s R arm under M' s L arm (R hand on his back) or on M's upper L arm just below the shoulder.



THE DANCE: Music 3 meas

ct. 1 ct. & ct. 2

ct. 1

ct, 2&, 1, 2

2 meas ct. 1 ct& ct. 2

ct. 1 ct& ct. 2

3 meas

8 meas

meas 1

meas2 meas3 meas4- 8

R~ros Ringlender Steps Parts

1 2 3 and

4and

1 2 3

1 2 3

1 &,2&

1 &,2& 1 &,2& same

Part I Partners facing, M' s back to center. M' s R & W' s L hands joined at shoulder level, elbows bent and down. Free hand loose or on hip. moving LOD, step L to L step on R near L step on L, bringing R up beside. Joined hands come forward and body follows, turning slightly LOD step on R in RLOD, bringing L lightly up beside. Ptnrs facing, hands return to original position Repeat this pattern once more

Transition from I to II step L fwd LOD step R near L step L fwd LOD (joined hands come fwd)

step R fwd LOD (joined hands to original pos) step L near R step R (and lift a bit) turning toward ptnr

Part II. fast couple turn Moving in LOD, cpl uses 2 step hops (1 meas) to tum once around. The hops are small, and may also be danced as lifts. In place of the hop one may also take 2 quick, light catch steps: 1 & 2 & R LR L RL The tum continues until the musical phrase ends. The fast couple turn generally goes CW, but some like to dance it ccw.

Part III, slow couple turn CCW This tum continues LOD, and is similar to the CCW tum in V ossarull and Gudbrandsdals masurka. step R L L-lift, almost in place, to change direction. M may punctuate 1st L with a slight stamp step R L R -lift, making 112 tum CCW step L R L-lift, making 1/2 tum CCW continue turning in this way until change in the musical phrase. Then take open pos as in part I and begin the dance again. ("Fudge" footwork if necessary.)

Description by Mary Barthelemy (with Lars Magnus Str~mmevold and Serrianne Fjellheim) November 1987



RundsHingarn, Schottis Variant from Delsbo

Halsingland, Sweden

Music: Use a slower style schottis, preferably from Halsingland

Formation: Couples dance CCW around the dance space

Positions: Low ballroom position when dancing facing LOD, ballroom position with arms close to one's body during the turning, or polska hold during the turning. (Polska hold; Man's R hand on the Woman's L side of her upper back. Man's L arm is bent at the elbow to make a right angle and holds the Woman's upper R arm. Woman's L hand rests on the Man's R shoulder. Woman's R arm is bent at the elbow to make a right angle and her hand comes from below and up to hold on the Man's upper L arm, keeping her elbow in contact with the man's fore arm.)

Character: There is a light rolling quality to the dance as the svikt is softened by using one's knees, ankles, and feet to cushion the movements

Begin outside feet: Man, L; Woman, R.

1. Dance a regular schottis sequence

2. Open position with step slaps counts 1 + 2 + 3 + 4 + dance rhythm Q Q S S Q Q steps step step step slap step slap step step Man L R L R L R Woman R L R L R L facing Make one complete turn, M CCW, W CW Use the R hand to slap the R foot, and L hand to slap the L foot

Closed position turning Dance 4 pivot turning steps making a 1 I 2 turn CW with each pivot step

3. Holding outside hands the W turns one full CW turn while doing the schottis steps, the M dances regular schottis steps in LOD while the W turns, then the couple dances the four closed pivot turns.

One can choose all or some of the figures to dance. Each figure is usually repeated 2-4 times. I learned this dance from Tommy and Ewa Englund.

Roo Lester RundsHingarn, Schottis Variant from Delsbo August1997



Sex Change Schottis Sweden

This schottis variant is representative of the modem times. In fact it is from the 1980's dances in Sweden. It is not tied to a specific region, but rather to the urban dance parties. It is a fun variation that is danced to the slower schottis melodies. I learned this variant from Tommy and Ewa Englund when they were teaching at Buffalo Gap Scandia Camp in 1987. The name is my own, as Tommy and Ewa said there was no special name for the dance.

Music: Any slow stately or old style schottis from Sweden.

Formation: Couples dance in a circle, dancing CCW = LOD around the dance space.

Positions: When dancing in open position, use the open shoulder-shoulder blade hold. When dancing in closed position use the equilateral hold, also called the pols hold. In this hold both the man and the woman hold each others upper back with their R hands and their L hands rest on the opposite shoulder.

Begin outside feet. Men and women dance on the opposite feet at all times. The man begins on the inside of the circle with his L foot and, after the turning, ends on the outside ready to begin again with the R.foot. The woman begins on the outside with her R foot and, after the turning, ends on the inside with the L foot free. With each dance sequence the couple will alternate beginning from either the inside or outside position.

Steps: Traveling step.- Normal schottische steps as described below, with a smooth rolling down and up motion. Counts

inside person outside person svikt

1 + step step L R R L down up

2 + step lift L R down up

3 step R L

+ step L R

down up

4 + step lift R L down up

Turning step: The inside person turns CW three times in one measure, ending on the opposite side from where he/she began. (The outside person only makes two complete CWtums.) Counts rhythmic cues

inside person outside person svikt

1 slow step L R

+

down up

2 slow step R L

+

down up

3 quick step L R

+ quick step R L

down up

4 slow step L R

+

down up

Dance Sequence: Alternate one measure of schottische steps with one measure of turning, changing sides at the end of every two measures.

Character: The dance has a smooth rolling wave which is described as the svikt of down up on each beat. It is not a hopping bouncy quality.

Notes: I think of the dance as a gammal schottis with a S S Q Q S turning sequence.

Schottis music is transcribed as both 2/4 and 4/4. I have described the dance as if it were written in 4/4.

Roo Lester Sex Change Schottis 1989 revised October 1991



Recorded music-

Formation

Music - springar gangar

Svikt- springar

rhythm beat emphasis basic step step size part of foot svikt

rhythm beat emphasis basic step step size

1

part of foot- men part of foot- women svikt

Overview Springar and Gangar from Hedda!

1. Spel til Dans I, II, III, and IV, Knut Buen. cassettes and CD. The name of the cassette/ CD means music for dancing. This music was recorded for dancing. The recordings have a clear rhythm and foot tramping marking the beats for dancing.

2. Dansekveld- LKOl, by Loretta Kelley has excellent music for dancing Telespringar. Each tune is played beautifully and has clear, easy to hear foot tapping marking the beats for dancing.

3. Amerikaspel, Loretta Kelley, Norwegian Hardingfele. ACCD 9603. Finally a CD with Loretta's excellent music for dance. Including Telespringar & gangar, vals, Valdresspringar, Vossarull, reinlender & a gamalstev.

W begins on M's R Couples progress CCW around the dance space

3/4, asymmetrical3/4; 1. long, 2. medium, 3. short. 2/4 or 6/8, even

Down up character. 1. normal, 2. down, 3. upo

1 long heavy step normal

2 sprin2ar counts

heel to whole foot level

1 even even step

~an~ar counts

short to normal whole foot

3

2 medium heavier step normal

1

heel to whole foot down

2 even even step short to normal whole foot

3 short light step shorter ball up

toe to whole foot down and up

toe to whole foot down and up

© 1989 Roo Lester 1 revised January 1998 Overview, Telespringar/gangar from Heddal



Overview of figures for springar and gangar

Notes

1. Turn W, front basket, armkrok 2. Turn W, Lforearm, armkrok 3. Turn W with R, turn W with L, lausdans, L forearm, armkrok 4. Turn W, pancakes, armkrok.

1. The dancers can begin with either foot. 2. One takes a step on each of the three beats in the basic step for springar,

and each beat for gangar. 3. In springar the down movement on count two begins by first stepping on

count two and as one transfers the weight to the foot one also bends slightly in the knee. The woman's movement is more subtle than the man's.

4. In springar the upward movement on count three is accomplished by stepping on the ball of the foot and transferring ones weight up and forward as one takes weight. In this manner the body continues its forward motion. One then almost falls forward for the next step (count one).

5. Use the marking to indicate changes, especially leading into armkrok. 6. The dance can begin with any figure. 7. The amount of time used for the various elements of the dance and the

number of turns is individual. 8. Changes usually correlate to the music. 9. The men can use the alternate steps when appropriate. 10. The women use the basic step when turning. 11. One maintains the rhythm and svikt at all times in both gangar and

springar.

This is a skeleton or framework of the dance. One creates each dance and may add what may be referred to as roses, or embellishments to suit the mood, music, partner etc.

I hope that you will enjoy this introduction to Telemark dancing and will have the opportunity to learn more of and about the music and dance of Telemark.

Roo Lester •

©1989 Roo Lester 2 revised January 1998 Overview, Telespringar/gangar from Heddal



Vi Skal Danse Labadu Swedish sanglek

(song dance game)

Song words. Vi skal danse labadu, labadu, labadu, Vi skal danse labadu, laba, laba, du. Repeat

English:

Formation: Steps:

The Dance:

We are going to dance labadu, or We will dance labadu

Circle facing the center, (partners are not necessary) Side close Side close with out taking weight on the close

Begin by stepping with the L traveling CW (to the dancer's L). Repeat each figure traveling CCW beginning with the R foot. Change hold/figure after it has been danced to each side.

Dance Sequence: 1. Hands joined in W position. Travel CW one time through the song. On the last

'du' (close), do not take weight so that you can repeat the dance in the opposite direction, traveling CCW around the circle, beginning with the R foot.

2. Arms on shoulders

3. Belt hold, or hold onto neighbors waist

4. Hold onto neighbors knees on both sides

5. Hold onto neighbors ankles on both sides

This dance was introduced at Scandia Camp Mendocino in 1997 by Helen and Stig Eriksson. They used the above figures, but mentioned that one can choose other holdings as suitable.

©Roo Lester Vi Skal Danse labadu April 1998



Vossarull Norway

Vossarull is considered to be the newest member of the bygdedans or regional dance family in Norway. The dance may be referred to simply as rull or rudl, and variations are found through out the western part of Norway (Vestlandet). Vossarull was introduced in the United States in the mid 1960s primarily by Ingvar and Jofrid Sodal.

Music: 2/4 or 6/8 meter Any rull-rudl from Western Norway with suitable-audible dance rhythm.

Formation: Couples, progressing CCW around the dance space Positions or dance holds: In open position facing the dance direction, the M is on the L of the W.

1. Open position, use open shoulder shoulder blade, M's Ron W's L shoulder blade, W's L resting on M's R shoulder with free arms hanging at side 2. Closed position, use the equilateral position. The M and W each use their R to hold their partners shoulder blade-upper back. Left arms rest on opposite shoulders. If the W has a very full skirt, the M may use his L hand to hold the W's skirt to prevent it from sweeping other dancers off of their feet.

Svikt: In Voss there are two svikts, or down up movements for each measure throughout the dance.

Steps: Walking steps, pivot steps, and two-steps Dancers usually begin on opposite feet, M's Land W's R.

Dance Sequence; 1. Introduction, walking forward, LOD (resting steps) lA. Transition to closed position and pivot turns 2. Pivot turns (any number) 3. Alternate resting steps, using two-steps CCW (any number)

1. Begin walking in open position until partners dance in rhythm together. Use normal walking steps in that the heel contacts the floor first, then transfer the weight forward to the ball of the foot. There is a slight spring to each step moving down then up.

lA. Transition to closed position. Meas 1. The man leads the women in front of himself with his R arm, both moving slightly

towards the center of the dance space with one two-step Meas 2. The couple dances one two-step away from the center of the dance space, and beginning a

CW rotation until the M's L shoulder faces LOD. Meas 3. Dance a two-step continuing CW rotation until theM has his back to LOD Meas 4. Dance a two-step continuing CW rotation until the M is facing LOD

2. The M signals a change for the couple to begin the CW pivot turns. Generally the M begins the pivot tum stepping with his L foot, W's R. Each pivot turning step makes 112 of a CW tum. The turning is accomplished both during and between the steps. There is a fluidity to the pivot turns including the slightly springy down up svikt on each step. Place the R foot between partners feet, and L foot close to partners Ron the outside. Note that each dancer steps forward in the dance direction with their R foot.

3. Resting sequences. The dancers may open up and begin walking again or they may remain in closed position and dance two-steps CCW while progressing CCW around the dance space, then dance CW two-steps. After dancing some CW two-steps the dancers resume the pivot turns. Note: To change from CCW to CW two-steps the dancers may dance a few two-steps with the M facing LOD.

Note the body of the dance is CW pivot turning.

Roo Lester ©

1 Vossarull & Music

August 1993 revised May 1998



There is no set amount of time for the introduction, pivot turns and resting sequence. The transition presented to the pivot turns is one of several ways to begin the pivot turns.

Information for this description was obtained from numerous courses with Ingvar and Jofrid Sodal, their description, and courses on rudl both in the USA and Norway.

VOSSARULL MUSIC

Heilo 7005 - N0rin~en- Leif Rygg and Knut Hamre: B-7 Fyrespel of Rull pa Nedstilt- interesting

listening music

Heilo 7023 - Portrett av ein spelemann. La.rs Skjeryheim: B-7 - interesting for listening

Heilo 7026 - Syndebukken. Bygdemusikk pa Brustein: A-4 ok - , & 7 • good for

dancing

Pa Norsk 8215 - Eg er Liten eg. men eg vagar meg. unge folkemusikarar: A-6-

good for dancing

Heilo 7049- Yeitla med Skjerpehaugen: B-8, Urheimen, • very good for dancing

RCA FLP 2 - B-9 - good for dancing

RCA FLP 9- Lars Skjervheim: A-2- interesting listening music

RCA FLP 13 -Arne BjY'Smdal: A-2 & 3: Anders Kjerland: A-8- interesting listening music

EMI C 062 37 430 ~ Norske Tur og Folkedanser 2: A-8 - good for dancing

ABM 425 - Gamaldans med Voss Spelemannslag: B-6 - good for dancing

Leik og Dans med Sogn og Fjordaneringen: B-2 - good for dancing

Slik Spelar Knut (Hamre): A-1 & 2, B-2, 4, & 6- interesting listening music

SF 211085 - Pa Spelarhaugen- Steinar og Leif Rygg: A-1- good for dancing

SFK 107- a fela ho lret- Hakon H¢gemo: A-9- interesting listening music

TD 7 - Turdansensemblet: side 2- Urheimen, good for dancing and especially for

beginners. out of print

Nama - good for dancing

SFK 109- Tonar pa Vandring- side B, 4 and 7- good for dancing. #7 has a

Chinese instrument with hardingfele, interesting.

HCD 7101 - Sigmund Eikas-J~lstring - 3 rull in 6/8 and 11, both good for

dancing, 11 especially easy to hear dance rhythm

BKCD 6 - Bj~Ileslatten - Buen & Rygg - 1, 6, 11 good for dancing

One may order music from: Norsk Ltd., Jofrid Sodal, 770 Linden Avenue, Boulder, Colorado 80304, (303) 442-6452, [email protected] http://ares.csd.netf.-,sodaling

Roo Lester ©

2 Vossarull & Music

August 1993 revised May 1998



Close to the shores of Bergviken bay rises the legendary ridge of Harga. Dark and frightening is the legend associated with these somber hills. It is said that in ancient times they were a place of sacrifice where the blood of animals, slaves and war captives flowed freely. Here the wild and gory dance went on in endless, terrifying intensity, according to the obscure and ancient legend.

Time passed and the 11th century Christianity reached Halsingland. Thanks mainly to St. Staffan and the new doctrines, the views, customs and habits of people changed but, alas, the ancient ritual of dancing and drinking continued unabated throughout the warm, summer nights of Norrland. On Saturdays the youth of Harga would assemble in the village barn for their wild, abandoned dancing. The old fiddler from the village played with mounting frenzy and soon all would forget it was the eve of the Sabbath and the day of rest. Then, late one fateful Saturday night when the Hanebo church bells were about to herald the coming Sabbath, a tall figure in a sweeping cloak limped through the door and asked for the fiddle. His darkling features were strange and haunting, bearded, beetle-browed with burning eyes.

He played tune after tune, one soft and nostalgic, the next wild and inciting, but the most captivating of all was a rousing polka that none had heard before but thrilled them one and all. The unconstrained beat of the tune steadily accelerated, and the mysterious fiddler played so that the sparks flew from his bow. All the night long and into the small hours of the morning the dance continued with growing fury. The floor beams swayed and the building creaked but no one cared - the dance went on and on with growing abandon, wilder an more terrifying, and so bewitched were the villagers by the demon fiddler's tunes that they were unable to pause.

Then came the clamor of the church bells heralding the Sabbath. They rang out through the night, out over the dark forests, the verdant fields and across the glittering waters of streams and lakes. The only person to hear the church bells calling was a young maiden who threw

herself only half conscious to the floor. She gazed despairingly at those dancing, and when she raised her exhausted gaze toward the strange fiddler she noticed a cloven hoof protruding from beneath his long cape. She wanted to cry out - to scream and warn the others, but the words caught in her throat. And the fiddler, who was the Devil incarnate, moved out through the door followed by the multitude of entranced, gyrating dancers. Only the half-conscious maiden remained inert on the barnroom floor.

The fiddler and his dancers proceeded over the fields and pastures, past rocks and fallen tree trunks, through thicket and woodland, onward and upward to the Harga ridge - that terrible site of ancient sacrifice. Still the fiddler played now and the hilltop dance was like nothing the people had ever known before - a frantic, orgiastic polka that no one could resist.

In the beginning the villagers had dance the Harga polka in innocent delight, but now they were possessed with a sort of madness and worked themselves into a state of frenzied delirium from which they were unable to escape. Their ecstasy reached a state of insanity. They danced until their clothes fell off, their flesh loosened from their bones and the became a macabre host of skeletons, cavorting and gesticulating into dust and oblivion. Yet, according to the legend, the souls of the dancers still roam these hills in eternal damnation, restless spirits doomed to haunt the ancient place of sacrifice throughout all eternity.

* * * This is the legend of the "Heathen Feast" on the Harga ridge, and it still prevails in the neighborhood. It is a legend that is known throughout Sweden and much has been written about it. Many attempts to trace its origin have been made but without success, though there must be some grounds for it; some incident that gave rise to the story. The oldest writings relating to it date back several centuries, but it has been recounted from generation to generation over a far longer period.



BAZTA.N-DANTZA (Boss-tawn Dawn-saw)

(Navarre)

This is one o! the Kutil-dantzas, of •men's dances" ~~~~~~t~ri~t:ic nf' NSlvarre's Bazte.n Vallev. It ia traditionally a men's social dance, although today women-are sometime allowed to join in. It was learned by Candi de Alaiza !rom Marie Maritorena in 1975. There are many versions o! this dance, both in Europe and among American Basques.

Music: W! ;;;2, Basque Dances, Side A, Band 9.

Formation: Any number of dancers in a circle. Begin !acing CCW:!-OD• !W)? J!t~ Part I.

lie as -l

2 3

4 ~-8

Part II. Ji!es.s r-2

~

3-4

Ct.

1 & 2

1 2

Ct. r-2 1 & 2

Description

Step R ~ Step L Step-hop R

Move LOD

Repeat action o! Heas. 1, opp !twork. Move LOD Step-hop R) Step-hop L) Make 1 turn CW(to R); end !acing LOD Repeat Keas. 1 in place. Repeat action o! meas l-4(Part I), opp !twork. Kove LOD.

Deecri tion tep- op

Step-hop L Make l turn CW; end facing LOD Step R in place Step L in place Step R in place Repeat action o! mess. l-2(Part II), opp ftwork; moving RLOD. T~ CCW, end !acing ctr(eg. 3/4 turn).

·~--~~R~e-p-e-at action o! aeas. l-4(Part II). ·-~-,~~>"'-"-""-*'<---""'«~~"'

5-8

Part III. :Me as Ct. r- r-

& 2

2 :;

4 5-8

Part IV. 1-3 4 5-6

Description Step R: turning CW to race LOD l Step L . Step-hop R Travel LCD Repeat Yeas. l(Part II), opp. !twork. bo s~ep-hops moving backward, BLOD, swing free leg around. Repeat Kess l(Part III) in place. Repeat Mess l-4(Part III).

?~ Six step-hops turning R about three times to end racing ~n~er..---- . ----- /J'JJ ~::J .0/~ /~t/ Repeat Me as. 2(Part II) - T' · · . Repeat Mease 3-4(Part II)

(Continued on next page) Oglebay Institute Spring Folk Dance Camp Wheeling, West Virginia, May 22-25, 1998


BAZTAN-DANTZA (Page 2)

Part IV(continued) ?-!1 R~p~~t ~~~B: !-~(P~~t JI!) l2 1 Step L in place

& Step R in place

Part V. Ideas. r-

2

4-6

2 Close L to R, without wt; turn 1/4 CW to !ace LOD

Ct. r& 2 & 1 & 2 & 1 & 2

Description s~~in place Brush R slightly forward Step R in place ) Step L in place ) Turn 1/4 CCW to !ace ctr. Step R; turn 1/4 CCW to. !ace RLOD Brush L slightly !orward Step L Close R to L Clap hands(Hands in front at chest level Clap hands Clap hands

Repeat action or Meas. l-3(Part V) to opp direction, opp ftwork, End !acing I.OD.

Whole dance repeats from beginning.

Hands: On all turns moving LOD(turns may be CCW or CW) hands come up .Uth elbows straight out !rom shoulders, lower arms straight up. Fingers snap on the & count (hops) during turns. This applies to Parts I, II, and IV.

Leg gestures: On all step hop turns, the free toot is brought in !ront of the support, with an accent. The accent coincides with the finger snap.



Kolo Najstarje

This dance was introduced in the United States by Elsie Ivancich Dunin. It is from the Dinaric Mountains of eastern Europe where south Slavic peoples reside. Kolo Najstarje is _a silent dance. There is no instrumental accompaniment. The sounds of the dancers' footsteps and clothing are the accompaniment.

I learned the dance from Dunin while studying in the UCLA Dance Department.

Progression:

Formation:

Leader:

Dance Sequences: Counts: 1 Left

Left

Left

Left

+ Right

Right

Right

Right

Clockwise

Closed circle, front basket hold

The dance leader is called the Kolo Vode. The leads are silent. The dancers follow the leader's movement cues and tempo.

2 Left

+ CloseR to L without taking weight on R

3 Right

Left Hop, R leg Right gestures to the L

Lump1 onto Jeep2 to both feet in closed position

Left, R leg Lump to circles from L toR

Right, L leg gestures to theR

Both, landing with feet hip width apart

+ Close L toR without taking weight onL

Hop, L leg gestures to theR

1 Lump starts like a leap taking off from one foot, and lands like a jump landing on both feet, called assembli in ballet terminology. Lump comes from Shirley Wimmer. 2 Jeep starts like a jump, taking off from both feet, and lands like a leap on one foot, called sissone in ballet terminology. The term jeep comes from Shirley Wimmer.



La Derniere dance Alsace

This dance is a branle. I learned it from members of Le P'tit Blanc when they toured Colorado in the 1980's.

Music: Le P'tit Blanc cassette, side 1 number 7.

Formation: Circle with low hand hold when possible Progression: The dance progresses CW around the dance space

First Dance Sequence 1

Counts 1 2 Steps L R

dancer cts. 1 2

Second Dance Sequence

1 L

3

2 1 closeR to L, R no weight 4 5

2 close L toR, no weight 6

Make one CCW tum (to one's L) making a small circle, with the following steps Counts 1 2 1 2 1 2 Steps L, bend R, up L, bend R, up L, bend R, up dancer cts. 1 2 3 4 5 6

Third Dance Sequence (the same as the first) Counts 1 2 1 2 1 Steps L R L closeR to L, R

no weight dancer cts. 1 2 3 4 5

Fourth Dance Sequence: slow steps Counts 1 2 1 2 Steps L R danc~cts. 1 2 3 4

The dance repeats.

2 close L toR, no weight 6

1 Dancers may notice that the first dance sequence is the symmetrical opposite of the basic lesnoto step.

Roo Lester La Demiere Danse revised May 1998





THE SUPER CORSA[R by Don Armstrong, May 6, 1997

Just as the Super Corsair (P2G) was a much improved version uf the original, this dance was written as a modification of The Corsair Balance (1995). American and British pilots had dubbed the inverted gull-winged fighter plane the "Bent WingP.d Bastard" ... but Japanese pi.lots called it "Whistling Death"... r n the dance, the "ocean wave" represents the "W" of the "bent" wings and the hand turns and heys depict the graceful maneuvering of this famous plane. The F2G Super Corsair was the most powerful, single-engine, propellerdriven airplane in the world! I was the project test pilot ... and the plane is featured on the cover of my book, I Flew Them First.

r=- o r mat i on : D up 1 e improper contra Record: LS E·-57-A Frenchie 's Reel or LS E-55-A Green Willis Live music: Constitution Hornpipe or a reel or hornpipe

with short (4 bar) A's and long (8 bar) B's

8 Dosado neighbor into an ocean wave S Balance (4 cts-fwd & back), men balance again as the

ladies turn left half (4) to 8 Partner swing 8 Take partner and half promenade S Those two ladies dosado 8 Men cross, passing by the RIGHT to momentarily face out

in the opposite man's position (4) then without pausing make a swooping LEFT turn (4-counts, as in a "flare") to pursue (follow) the neighbor-lady in the

16 Hey for four - ladies lead, passing right-shoulders

At the end of the HEY, the last action for ALL dancers is a LEFT tur·n flowing smoothly (actives down, others up the set) to face NEW neighbors for the beginning Dosado. The men actually travel further than the women on this last turn. Heys are executed (pun .intended) to 16 counts of music.

Note: The terms Hey for Four and Reel of Four are synonymous and jnterchangeable. One "descends" from English dancing, the other from Scottish dancing. In neither are hands used. However, several years ago, I utilized a term (in a dance named Boone Tavern Reel) which I called Handed Hey in which the: dan~ers briefJy touched hands with each pe-rson they faced throughout the maneuver.. I could have just as easily used the term Handed Reel had I chosen to do s o . I n co 11 t r a dan c i n g , Hey and R e e 1 a r e one and the s am e !

Another interesting sidelight is that after composing The Super Corsair, I realized I had done so on May 6th - just exactly 54 years after I had to bail out of the Curtiss XP-60-D when the entire tail tore ·off the plane in a dive test! I hope you enjoy the dance ... and the story ...



GOOD FRIDAY by Kirsten Koths

For rna t i on : D up' l e improper contra Record: LS 328 Haddington Assembly medley Live music: Rory O'Moore or similar 32 bar tune

8 In right-hand ocean wave, balanceR & L (4), slideR with a "R, close, R, touch" (4) form left-hand wave

8 Balance L & R (4), slide L, "L, close, L, touch" (4) to momentarily reform original wave

8 All turn right half (4), men turn left half (4) 8 Partner swing g All forward & back 8 Pass thru (4) & California twirl (4) 8 Circle left 3/4 S Corners dosado & pass thru to next

Note: In counts 5-8 & 13-16, a grapevine step may be used

BOXWOOD BILLY by Don Armstrong For Bill Litchman and the Boxwood Consort band

Formation: Duple improper contra Record: LS E-59-A Deshutes, or Lose It medley !. i v£:- rnu s j c: Same tune 1 Stone Rag, or other 32 bar tune

8 With corners dosado into a wave 8 Balance (4) and turn right hal£ (4)

16 Men turn left full around and swing the same corner, ending swing just in time for the men to roll into a

16 MEN CHAIN, over and back (men give their LEFT hand to each other, RIGHT hand to the lady, who puts her LEFT arm around the man's waist and the couples can do a clock-wise courtesy turn, M moves fwd-W backs around)

8 Same four circle left 8 Left hand star

BECKET '0 BLOOD by Harry Brauser (1992)

Formation: Becket (cpl facing cpl across the set) Record: LS E-.57-B Forked Deer medley Live music; Spotted Pony or 32 bar hornpipe or reel

16 Partners balance & swing S With opposite couple, circle four one~ around 8 With opposite person, dosado

16 Cpls join inside hands & AS A COUPLE, dosado the opposite COUPLE (back-to-back), starting with ladies passing right shoulders then, after falling back almost to ljnes, cpls wheel-turn-fulf-around to face diagonally left & drop the still joined inside hands (16 counts)

8 DIAGONALLY LEFT, pass thru and half-wheel-turn as above S STRAfCHT ACROSS, pass thru and turn the lady under

(a modified California Twirl) to face each other Oglebay Institute Spring Folk Dance Camp Wheeling, West Virginia, May 22-25, 1998


LADIES REVENGE by Glen Nickerson

Formation: Duple improper contra R e co r d : A good .. 4 0 bar t u n e s u c h as · M a i r i 's Wed d i n g Live music: 40 bar· reel, or 32 bar-tune played with an

II extra r( 8-bars of the "B II part

8 Corners swing, end couples facing up or down the set in M's direction (active M down, active W up)

8 Couples promenade up & down, turn al'one 16 Promenade back to same cpl, ladies hook L-arms, turn

weathervane, at half-way point men flare, ladies keep going to face partners

16 Partners pass right shoulders, hey for four 8 Partners swing 8 Half promenade R Ladies chain 8 Left hand star

SPITFIRE SWING by Don Armstrong

In I Flew Them First Don tells of flying a Spitfire in a mock ''dog-fight" - Charles Lindbergh was the other pilot!

F o r rna t .i o n : T r i p 1 e imp r o p e r co n t r a . Don 1 i k e s i t b e s t w h en danced in 4 couple sets

Record: Jack's Life Ljve music: 8 x 32 bar reel -OR start with a jig and

switch to a reel on the 5th time through

16 Mirror heys for three down the set (# 1 start IN) 16 Dip and dive (same three couples) 16 With the ones below balance and swing

8 Forward six and back 8 Just the actives swing & end facing down

ELIZABETH (Waltz), by Colin Hume

Formation: Duple proper WALTZ longways (contra). Record: Choose an appropriate 32 bar waltz Live mu.sjc: Elizabeth, by Colin Hume, played at 120 MBPM

Dance notated in measures, not counts!

4 0 n c- ~; s ..:~ t , t h en t w o - h a n d t u r n h a 1 f way 4 All set to neighbor, then two-hand turn halfway t.;. /':>..J 1 dosarlo partner l? C i r c: l ~~ ll·~ f t h a 1 f way , come 1 n c 1 o s e to par t n e r , then

fall back into lines with neighbor ::; Open ladi<:·s chain (ladies pulL by with right as men

loop left - join only left hands and make a wide turn NOT an "arm around" courtesy-turn) over and back

_Q_ Ones cross, go below twos and half figure of eight up while twos half figure of eight up, down to place and lead up to progress (*)

(*) Ones cross, cast down outside, come into center through the places just vacated by the twos, and half figure f' i g h t up . Me an~ h i 1 e , the tw o·s h a 1 f f i g u r e e i g h t up through the places just vacated by the ones, and finish by leading up the center. All end proper & progressed.

Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia, May 22-25, 1998 Instructors: Roo Lester, Don Armstrong

FRED'S FOLLY by Harry Brauser

Formation: Duple improper contra Record: LS E-52-B Kansas City Reel. Live music: Any go.od 32 bar hornpipe or reel

8 Actives down center, inactives up outside (4 lines) 8 All turn alone, come back to place 8 AlJ handy-hand allemand original corner twice around 8 Actives only, dosado

16 Hey for four, actives start, passing right shoulders 16 Actives balance & swing

DON TREMAINE'S REEL by Don Armstrong

Formation: Duple improper contra Record: LS E-59-B Don Tremaine's Reel medley Live music: Same or any good 32 bar reel

8 With corners dosado 8 Those four right hand star

16 Actives turn partner under, balance and swing 8 Same four circle left 8 Corners swing 8 Same two men dosado 8 Same four left hand star

EL PASO by Ron Johnson

Formation: Duple improper contra Record: LS E-41-B Cripple Creek Live music: Try a 32 bar hornpipe!

16 Wj th corner, quick turn left, then ladies lead, pass right shoulder in center, hey for f~ur

8 Sam~ four, ladies lead into left-hand star S Sarne four circle left full around, into

16 Do Paso (M turn lady on the right by the left-hand, other lady by the rigllt.-hand, first lady by the left in a r,ourtesy turn)

8 Take her and half promenade 8 Cross trail thru to a new corner to

KITTYHAWK HORNPIPE by Don Armstrong

The P-40 Kittyhawk, famous for its "shark-tooth" nose-art, saw service in nearly every theater of WW II.

Formation: Duple improper contra. Record: LS 316 Flying Scotsmen Hornpipe Liv~ music: Well phrased 32 bar hornpipe or reel

16 Actives, as a couple- hey for three (across) with·the couple below, starting L shoulder with the H 2 lady

16 Actives in center - down in fours, centers wheel, ends turn Rlone, .come back, cast off

16 Actives, turn contra corners 16 Actives, balance and swing


BALANCE IN THE BARN by Don Armstrong

De v i s e d i n , and n a n1 e d f o r t h e · · b e a u t i f u 1 dan c e b a r n i n Kentucky built and hosted by Leslie and David Lewis.

Formation: Duple improper contra Record: LS E-57-A, Frenchie's Reel medley L l ve Music: Forked Deer or other 32 bar reel

8 With hands joined in a circle of four with the· couple below, all balance in & out, and in & out again

S Retaining hand hold with partners, active duck under and arch back over (2's arch over ~nd back under)

S Actives down center and wheel turn around S Cornf.: ttp to place and cast .off

16 Turn contra corners 16 Actives balance and swing *

(*) If shorter swing is desired, actives dosado and swing

HAY FOR HEATHER by Martha Wild

Formation: Duple improper contra Record: LS E-28-B Beaumont Rag Live music: Same or other 32 bar reel

8 With corners allemand right once (or so) 8 Ladies allemand left, once and a half

16 Hey for four (partners pass right shoulders to start) 16 Partners gypsy and swing 8 Long lines forward and back 8 Same four circle left three-quarters, pass thru

"Heather" is a Rabbit, and eats hay, not heyf Martha is a musician/caller in the Old Twine String Band

MELODY AND MOTION by Don Armstrong

Formation: Becket (cpl face cpl across the set) Record: LS 338 March of St. Timothy Live music: Same tune, or one equally as smooth!

16 Across (ladies lead, right shoulder) hey for four 8 Ladies chain across (when the men complete their hey,

they will just arrive in time for the courtesy turn) 8 Ladies chain back, courtesy turn & a 1/4 more Into a

16 Weathervane ( 12) bend the l"ine back away into lines (4) 8 Slant left, half promenade (use the complete 8 counts) 8 Straight across, right & left thru (as the ladies

start their hey to-begin the dance again, the men flare (L-face) and follow)

T h i s i s a d e l i g h t f u 1 1 y s - m- o - o -:- t. - h. dan c e -. I F t h e dan c e r s , : :· il i -.; i" " i ~··, i 1 t: ·.v i u, 1 h (- mu s i c a l ph rases and do not h u r r y !



UNWIND THE CLOCK by Don Armstrong (1197)

F o r m a t i. o n : D up 1 e :imp r ope r con t r a Record: LS E-55-A Green Willis medley Livr:· music: A smooth, medium tempo, 32 bar reel

16 With corners, balance & swing 8 Just the men dosado 8 Men allemand left, go once-and-a-half, don't let go· 8 With partners, star promenade home (4) wheel full

around (4) to put the ladles in the middle while the men flare (L-face)

8 Ladies chain and at end of chain put the ladies into the middle again, and the men flare (L-face) again

16 Ladies lead (R-shoulder) hey for four, men follow after their flare, all to end facing NEW corners

HEART OF THE ROCKIES by Don Armstrong

Formation: Duple improper contra Record: LS E-63-A Booth Shot Lincoln medley Live music: A medium tempo, 32 bar hornpipe or reel

S With corners dosado 8 Corner allemand right 3/4, men allemand left halfway

16 Partner gypsy and swing, end swing just it! time for the men to head to the middle to start a

8 MEN CHAIN across (men give their L-hand to each other, then R-hand to the lady, who puts her L-arm around the

M's waist so the cpls can do a CW courtesy turn) g Men dosado S Same four circle left 8 Left hand star

BITTER CREEK by Don Armstrong

Furrnation: Becket - cpt facing cpl across the set r~ c· c:· o r d : L S E- 6 4 -A B i t t e r C r e e k me d 1 e y ;, ~ \'(,;. n·H.lS i ('.: ,\ soutl1ern rrlOLJrltairl style reel, NOT a l1ort1pipe

S Men l urn by the R-hand, once around., drop hands, fall h~lck to place, ready to use· LEFT hands to start the

8 MEN CHAIN ACROSS (expLanation on page 5, Boxwood Billy) 1 ( .\·i e 11 1 f-.' ad , !1 e y f o r f o u r - as men s tar t a hey for f o u r

~cross (passing their LEFT-shoulders) the ladies flare R-face to follow the men

3 MEN CHAIN BACK (giving L-hands to each other to start) t~ n d t h <.:: co u r t e s y t u r n s o a s t o b e a b 1 e t o

8 S 1 ant RIGHT, r i g h t and 1 eft t h r u 3 With NEW couple ACROSS, pass thru, California twirl S Long lines go forward & back



THE HEATHFIELD RAG by Colin Hume

Formation: Three couple proper contra Record: Dances with a Difference, Volume II Li\'f· music: The En·tertainer, by Scott Joplin. Musical

a r rang em en t by Co 1 (n .. Hume in the book, "Dances W i t h a D i f fer en c e , Vo 1 urne I I "

Dancing note: Colin recommends using a "step-hop" step except during the Sashays. Also danced with a "run, 2, 3, hop" - Schottische - except for the Sashays.

16 Top man & bottom lady right-forearm turn 1 & 1/2, ending in each other's places. Top lady and bottom man do the same.

16 Lines sashay 4 to the right & 4 to the left. All dosado partner

1 6 ME· n c i r c 1 e 1 e .f t o n c e a r o u n d t h e m i d d 1 e 1 ad y • Ladies circle l~ft once around the middle man.

16 Top two men cross, then top two ladies cross. All cross-hand turn partner to end proper.-

MOUNTAIN RANGER by Don Armstrong

F v r ma t i o n : D up 1 e imp r ope r con t r a Record: LS E-62-B, Mountain Ranger medley L i v e m u s i c : Same t u n e or 01 d Joe C 1 ark & Red Wing

s

8 3 \• .)

s 8 () •.)

Actives center down in fours, turn alone Come back to place & cast off into a Left hand star Right hand star, men flare (loop over right shoulder) Ladles chain Cha i rt back Ladies dosado Actives swing

A GIRL'S BEST FRIEND (author unknown to me)

F()rrnation: Duple improper WALTZ contra Rc:cord: LS E--'30-8 Caerdroea Live rnu~ic: A 32 bar waltz played 38-42 measures per minute

Dance notated in measures, not counts

4 With corners, right hand star once around (join hands across in the stars) ··flowing into

4 With partner a tight R-shoulder gypsy, finishing with a wide loop (flare) to LEFT

~ Samf' four, left hand star into 4 .-\ t i g h t L - s h o u 1 d e r gyp s y , f i n i s h i n g w i t h a t i g h t

loop (flare) to RIGHT ~ Actives dance down (2 meas), set to each other (2 meas) 4 Activt:- dance up (2 meas), cast off (unassisted) while

2's rnove up (2 meas) L; Two men change places by right. (2 meas), two ladies

('h~H1ge places ,by left (2 meas) 4 HALF slow square thru (rights and lefts, start with

partners) Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia, May 22-25, 1998 Instructors: Roo Lester, Don Armstrong

HURRICANE HORNPIPE by Don Armstrong

Tile Hurricane, made famous in the Battle of B1~itain.

Formation: Duple improper contra Rt.""cord: LS E-60-B Vinton's Hornpipe Live music:: Same tune or other 32 bar hornpipe

16 Aclivf"S balance and swing 8 Actives center, down in fours, turn alone 8 Come back to place and cast off, drop hands

16 Same four grand right & left (start R-hand to partner) turning fourth person like an allemand left to put the ladies into the center so they can start a

16 Ladjes chain, over and back

NEWBURY PARK by Paul Moore

Formation: Duple improper contra Record: LS E-54-B Donegal Jig : .. ive music: Same tune or other melodic 32 bar jig

8 With corner dosado 8 SarnP corner swing 8 Men allemand left once-and-a-half to g Partner swing 8 Ladies chain

24 Ladic:;s lead, pass right shoulder, hey for four, once-and-a-half, ending in original lines, to face NEW corner to begin

JENNIFER'S DANCE by James Hutson (1989)

Formation: Duple improper contra Record: LS E-54-A St. Anne's Reel Live music: Star of Munster

16 Corners balance and swing 8 Long lines forward and back 8 Men pull by with left, right to partner, box the gnat 8 HALF HEY, start partners pulling by with right hands 8 Partner swing (on man's original side)

16 Same four circle left once-and-a-quarter (until actives are below) (12 cts) all California .twirl partner (4)

OAKLEY'S PIZZA DELIGHT by Tim Grant

Formation: Becket (cpl facing cpl across the set) Rc:cord: LS 326 Maureen Prom GJbberland Live music: Same, Glise a Sherbrooke, or other 32 bar tune

8 With couple across half promenade 8 Same four right & left thru

16 Same four slow square thru - at end ALL FACE 1/4 LEFT 16 Ladies lead, passing right shoulders-while men flare to

follow ladies in a hey for four 8 Same four right hand star (ladies lead, men follow in

the star) flowing smoothly and 8 with NEXT couple, DIAGONALLY LEFT, left hand star


THE TRAVEL AIR TRIPLE by Don Armstrong

The Travel Air 2000 was an open-cockpit, 2 or 3 place, biplane built in the 1920's and powered by a Curtiss OX-5 liquid-cooled, 90 hp engine. I learned to fly, and made

my first solo flight in one, in 1932. I was 13 years old!

Over 62 years later - during the sun~er of 1995 while signin~ books at an airshow - I had the opportunity to fly a similar Travel Air near Loveland, Colorado. It was a memorable and nostalgic experience!

r<Jt.lttatiult: Triple improper contra- I like it best when danced in 4 couple sets

R. e co r rl : So u t h e r n e r s A 1 burn , t r a c k A- 1 , Jack ' s L i f e Live music: 8 x 64 bar reel. Try the Irish Rover!

3 Long l .i n e s forward and back 8 Actives cross ov~r, go down below one

16 Turn contra corners 16 Actives pass L-shoulders in center, active M down,

active W up, dancing out between couples 2 & 3, both dancing same-sex-heys-for-three up and down the sides of the set, M starting L-shoulders with # 3M, W starting L-shoulders with # 2 W. Actives end facing ea~h other in center

8 Actives dosado 8 Actives 2-hand turn, once around and a little bit more,

to end improper having progressed one position

In I Flew Them First, there is an entertaining story about my first cross-country flight in another Travel AJr 2000. was 16 years old, the total distance was only 107 miles -yet it took me three and a half days - and I had seven forced landings!

The friendly, fun-to-fly Travel Air was my first - but not my last- love ... and I'd buy one today if I could!

EXTENDED LENGTH INSTRUMENTALS

ARE GREAT FOR CONTRAS AND SQUARES

ThE: Lloyd Shaw Foundation Extended Length Instrumental Series - LS E-49 through E-66 - are each played twelve t imc~s through 64 counts of wonderful music! Eighteen records - thirty-six great sides - with seven different (J r c h e s t r as - and a 1 mo s t a 1 1 a r e me d 1 e y s . .

Dancers love them because they get time enough - without having to stop in the middle of a dance while the caller resets the record - to learn and ENJOY each dance.

Gei your FREE catalog by writing or phontng:

LSF Sa 1 es Division, Box 11 ~ ·Macks Creek, MO, 65786 (573) 363-5868 Oglebay Institute Spring Folk Dance Camp

Wheeling, West Virginia, May 22-25, 1998Instructors: Roo Lester,

Don Armstrong

A WALTZ FOR TERRY by Don Armstrong Devised and named for Terry Stanley, Don's daughter

Formation: Duple improper contra {Waltz) Record: LS E-30-B, Caerdroea Live music~ .. . and One For Don by ·Marnen Laibow-Koser

Dance notated in measures, not counts!

4 The # 1 couple joins hands in a circle of 3 with the # 2 rna n & b a l an c e s i n an q Q \lJ .. t wJ c e ( i n , out , i n , out )

4 Those three circle left once around, then the # 1 M breaks the circle with his L-hand as they leave # 2 M to join hands with the # 2 W in a new circle of 3 to

4 Balance in and out twice (as above) 4 Those 3 CIRCLE RIGHT once around, then the # 1 W breaks

the circle with her R-hand to end in a line of four (1 's in center) facing down the set

4 Line of four dances down the set 2 measures (6 steps), balances fwd on 3rd measure and all dro~ hands to turn alone R-face on 4th measure to rejoin hands in the 1 ine of four, facing up

4 Line of four dances up the set 2 measures and does a wide cast off on the last 2 measures

4 Ladies ''open" chain; as W join R-hands to cross the set (6 steps), theM flare L-face to join L-hands with the new W to sweep her around in a wide turn (6 steps) to chain back. (This is NOT an "arm around" courtesy turn! Only the inside hand~-are joined at almost shoulder height, with arms domfortably extended)

4 Ladies "open" chain back, again sweeping wide as all dancer s b 1 end i n to p o s i ·t i on to s tar t the dance

- - ~~d one for Don (tune for "A Waltz for Tercy 11 )

Marnen Laibow~Koser L • '- · 31 December 1996

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