Recover-Promote

Transcription

Recover-Promote

Recover-PromoteTradition
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Recover-Promote-Tradition
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CONTENTS
1. SUMMARY ……………………………….
7
2. OBJECTIVES ……………………………..
7
3. PROJECT BENEFITS ………………….
8
4. TEMPLATES FROM EACH COUNTRY ….. 9
5. TRADITIONAL COSTUME ……………..
15
6. TRADITIONAL CRAFT ………………….
27
7. TRADITIONAL DANCE …………………
43
8. TRADITIONAL FOOD …………………..
57
9. TRADITIONAL SPORT …………………
71
10. THOUGHTS FROM DIFFERENT
COUNTRIES …………………………….
87
5
6
SUMMARY:
During the last few years customs of the towns, cities and
countries were lost and forgotten, new generations don´t
believe in those things that our ancestors made, or they do
not continue the family work and many of them don´t know
nothing about games or traditional foods. With this project
we want these things to change, recover and promote all
what is our heritage. We want people to take more new
skills, learn jobs, culture and ways to promote our culture
among young people from other different countries.
The aim of the project is the collaboration between adult
and young people that they can develop the
intergenerational learning between themselves with
promoting and recovering cultures in different countries,
exchange of experience and knowledge between this groups
and learning about music, culture, traditions, food and how
to transfer from the grandparent to the young people all this
things and learn new techniques for the development of the
adult people’s skills.
OBJECTIVES:
Share and celebrate cultural heritage.
• New skills for the adult learners.
• Develop new technologies skills.
• Develop communication skills.
• Exchange good practices between professionals.
• Intergenerational learning and learning later in life.
• To create a book with all the traditions in the different
countries.
• Deepen co-operation and networking, on international
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and regional level.
• Observe the role and task of the adult education
providers on how cultural resources are used to generate
employment opportunities and income, to achieve cultural
and environmental conservation by contributing the
economical development.
BENEFICIARIES:
Adult learners: who will get more skills and promote and
share their knowledges between young people.
New generations: who will learn about the traditional
things to use in their lives and promote to the next
generations.
Institutions: Cooperation between organizations trying to
promote the traditions and share the experiences in other
countries.
We believe that unless we begin to promote and recover
our lost traditions will be fast, as new technologies are
going strong, this does not mean they are not queire
supports both, but we need to unite the two forces.
Also older people, who have learned a single thing in their
lives, will be a good opportunity to improve and learn other
things in life increasing their knowledge in different areas
and using new technologies in the promotion of knowledge.
PROJECT BENEFITS:
• New skills for the adult and young learners.
• Develop communication skills.
• Exchange good practice between professionals.
• Intergenerational learning and learning later in life.
• To create a book with all the traditions in the different
countries.
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The partner
organizations
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ASOCIACION COMPASS (SPAIN) Coordinator
Organization working in Alicante, we will be the
coordinator of the project with the help of the other
organizations involved in the project that help us to write
the application.
Objectives in the organization and in the activities which
we develope: improving quality of life of adults and youth
through professional and volunteer work.
We offer: informal education, promotion of voluntarism,
preventing of unwanted forms of behaviors (delinquency,
drug addiction), developing of healthy ways of living,
positive affirmation among youth…….
We also develop differents local projects, workshops with
adult and young people about arts and handicrafts.
Hosting and sending people for Youth in Action projects and
international activities.
We have different groups inside of the organization, like
sport, dance, workshop, mountains, and travel club.
CSEMADOK ZÁKLADNÁ ORGANIZÁCIA BRUTY
(SLOVAKIA)
Our organization was established in 1949. It makes efforts
to preserve the traditions of our grandparents, organise
cultural, entertaining and educational programs for adults.
We organize many events almost all over the year:
presentations, trainings, festivals. In order to organize these
events on high level we co-operate with the local school.
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They help us realize them better, while we offer for their
pupils a lot of possibilities of non-formal education. We also
run a folklore group where people can learn traditional
dances, songs and handicraft. Our organization has already
taken part in international projects, too because in our
opinion to get to know other cultures, traditions is as
important
as
to
show,
to
introduce
ours.
The number of the members of the organization is over one
hundred and they are local adult people including students,
workers, unemployed and retired people, too.
We are interested in this project because for us it is really
important to save the heritage of our ancestors, make the
relation between the young people and older ones stronger
that they can learn from each other. As we are a minority
living in a rural area with few opportunities this can be the
guarantee for our survival.
KC ENGLISH NOTE (ENGLAND)
KC English is a community-based organisation, providing
communication and cultural service in the rural area of the
Rame peninsula, SE Cornwall. We organize language classes
(English for migrants, French, Spanish and arrange other
languages). We arrange home-stay English language courses
for foreign students, based around full immersion into the
local community. These can include themed activities and
visits, such a heritage visits or the arts, participation in local
sporting activity and social events, creation of specific
activities (eg fun day). Our aim is to generate new incomes
for local people, while enriching our area with links to other
parts of Europe. We also provide services in proof-reading,
editing
and
translation
documents.
Approximately 50% of our work is connected to support for
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disadvantaged residents in our local community area. These
include migrant workers and their families, and those with
limited
educational
achievement.
We want with this project to improve the cultural heritage
that we have in our area, with the migrants that are coming
to UK and in our area, promoting different paths and
activities with them.
NATIONAL COLLEGE STEFAN VELOVAN
(ROMANIA)
National College Velovan Stefan is located in Craiova, the
most important city in Oltenia. The school is over 140 year
old prestige. The completely renovated building is taking
place and it has about 140 teachers and 1500 students from
kindergarten to high school.
The school has three computer labs, a chemistry lab, a
physics laboratory, a biology laboratory, a geography lab, a
gym and a fitness canter, a library with 16,000 books, a
student hostel with 150 beds and a canteen with 300 seats.
We have vocational-educational classes, computer science
and humanistic specialization.
Many of our students come from rural areas from rather
poor families. The current economical conditions have
forced many parents to leave for other European countries;
these children have remained in the care of their relatives.
Our school teachers are eager to improve their practical
skills of teaching, coaching and counseling and to gain a
European vision of what lifelong learning means.
One of the objectives of our school is to support the
development of students in the intergenerational learning,
teamwork, to improve knowledge of cultural and linguistic
diversity of the teaching staff, pupils and local community.
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We hope that the exchange of experiences, practices and
methods will help to strengthen the European dimension in
the activities of our institution and will also encourage, the
appreciation, understanding and tolerance for differences
and similarities between European people, a better
understanding of areas of common interest area of adult
learning.
The main goal of our institution, the National College
Velovan Stefan, is that teachers get involved in various
teachers’ training courses in the European context. Through
this project, our school teachers will be helped to develop
communication skills, sharing best practices among
professionals, learning and intergenerational learning later
in life, thus trying to create a magazine with all the
traditions in different countries.
With this project we will work in our school about
traditional games, crafts or dances in our country, giving the
opportunity to the kids to learn the games, crafts, dances,
sports that their grandparents used to enjoy practising.
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AKADEMICKIE CENTRUM INFORMACJI
EDUKACJI EUROPEJSKIEJ (POLAND)
I
Akademickie Centrum Informacji i Edukacji Europejskiej
“ACIEE” is a youth apolitical organization created in 2003.
Organization’s office is based in Warsaw (Poland), but its
activities are in whole Poland and also abroad.
It was created to support local youth initiatives – cultural,
sport and other educational activities.
Main goals of “ACIEE” are:
1. Educational, cultural and scientific activities, especially
in the field of promoting the ideas of United Europe;
2. Development of individual and social attitudes based on
the widely understood European cultural circle;
3. Popularizing ideas of democracy as a way of regulating
the society life based on the constitutional law order;
4. Development of the European identity;
5. Co-operation with local and international organisations
and institutions to realize common goals and work with
youth and adult people;
The idea to be part in this project is to promote the
traditional sports that we have in Poland and to develope
different courses to adult and young people.
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TRADITIONAL
COSTUMES
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TRADITIONAL CLOTHES “FLAMENCO DRESS”
(SPAIN)
What is it?
Flamenco is a type of dance originating in Andalusia. It is
at least two hundred years old and likely gypsies influenced
this popular art form. Flamenco is characterized by colorful
dresses, silk shawls, hand-painted fans, lively music and
clapping. Though the authentic form is only seen in
southern Spain, the colorful dresses can be seen worldwide.
You can bring this bright type of dress to your own home by
making a flamenco dress for your child.
How many people?
1
What materials do I need?
 Girl's dress pattern
 1 yard of cotton fabric for the dress
 1.5 yards of cotton fabric for the ruffles
 Scissors
 Paper
 Pencil
 Push Pins
 Iron
 Thread
 Sewing Machine
How long does it take?
1-2 days
How can I do?
o Make a sleeveless, straight dress with one yard of
cotton fabric using a purchased girl's dress pattern or
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download a free pattern online. The dress should be 2 or 3
inches above the ankle and have a V-neckline.
o Measure around your child 3 inches below the waist.
On a piece of paper draw a circle using this measurement
for the circumference of the circle. Draw 6 inches around
the edges of the circle. Cut along the edges of these two
circles. This will be the pattern for your ruffles.
o Pin the pattern to the fabric for the ruffles and cut
along the edges of the pattern. Repeat this process four
times. You can use the same type of fabric used for the dress
or to make a contrast, use cotton fabric with similar colors
but a different pattern, such as polka dots.
o Sew along the inside and outside edges of all four
circles with a zigzag stitch.
o Fold the outside edge of the circle under 3/8 inch,
ironing in place. Secure the edge in place by stitching along
the edge.
o Pin one circle to the outside of the dress 3 inches
below the waist. Sew the circle in place, making sure the
inside edge of the circle is hidden beneath the fabric of the
circle. Repeat this process with the remaining three circles,
spacing them equally until the bottom of the dress. If your
child is tall, cut out more circles and sew them on until you
reach the bottom of the dress.
What variations can it have?
You can do it with different colour and materials.
To add ruffled sleeves to the dress, cut a 2 1/2-inch by 45inch strip of fabric. Sew a zigzag stitch along all sides of the
fabric strip. Handsew a running stitch along one of the long
sides of the strip, ruffling the fabric as you sew. Sew the
ruffled strip onto the dress along the sleeve opening. Repeat
for the other sleeve. Attach more ruffle strips if you wish to
have a sleeve with more body.
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TRADITIONAL FOLK COSTUME (SLOVAKIA)
What is it?
The traditional peasant attire alongside of the Lower
Hron: the women’s waistcoat (=’pruszlik’)
The women’s waistcoat is very special since it is longer
than normally. It reaches until the hips. This kind of
waiscoat is worn only in six villages in the mentioned region
(the 6 villages: Bart (Bruty), Bény (Bíňa), Garampáld
(Pavlová), Kéménd (Kamenín), Kisgyarmat (Sikenička) and
Kőhídgyarmat (Kamenný Most)).
According to the folk tradition during the Turkish
occupation the Pasha of Esztergom issued a regulation to
shorten the skirt that he could see the girls’ charms and legs.
The women of the village Bart and the nearby villages
responded to the command. However, the skirt was shortened
but the waist became longer. Craftily the skirt is held on the
hips by a so called ‘pofándli’ (= a kind of cylindrical cushion)
which is mounted on the‘pruszlik’ (= the waiscoat).
tailor's chalk
thread
needle
thimble
pins
scissors
cartridge paper
color pencils
tape measure, ruler
silk or velvet or fabric or thick silk
linen for lining
hooks and eyes
sequin stripe or lace (optional)
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How can I do?
Tailor the given parts (except the long part above) twice
from silk or velvet or fabric or thick silk for the waistcoat
and twice from linen for the lining. The linings are always
tailored with at least 0.5 cm wide seam allowance.
The dotted line indicates half-fold and the long part above
is the cylindrical cushion which holds the skirt on the hips,
so it is a hip-length waistcoat.
After adjustments, attach front and back pieces from silk
or velvet or fabric or thick silk together and stitch, but do
not sew the shoulder seam.
Sew together the lining as well in the same manner. Before
putting the inner (lining) and outer ‘shells’ together pin the
two sections, right sides together. Make sure the armhole
and front edge pieces are in line.
Sew the armholes, neckline, front and lower seams
together but do not stitch the shoulder seams yet. Also,
make sure you leave a gap of 15cm in the centre lining piece
to allow the garment to be turned inside out.
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Before reversing the waistcoat, press the seams together
after they were stitched. Also clip bulky seam areas and
notch the curves. Turn inside out and press.
Try on the waistcoat and pin the shoulder seams together
to get the new seam allowance for that area. It should be
1.5cm but is liable to change. Turning in the inner shoulder
lining seams by hand is the easiest way to finish this area.
Then you must sew an invisible stitch along the centre seam
lining (the gap).
Use hooks and eyes to close the waistcoat and sew
sequinstripe or lace on the neckline and back for decoration.
The last step is to roll up cylindrically a piece of cloth and
stitch to the waistcoat on the hips.
On weekdays and during work a waistcoat made from
calico was worn. On Holidays they put on a decorated
waistcoat sewed from silk. A velvet waistcoat was worn or
during mourning, or by older women.
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TRADITIONAL COSTUME WORKSHOP (UK)
Buttonhole
Buttonhole - usually one large
flower with a small amount of
foliage
Boutonniere – usually a bunch of
small flowers grouped together
The skill level required is easy for a
buttonhole and takes about 30
minutes to complete. The skill level for
a boutonniere is moderate and can
take up to 1 hour to make.
Instructions
Things you need:










Florists wires
Wire Cutter or snips
Floral stem tape of florist green tape
Fresh flowers such as rose or carnation
Greenery
Scissors
Spray Bottle
Water
Ribbon (optional)
Pin
Method:
1. Lay out flower, foliage, wires, tape and pin.
2. Remove the flower stem just beneath the seedbox and
insert the wire into the stem and into the seed box. You can
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insert two wires in a cross through the seed box to make it
sturdier and prevent the rose from drooping.
3. Loop these wires round twice and bind with floral tape.
4. Take foliage and delicately wire using silver wire (a
0.32mm) making a small stitch either side of the main vein
of the leaf and creating a loop.
5. Secure the leaf stem by gently taking the wire end and
wrapping it twice around the remaining wire. Tape the leaf
stem securely.
6. Place the taped leaf behind the rose and secure with
green wire.
7. Wire stems are cut to length then use tape to bring the
buttonhole together ensuring that the cut ends are covered.
8. Decorate with ribbon if required.
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TRADITIONAL COSTUMES (ROMANIA)
WHAT IS IT?
Handmade traditional
embroidery
FOR
HOW
PEOPLE?
2 people
Romanian
shirts
with
MANY
WHAT MATERIALS
DO I NEED?
Gossamer sewed with
cotton or silk thread in a
multitude of models and
colors
Tools for tailoring
HOW LONG DOES IT TAKE?
2-3 weeks
HOW CAN I DO IT?
In order to reach the final stage the handmade traditional
Romanian shirts go through the following stages:
I - The gossamer for the handmade traditional Romanian
shirt is tailored in 4 pieces (front, back, two sleeves)
according to the desired size;
II - Choose the model to be sewed on each of the pieces; as
we mentioned above mostly silk thread is used for embroidery
and for the collar cotton thread. The sewing is done manually
with traditional needles.
III - Sewing the pieces together after the models were
embroidered.
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WHAT OTHER VARIATIONS CAN I HAVE?
Among the most known models of handmade traditional
Romanian shirts are:
 Handmade traditional Romanian shirts with daisies
 Handmade traditional Romanian shirts "roosters'
comb"
 Handmade traditional Romanian shirts with carnations
 Handmade traditional Romanian shirts "16 corners
star"
 Handmade traditional Romanian shirts "4 corners star"
 Handmade traditional Romanian shirts "geometric
motives"
ANY OTHER RECOMMENDATIONS?
The handicraft goes back years and years ago and although
the time brought changes on the people, the women continue
their craft and still make handmade traditional Romanian
shirts for women with the same dedication and passion from
the beginning.
Handmade traditional Romanian shirts can have a long or a
short sleeve. The making does not take into account the
standard sizes of a shirt which you usually meet in normal
shops, due to its particular tailoring. Thus, handmade
traditional Romanian shirts have a straight tailoring in the
waist and large sleeves making it extremely easy and
comfortable to wear. The adjustment of the shoulders width,
respectively of the sleeves is made using a lace placed at the
level of the neck and hands.
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TRADITIONAL COSTUMES (POLONIA)
Clothes
What is it?
Traditional
from
the
regions
clothing
mountain
For how many people?
The presented version
is for 2 people – 1 man
and 1 female.
What materials do I
need?
Man:
Kapelusz – a black hat
with a feather
Koszula – usually a white shirt of linen
Cucha – a white coat
decorated
with
colourful, handmade
embroidery
Pas – an ornamental
belt, quite wide
Portki – white or
grey trousers with red
pompons around the
ankles
Kierpce – very typical
shoes, brown, attached
with leather stripes
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Woman:
Korale – usually red chaplet
Koszula – also a white shirt, usually decorated with
valances
Gorset – a corset, usually very decorative, with flowers or
other patterns, very colourful
Spódnica – a wide, pleated skirt, also very colourful
Kierpce – brown shoes with leather stripes
It takes a while to put all these parts of clothes on
properly, but it's nothing comparing to the time you have to
spend to do it. The whole process is very long; it can even
take whole month!
How can I do it?
The clothes are usually made by older ladies from the
region and passed on from generations to generations.
What other variations can it have?
There are many variations, the clothes differ depending on
colours, patterns etc.
Any other recommendations?
People don't wear these clothes any more. It is even very
rare to see it during festivals or concerts. There are some
dancing groups like “Mazowsze” which are trying to keep
traditions alive; they dance all over the world traditional
dances in traditional clothes. They are also founded by
national government.
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TRADITIONAL CRAFT
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TRADITIONAL CRAFT SOAP (SPAIN)
What is it?
People have been making and using SOAPS for thousands
of years through different methods, with varying levels of
effectiveness and a vast variety of ingredients. One
traditional method that has been used to make soap
involves using white wood ashes and a fat or an oil. The
resulting concoction is a strong, lye based soapy product
that actually is very effective in cutting through grease
found in pots and pans. It can also be further refined into
bars for modern use.
How many people?
For 2 kg of soap
Main ingredients

900ml water

295g caustic soda (make sure you buy pure
sodium hydroxide and not something caustic soda
based, that might include other ingredients)

615g coconut oil (or vegetable fat)

800ml sunflower oil

800ml olive oil
For the fragrance

Essential oils

Other additives (dried herbs, petals and fruit
depending on what soaps you want to make)
For decoration

Pastry cutters

Ribbons

Bows
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Protective clothing

An apron

Rubber gloves

Goggles

A large plastic bucket or stainless steel pot
(don't use cast iron or aluminium)

Plastic containers or moulds (again, don't use
metal containers)
A couple of hours to mix the recipes, 24 hours for the
soaps to set, then six weeks for them to dry.
How can I do?
Step One: Mix the Caustic Soda in the Water
Pour 900ml of water into the bucket. Making sure to wear
your apron, rubber gloves and goggles, carefully whisk the
295g of caustic soda into the water and watch as the
chemical reactions cause it to heat up. (Make sure you add
the soda to the water, NOT the other way round.) Once this
reaction is happening, it's time to add the oils.
Step Two: Prepare the Oils
Jenny buys coconut oil in massive slabs, but you can buy it
in specialist shops and online. An easy alternative is
vegetable fat that you can get in the supermarket.
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Put the 615g of coconut oil into a large pan on a low heat
and it will melt very quickly. To this, add 800mls of
sunflower oil and the same again of a good quality olive oil.
(I’d normally have olive oil on a salad, but it’s been used as a
moisturiser on skin for thousands of years. And if it’s good
enough for the ancients, then it’s good enough for me.)
Step Three: Mix Everything Together
When all the oil has melted together, pour it into the bucket
with
the
caustic
soda
and
water.
You'll need to stir it now, for around 40 minutes. You're
looking for a change of colour and texture in your mixture.
40 minutes? That'll give you a bit of time to make the big
decision on what flavour of soaps you want to make!
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Step Four: Choose Your Flavours
Once the mixture has started to change colour and texture,
it's time to add the lovely bits.
The delicious scents come from the essential oils - and there
are so many flavours to choose from. From fresh fruity
scents such orange or grapefruit to the more Christmassy
scents of frankincense or myrrh. I made three flavours: a
zingy lime and parsley, a fresh lemongrass, oats, and honey,
and a festive cinnamon and orange. So first, I divided my
base soap mixture into three mixing bowls.
To the first bowl, I added a handful of parsley, and then
measured 20g of lime essence into the mix; to the second a
handful of porridge oats, a glug of honey and some
lemongrass essence; to the third, I added cinnamon and
orange essence, as well as some fresh orange zest.
Step Five: Transfer to the Moulds
Now you just need to transfer your mixtures to the moulds
to set. I’m using simple plastic tubs that you’ll probably have
in your kitchen cupboard - but you can essentially use any
manner of plastic containers you like.
Once mine were in the moulds, I added some thin slices of
(real) orange to my cinnamon and orange soap, which will
look lovely and decorative when it sets.
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Then my tubs of loveliness were wrapped in a blanket for
24 hours to slowly cool down and set.
Step Six: Dry Out the Soaps
Once the soaps have cooled down and set, take them out
the moulds and leave them to dry in a cupboard for six
weeks so the caustic soda dissolves and the soap won’t have
any harmful effects on your skin.
Step Seven: Add the Final Decorations
Finally, when the six weeks are up, you can divide the
soaps up and decorate them. The blocks can be cut into
smaller slices and wrapped with ribbons and bows. I also
used a couple of different shaped pastry cutters, which you
can buy in any cook shop, to make pretty, shaped soaps
which I finished off with dried rosebuds.
You can also add fragrance to your soaps with a drop or
two of essential oils, or natural elements like poppy seeds or
citrus peels, if desired. You can also add some flowers.
When using caustic soda, make sure you follow the
manufacturer’s instructions. Always wear protective
clothing and work in a well ventilated room. When mixing,
always add caustic soda to cold water, not water to caustic
soda.
32
HANDICRAFT (SLOVAKIA)
What is it?
A husk doll

Some cornhusks (appr. 18 pieces)

Smallchestnut or walnut

Light brown embroidery thread

Scissors
How can I do it?
Soak the husks in some lukewarm water. Select a large,
healthy leaf and put a small, dry chestnut or walnut in the
middle of it, then carefully wrap it into the leaf folding over
the leaf from both (left-right) sides.
Make sure that you prevent wrinkles on the leaf on the
face part. Twist it from the tip end of the leaf. Folding this
part to the wider end of the leaf, tie it to the neck with a
thread.
Choose two large leaves; these will form the dress from
front and back. Attach them to the neck so that they cover
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the doll's head (from front and back) and only a small part
of the leaves should hang down from the neck. Tie this small
part there with a thread. Then turn down the dress (the 2
large leaves) from the doll’s head.
We make the hands of the doll only from one leaf. First, cut
straight both ends of the leaf. Then roll the leaf up, tie both
ends with thread with margin of a half finger pad.
Slip the finished hands under the dress of the doll that the
two arms protrude from the dress symmetrical and then tie
it at the waist. Thus, the hands will not slip off.
Cut straight the bottom of the skirt with scissors.
Only the shawl is missing. Put a narrow leaf on the top of
the head. Wrap the head into the leaf from the top
downward and cross it at the back side of the head.
Finally, tighten the leaf at the neck with a thread and cut
the unwanted part of the leaf with scissors.
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When is it used?
Nowadays they can be used as nice decorations on the
Christmas tree. They can be hanged on it by a thread.
We also give the possibility to interested adults and young
people on our family Christmas workshop to learn how to
make husk angels for decoration purposes.
How is it used?
The husk dolls were popular children’s toys. The
preparation of them connected to the corn-husking which
had also an important community role in the past.
As we already mentioned nowadays they are used as
decoration.
At Christmas time you can make the Holy Family from
husks.
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TRADITIONAL CRAFT WORKSHOP - FLORAL
HEAD DRESS (UK)
Flower Circlet
Flower Circlets may be worn upon the head for May Day
celebrations. They can be made of flowers of your choice,
though more greenery is usual for traditional circlets.
The skill level required is moderate, and can take up to 2
hours to make depending on the size of plant material.
Large and heavy flowers and leaves are impractical.
Instructions
Things you need:





18 gauge floral wire
Measuring tape
Wire cutter or snips
Floral Stem Tape or Florist green tape
Fresh flowers, greenery
36





Scissors
Spray Bottle
Water
Ribbon (optional)
Pliers (optional)
Method:
1.
Measure the circumference of the wreathwearer's head using a measuring tape. Measure where
the wreath is intended to sit on the head, such as at the
forehead, similar to where a sweatband would be.
2.
Use wire cutters or snips to cut a length of 18gauge floral wire that is 3 – 5 cm longer than the head
measurement.
3.
Bend the cut wire into a circle shape. When
the ends meet, do one of two methods of attachment.
Either overlap the two ends 1 to 2 inches and use the
stem or florist tape to bind the two ends together. Or,
use pliers to form a small hook at each end that will
interlock with each other to close the wire circle.
4.
Wrap and cover the entire wire circle with the
stem or florist tape. This will help when you begin to
attach the fresh flowers to the wire.
5.
Trim your fresh-flower stems to 2 to 3 inches.
Gather clusters of 3 to 5 small flowers or leaves together,
wrapping the stems with stem or florist tape. Wrap the
individual stems of larger fresh flowers, such as roses.
Make all your wrapped flower clusters before beginning
to assemble your fresh-flower wreath.
6.
Attach the wrapped stems to the wire circle
by starting at one end, if you created hooks, or in the
back where you overlapped the wire ends. Place the
wrapped stems along the wire with the flower head
cluster facing out. Use the stem tape to wrap around
37
both the stems and wire circle. Place the next cluster
close to and overlapping the first, then wrap those stems
to the wire. Continue until the wire circle is full. As you
attach your flower clusters, angle one cluster to the
right, and the next to the left for a fuller-looking freshflower head wreath.
7.
Fill in any bare spots or holes by carefully
inserting and wrapping to the wire circle green leaves,
such as ivy; small fern pieces; individual flowers, such as
baby's breath; or delicate, small ribbon bows. You can
also tape or hot-glue long ribbon streams and a bow to
the back of your head wreath.
8.
Spritz your wreath with a water spray to
maintain freshness if you are not going to use it straight
away.
38
TRADITIONAL CRAFTS (ROMANIA)
WHAT IS IT?
Painting clay pottery
FOR HOW MANY
PEOPLE?
A group of 6
people
WHAT
MATERIALS DO
I NEED?
• Paint
brushes
(assorted sizes, your
choice)
• Spray sealer
• Patio paint
About 60 minutes
HOW CAN I DO IT?
 Wipe the outside of the clay pot with a paper towel
prior to spraying it with sealer. If the pot is dirty, you will
need to use a damp cloth to wipe the grime away. Let it dry
thoroughly before spraying it with the sealer.
 Spray the entire outside of the pot with a coat of sealer
in a well ventilated area. Always spray in a direction pointing
away from you. Keep the spray mist-like so there won't be
runs in it when it has dried. Let the sealer dry completely.

Mix the paint well and pour it onto a palette. Use a
wide brush to apply the basecoat color to the pot. Let it dry
and apply another coat for good coverage. Sometimes a thrid
39
coat is necessary if using a light color. The basic pot color
should not show through the paint. Make sure you allow the
coats to dry before proceeding.

Clean the brush in water and wipe it dry when you are
finished using it. Lay the brush flat to keep the water from
running into the ferrule. This will help retain brush integrity
and form. Empty the water container often to keep the water
clean. This way the color in the water won't contaminate the
brush and you won't be applying that tint to the pot.

Use rubber stamps as an option to apply a design to
your base coated pot. Spread a thin coat of paint onto the
stamp and press it firmly to the pot. If any ragged edges
appear after removing the rubber stamp, simply remove them
with a damp paint brush.

Another design idea is to add stripes to the pot. These
can be achieved by applying tape to the pot. Paint over the
tape using the same base color. When that is dry, apply the
color of your choice over that. This way the second color
won't seep underneath the tape. With the round tip of the
paint brush, add dots of color to the stripes or pattern design
you have chosen.

Finish the pot by spraying it again with sealer once it
has dried completely. The pot will be weather resistant and a
wonderful addition to your home.
You can use different objects such as wooden spoons,
wooden boxes, and glass objects.
You can try painting canvas in order to create decorative
objects for your home.
40
CRAFTS (POLAND)
“Wycinanki” – what is it?
It's a traditional Polish paper cutting craft, which dates
back to the19th century, when the ancient art of
Chinese paper cutting spread to Europe.
Even one person can do this. Traditionally, women from
small communities sit together in one room and spend time
making them.
Paper, scissors, most likely coloured paper.
It depends on the complexity of the work, its size and our
ideas. It can take from 20 minutes to
even all day.
How can I do it?
Take a piece of paper and fold it a
few times in half. Then you take
scissors and cut various patterns
through all the layers. When you
41
unfold your piece of paper, you'll see, that the whole
“wycinanka” has now got symmetrical pattern cutoff.
Wycinanki can be big or small, have different shapes, e.g. the
paper can be round instead of rectangular.
Traditional paper cutting in Poland includes two design
styles. "Kurpiowskie" are symmetrical, cut from a single
piece of folded coloured paper, usually depicting spruce
trees and birds. Designs from Poland's Lowicz region are
characterized by many layers of bright coloured paper cut
in a more free-form fashion.
42
TRADITIONAL
DANCE
43
TRADITIONAL DANCE - CHOTIS (SPAIN)
What is it?
The Chotis arrived in Madrid in 1850 and was first danced
at the Royal Palace on the night of November the 3rd that
year, under the name Polka Germany. Since that time,
achieved great popularity and became more pure dance of
the people of Madrid, to become a symbol of Madrid on
holiday.
How many people?
Couple (men and women)
Song (Madrid, Madrid, Madrid) the most famouse Chotis
song
She wears a long white dress with black dots. Covering
her head, she has put a white headscarf with a red
carnation on the top. She is a chulapa and each chulapa has
to wear a Manila shawl.
How can I do?
To dance Chotis is not complicated. Couples, who are
dressed in typical costumes of chulapos of Madrid, dance it
like
this:
The man with one hand under the woman and with the
other hand, inside the pocket of the vest and with both feet
together, revolves round the edge of his shoes, while the
woman dances around him. When the music indicates it, the
couple gives three steps back and three forward and
restarts turns.
44
In a well danced Chotis, he just turns in the space of a
surface of brick or tile, and always looking forward.
VIDEO ABOUT THE CHOTIS
You can learn to dance in Chotis Vistillas next to the Royal
Palace and the San Isidro Praderade during the festival of
the patron saint of Madrid.
45
DANCE (SLOVAKIA)
What is it?
Civil dances from Jóka (Jelka): clapping polka and
quadrille.
The common feature of the civil dances is that both their
melody and the structure of the choreography are defined.
The choreographic period never exceeds the limits of a
melody; it also happens that it is even shorter. On the other
hand, the number of repetitions of choreographic periods is
limited only by the common dancing mood.
We presented and taught these dances to the audience
when our folk dancers had a performance in Budapest and
on the mobility in the UK.
How did these dances develop?
Many villagers served in the nearby cities (in Bratislava,
Galanta and Trnava) and they brought home the ballroom
dances learnt there. Dance masters didn’t go to the villages
thus here these dances could spread only by teaching each
other and learning by watching each other. In spreading the
new fashion the musicians of the village played their part.
How many people?
An even number of people
How can I do?
The clapping polka: The playful dance begins with haggling
which imitates the text of the melody. The dancers turn
their face to each other in pairs and the pairs form a big
circle. First, the man holds the right hand of the lady by his
left hand and claps her hand three times by his right hand.
This is repeated by a role exchange then they alternately
clap each other’s hand once. After the “deal” each pair
46
describes an individual circle orbiting to the left during
eight beats with clockwise polka step and until the end of
the melody they return to their starting place. They re-begin
the playful haggling for the new melody.
The quadrille: Two couples standing in a circle start the
dance holding each other by side hand-clasp. They touch the
ground with half a foot in front-sideways per two beats with
alternating legs in quarter rhythm. Then releasing the side
hand-clasp, first, they turn to the left and they orbit
rightwards with their right hand making a star-shaped
hand-clasp. Turning to the right they repeat the same thing
in the opposite direction. Playing the melody repeatedly the
tempo is getting faster.
47
Here you can see these dances:
http://www.csemadok.sk/hu/143/video_galeria/53/iv_b
ertoke_napok/1/729/tapsipolka_hogy_a_csibe_hogy_polgari
_tanc/4 and
http://www.csemadok.sk/hu/143/video_galeria/53/iv_b
ertoke_napok/1/728/francia_negyes_a_pozsonyi_seta_teren
_megy_a_villamos_polgari_tanc/3
And here you have the score/music:
48
TRADITIONAL DANCE WORKSHOP - COUNTRY
DANCE (UK)
English Country Dance
What is it?
English Country Dance is a form of socialfolk dance which
originated in Renaissance England, and was popular until
the early 19th century in parts of Europe. It is the ancestor
of several other folk dances, including contra and square
dance. English country dance was revived in the early 20th
century as a part of the larger English folk revival, and is
practiced today primarily in Britain. In Britain, this form is
often referred to as "Playford", while "country dance" is
applied to a range of English folk dances.
What do I need?
*A group of people.
*Music, instruments melodeon, accordion, concertina and
drums.
*Suitable clothing, something loose and colourful.
*Flat lightweight shoes.
49
How do I perform?
Each English country dance is based around a fixed series
of movements, called figures, which are uniquely paired
with a piece of music. The choreography dictates the
interactions between partners and between couples in a set.
A set is a group of couples, most commonly two or three, but
sometimes four, that interact during a single progression.
Rarely, dances call for five or six couples in a set. Most
commonly, English country dances are long ways and
progressive. Multiple sets of couples form two long lines,
along which couples travel at the end of each iteration of
figures, meeting new couples and repeating the series of
figures many times. Alternately, dances can be finite, a set
forming an independent unit within which the series of
figures are repeated a limited number of times. These
dances are often non-progressive, each couple retaining
their original positions in decades they are performed
Active Couple - for long-ways sets with more than one
couple dancing, the active couple is the couple doing the
more complicated movement during any given portion of
the dance. For duple dances, that is every other couple, and
for triple dances, or every third couple is the active couple.
The term is applicable to triplet dances, where typically the
active couple is the only couple that is active. In the
seventeenth and eighteenth centuries, only the active
couple – the "1st couple” – initiated the action, other
couples supporting their movements and joining in as
needed, until they also took their turn as leading couples.
Arm right (or left) - couples link right (or left) arms and
move forward in a circle, returning to their starting
positions.
50
Back to back - facing another person, move forward
passing right shoulders and fall back to place passing left.
May also start by passing left and falling back right.
Balance back - a single backward.
Both hands - two dancers face each other and give hands
right to left and left to right.
Cast off - turn outward and dance outside the set.
Cast up (or down) - turn outward and dance up (or down)
outside the set.
Changes (starting right or left) - like the circular hey, but
dancers give hands as they pass (handing hey). The number
of changes is given first (e.g. two changes, three changes,
etc.).
Chassé - slipping step to right or left as directed.
Circular hey - dancers face partners or along the line and
pass right and left alternating a stated number of changes.
Usually done without hands, the circular hey may also be
done by more than two couples facing alternately and
moving in opposite directions - usually to their original
places. This name for the figure was invented by Cecil Sharp
and does not appear in sources pre-1900. Nonetheless,
some early country dances calling for heys have been
interpreted in modern times using circular heys. In early
dances, where the hey is called a "double hey", it works to
interpret this as an oval hey, like the modern circular hey
but adapted to the straight sides of a longways formation.
Clockwise - in a ring, move to one's left. In a turn single
turn to the right.
Contrary - your contrary is not your partner. In Playford's
original notation, this term meant the same thing that
Corner (or sometimes Opposite) means today.
Corner - in a two-couple set, the dancer diagonally
opposite, i.e., the first man and the second woman, first
woman and second man.
51
Counter-clockwise - the opposite of clockwise - in a ring,
move right. In a turn single, turn to the left.
Cross hands - face and give left to left and right to right.
Cross over - cross with another dancer passing right.
Cross and go below - cross as above and go outside below
one couple, ending improper.
52
TRADITIONAL DANCES (ROMANIA)
WHAT IS IT?
ALUNELUL
The
word
"Alunelul”
means
“little hazelnut”, thus
it is known as the
“little
hazelnut
dance”. The Alunelul
probably originates
from the ancient
chain dances once
associated
with
religious rituals or
celebrations.
FOR
HOW
MANY PEOPLE?
Eight or ten people
WHAT DO I NEED?
As it is common with folk dances around the world, the
Alunelul has traditional dress the dancers wear. Men wear
colorful shirts with sashes around the waist, full pants and
tall, black boots. Women wear dresses that are fitted at the
waist and often have some sort of embroidered vest or apron
over the top of the outfit. Footwear consists of smaller shoes
than those of the men, often a smaller boot.
5 minutes
53
HOW CAN I DO IT?
The dance is fairly easy to do. Dancers arrange themselves
in a circle of eight to ten, all facing the center. Arms are
placed on the shoulders of the person on either side. The
dance normally starts out with taking four or five quick
running steps to the right, followed by single or double
crossing steps and stomping action. Then the circle moves to
the left and repeats the process and the first “round” of the
dance is complete.
While there are dozens of variations of this dance, the most
popular is said to originate from the southwestern part of the
country, in the region of Oltenia. Aspects of the Alunelul can
be traced to other surrounding regions in Europe, specifically
Greece and Bulgaria, where the single and double crossing
steps and stamping patterns are common in similar dances.
Organized performances by village dance groups can be
traced to the mid-19th century. The dance entered Romanian
school curriculum in the early 20th century, with widespread
popularity
starting
after
World
War
II.
The Alunelul probably originates from the ancient chain
dances once associated with religious rituals or celebrations.
Because of Romania’s geographical location, the development
of chain dances continued throughout the Middle Ages,
uninterrupted by the newer dance traditions developing west
of the Carpathian Mountains. This continued past the
Reformation, where social dancing became limited if not nonexistent in many dominant Protestant countries, while the
chain dances—and the Alunelul by extension—continued to
spread and develop.
54
TRADITIONAL POLISH DANCES (POLAND)
Native Polish dance and music began even before
Christianity
was
officially established
in 966. Simple music
was sung and crude
instruments used.
After
the
tenth
century,
religious
music
dominated.
The most famous
hymn still sung
today
is
Bogarodzica, a hymn
to the Mother of
God,
Poland's
special protectress.
Later, court life in Krakow and the influence of the
Renaissance brought secular music to prominence.
The impact of this cultural flow was enormous. Other
countries began to imitate a style of Polish music,
characterized by fast and slow movements.
Polish dance contains elements of many cultures.
Interaction historically with Czechs, Russians, Germans,
Swedes, Bohemians, Ukrainians and Turks has produced a
rich variety of uniquely Polish dances, such as the kujawiak,
krakowiak and oberek. Americans tend to associate the
polka with true Polish culture, but those who visit Poland
never see the polka performed.
Two state-sponsored Polish dance troupes are the
Mazowsze and Slask who perform all over the world.
55
The Five National Dances of Poland
Polonaise
The Polonaise or Polonez, evolved from a dance called the
Chodzony (Walking Dance) in the 15th century. As you
might guess from the description the dancers walk around
the dance floor. It was danced even by royalty and nobility.
Kujawiak
The Kujawiak has its origins from the Kujawy region. It is
a simple slow dance with much dignity that appeared in the
19th century. It is a beautiful romantic dance.
Mazur
The Mazur’s origin is from Kujawy, but got its name from
Mazovia the regionaround Warsaw. This dance was known
in the 16th century and its rhythm was used by Chopin to
create some of his master pieces. Mazur was embellished
into an intricate swift moving elegant dance, cherished by
the social elite andeventually became the Polish National
Anthem.
Oberek
The Oberek came from the Mazowsze region of Poland. Its
name comes from the Polish verb obracać sie which means
to spin. It is the fastest of the Polish Folk Dances. Obereks
were very lively and difficult to dance.
Krakowiak
The Krakowiak origined in Krakow and the Malopolska
region back in the 16th century. The Krakowiak has a
syncopated rhythm and again was a musical base for
Chopin. It is truly known as Poland’s true national dance.
56
TRADITIONAL FOOD
57
TRADITIONAL FOOD (SPAIN)
What is?
TORTILLA ESPAÑOLA
Fortunately, the Spanish omelet or tortilla espanola, like
most Spanish cuisine does not require fancy equipment to
prepare it. For this it’s a famous tapa.
How many people?
Serves 4 for Dinner, Serves 6-8 for Appetizers
300ml olive oil; 1 medium onion, finely sliced;
600g waxy potatoes such as Jersey Royals or Charlottes,
peeled, halved and cut into thin slices (like thick crisps);
6
medium
eggs,
beaten;
salt
and
pepper;
2 tbsp extra virgin olive oil
Preparation Time: 10 mins. Cooking Time: 20-25 mins.
How can I do?
1. Heat the olive oil in a large frying pan over a medium
flame, add the onion and cook gently for 20 minutes until
soft and brown. Rinse the potato slices under cold water
and pat dry. Add the potato to the pan – if it seems
overcrowded, you can cook them in a couple of batches.
Cook until the vegetables are tender and on the point of
falling apart, then drain well, keeping the oil for your next
omelette.
2. Add the potato and onion to the beaten eggs, season
well, and leave to stand for 10 minutes, or longer if you
prefer a stronger onion flavour.
58
3. Put a smaller pan (about 22cm) over a medium heat and
add the extra virgin olive oil. Turn to coat, and then, when
hot, add the mixture – it should almost fill the pan. Cook
until it comes away from the edge of the pan, and looks
about two thirds set.
4. Place a plate, or a saucepan lid, over the pan, and invert
it so the tortilla flips on to the plate. Slide it back in, tipping
any liquid egg in with it. Cook until it is springy to the touch:
be careful not to overcook it: it should still be moist in the
middle, even if you prefer it cooked right through.
Season it with salt and sprinkle with lemon juice to taste
(optional). Some of the many additions to the base
ingredients for what is still called a Spanish omelette
include green peppers, chorizo, zucchini (courgette),
eggplant (aubergine), mushrooms, and diced ham.
Process step by step:
59
DISH (SLOVAKIA)
What is it?
Goulash
Even
though
Goulash
is
originally
a
Hungarian meal since we are from
Hungarian
minority, it is one
of our traditional
dishes - it is very
popular in Slovakia
as well. Slovaks often cook it on picnics and family meetings
in a big cauldron on open fire while drinking beers and
enjoying the time together. But it can be cooked at home as
well, of course. Mostly it is served with bread.
In the past there was hardly a vintage celebration after the
harvest without mutton or beef goulash on the table which
was prepared by the head of the hosting family on the
vineyard. For this reason, during the vintage period we
organized a short cooking class. Young and old together
observed and learnt how to prepare a traditional beef
goulash to enrich their cooking skills.
60
How many people?
For 4 people

Beef – 700-800 g

Potatoes – 300-400 g

Onion – 2 bigger pieces

Garlic – 1 clove

Tomato – 1 medium piece

Oil

Half green pepper

Red pepper, ground black pepper, ground
caraway seeds, marjoram, salt
How long does it take to prepare?
4 hours
How can I do?
1. Firstly, cut the
beef into small pieces.
2. Put oil in a
bigger pot and first
brown the onion cut
into small pieces in it.
3. Then put the
red pepper on the
onion and after the
beef.
4. Add some water.
5. Add salt, black pepper, caraway, marjoram and garlic
(mashed clove) according to your taste.
6. Cover the pot and let it simmer until beef is getting
soft (1-2 hours).
61
7. Cut peeled potatoes, pepper and tomatoes into small
cubes and add it to the goulash when the meat is 90% ready.
Simmer it until potatoes get soft (approximately 1 hour).
Enjoy your meal!
If you would like to try other traditional dishes from
Slovakia, some real Slovak traditional meals, check this
website for recipes: http://www.slovak-republic.org/food/
62
TRADITIONAL FOOD WORKSHOP - CORNISH
PASTY (UK)
What is a Cornish
pasty?
The pasty evolved for
Cornish tin miners, who,
unable to return to the
surface at lunchtime had
a hearty, easy to hold
and eat, lunch dish. With
their hands often dirty
from a mornings work,
the pasty could be held
by the thick pastry crust without contaminating the
contents.
The Cornish pasty is great for a lunch box but also makes a
great main course dish when served with fresh vegetables.
How many people?
Each serves one for dinner,
Serves four as an appetiser,
For the Pastry
 4 oz/110g all purpose/plain flour
 Pinch of salt
 2oz/ 55g butter, cubed
 2-3 tbsp cold water
For the Filling
 ¼ cup/50g onion, finely chopped
 ½ cup /110g potato, cut into 1/4 inch /5 mm dice
63




½ cup /110g , cut swede into 1/4 inch /5 mm dice
4oz /110g rump steak, cut into small cubes
Salt and pepper
1 egg, lightly beaten
Prep Time: 25 minutes
Cook Time: 45 minutes
Total Time: 1 hour, 10 minutes
How to make the pasty?
Makes 2 pasties
Pre-heat oven to 425 °F /220 °C/ Gas 7!
First make the shortcrust pastry.
 Place the flour, butter and salt into a large clean
bowl.
 Rub the butter into the flour with your fingertips
until the mixture resembles fine breadcrumbs, working
as quickly as possible to prevent the dough becoming
warm.
 Add the water to the mixture and using a cold knife
stir until the dough binds together; add more cold water
a teaspoon at a time if the mixture is too dry.
 Wrap the dough in Saran wrap/Clingfilm and chill for
a minimum of 15 minutes, up to 30 minutes.
The dough can also be made in a food processor by
mixing the flour, butter and salt in the bowl of the
processor on a pulse setting. When the mixture
resembles breadcrumbs, add the water, slowly, through
the funnel until the dough comes together in a ball. Wrap
in Saran wrap/ Clingfilm and chill as above.
64
Divide the pastry into 4 and roll each piece into
rounds the size of a tea plate (approx 6 - 7 inches).
 Place the onion, potato, swede and meat into a large
mixing bowl and mix thoroughly. Season well with salt
and pepper.
 Divide the meat mixture between each pastry circle
and place to one side of the circle. Brush the edges with a
little beaten egg.
 Fold the circle in half over the filling so the two edges
meet. Crimp the two edges together to create a tight seal.
Brush each pasty all over with the remaining beaten egg.
 Place the pasties on a greased baking sheet and bake
for 45 minutes until golden brown.
 Serve hot or cold.

What variations can I do?
The variations you can have with a Cornish pasty are: you
can fill it with whatever you like, i.e. sweet or savoury. The
pasty can be served either hot or cold.
65
TRADITIONAL DISHES (ROMANIA)
WHAT IS IT?
Sarmale (force meat rolls in cabbage leaves)
FOR HOW MANY PEOPLE?
Original recipe makes 5 servings
WHAT MATERIALS DO I NEED?
 3 and 1/4 cups long grain rice, rinsed
 2 pounds pork loin roast, finely diced
 1 pound carrots, chopped
 1 pound onions, chopped
 1 pinch salt to taste
 3 tablespoons tomato paste
 1/2 teaspoon dried dill weed
 1/4 cup sunflower seed oil
 6 ounces parsley roots, chopped
 1 medium head cabbage
Preparation
time:
20
minutes
Cooking
time:
90
minutes
66
HOW CAN I DO IT?
1. Place rice in a medium bowl, and pour boiling water
over it. Let soak for 15 minutes, then drain.
2. Heat 2 tablespoons of oil in a large skillet over
medium-high heat. Add the carrots, parsley roots, onions and
tomato paste. Cook and stir until the vegetables are tender.
Transfer the vegetables to the bowl with the rice.
3. Heat 2 more tablespoons of oil in the same skillet over
medium-high heat. Add the pork, and cook for about 2
minutes, just until browned on the outside. Transfer to the
bowl with the rice and vegetables; season with dill and black
pepper. Stir until everything is well blended. Set the mixture
aside to cool.
4. Carefully remove the leaves from the head of cabbage,
and place them in a large pot with about 2 inches of water.
Bring to a boil, and cook for 5 to 10 minutes, until tender and
flexible.
5. Remove the cabbage leaves from the pot, but leave
enough in the bottom to cover. On each of the remaining
leaves, place about 2 tablespoons of the pork and rice mixture
in the center, and wrap the leaf around to cover. Place the
stuffed cabbage leaves into the pot.
6. When the pot is full, place a few boiled cabbage leaves
over the top. Pour boiling water into the pot to cover the
cabbage rolls, and place over medium-low heat. Cover, and
simmer for about 90 minutes, until the rice is tender.
Instead of cabbage some people use vine leaves. Another
variation would be to replace the pork meat with rice and
mushrooms.
Sarmale can be served with cream and polenta and are
usually prepared for the Christmas lunch.
67
DISH (POLAND)
“Pierogi” – what is it?
These can be described as parcels of unleavened dough
with a different filling, e.g. potatoes.
It depends on the amount
of ingredients, but usually
if you do it by yourself and
not buy in the shop then
you do it much more than
for just 2 people, or it will
just last longer.
Dough:
15 3/4 oz. (3 1/2 cups) all-purpose flour; more for dusting
3 large eggs
2 tbs. sour cream
1 c. water; more as needed
Butter or vegetable oil
Salt and freshly ground black pepper to taste
Potato Filling:
3 medium baking potatoes (about 1 1/2 lb.), peeled and
cut in 1-inch slices
2 tbs. unsalted butter; more as needed
1 tbs. vegetable oil
1 small onion, chopped
1 clove garlic, finely minced
1/2 tsp. dried thyme
2 cups finely shredded white cabbage (about 1/4 very
small cabbage)
68
2 tbs. freshly grated Parmesan cheese
1 tsp. chopped fresh flat-leaf parsley
It takes about 1 hour but it depends on the quantity.
How can I do it?
In a large bowl, combine the flour, eggs, sour cream, and
1/2 cup of water. Stir, beating the eggs as you mix.
Gradually add the rest of the water, stirring until the
mixture begins to come together.
Turn the dough onto a well-floured surface. Knead gently
with your fingertips, lifting the dough off the counter and
dropping it down (the dropping technique is key for delicate
and pliable dough), taking care not to overwork it. Knead
until the ingredients are blended and the dough is smooth
on the outside and slightly sticky when poked, 2 to 5 min.
Gather in a ball, wrap in plastic, and let rest for at least 20
min. while you make the filling.
While you fill the pierogis, put 5 qt. water on to boil. Drop
the pierogis in batches into the boiling water, stirring
occasionally.
When they float to the top, cook for another 2 to 4 min.;
bite into one to check that there's no chalky line. Drain in a
colander of fish them out with a spider and put them in a
bowl. Sauté as described below or simply a dollop of butter
and salt and pepper; jostle the bowl to toss.
Filling: Put the potatoes in a pot with just enough cold
salted water to cover them and boil until soft, 15 to 20 min.
Meanwhile, melt the butter with the oil in a large sauté pan
over medium heat.
Add the onion, garlic, and thyme. Cook until the onions are
translucent, about 2 min., add the cabbage and cook, stirring
occasionally, until the cabbage starts to soften and brown at
69
the edges, about 8 min. Lower the heat and continue
cooking until the cabbage and onion are nicely browned and
caramelized, about 20minutes. Season it with salt and
pepper. You may need to add 1 tbs. or more of butter or oil,
as the mixture will absorb quite a bit off at. Set aside to cool.
When the potatoes are tender, drain them in a colander
and press lightly with a dry kitchen towel to dry them
thoroughly. Return the potatoes to their hot pot and shake
them dry. Remove the pot from the heat; add the cooled
cabbage mixture, the cheese, and the parsley. Mash the
ingredients until they're well blended and there are no
more potato lumps; you may want to use a stiff whisk.
Season it again with salt and pepper. Set aside to cool
while you roll out the pierogi dough.
We eat pierogi with meat, cabbage and mushrooms,
cottage cheese or with fruit – strawberries, blueberries.
Any other recommendations:
Sweet pierogi can be served with cream and sugar and
those with other fillings usually are served with some fried
onion.
70
TRADITIONAL
SPORT
71
TRADITIONAL SPORT (SPAIN)
What is it?
CALICHE
Caliche is a sport practiced by village elders on special
occasions, such as celebrations.
It is very similar to boules, but with significant variations
that make it unique in the eyes of those who practice it. The
player must throw the projectile with the aim of
overthrowing the caliche, making the currency fall to the
ground as close to the projectile.
How many people?
In this game you must involve less than 6 players; in their
current practice 2 couples compete.
Caliche is a piece of wood into a cylinder of about 25cm,
which at the top carries a coin. The projectile is used as a
heavy metal object, plane round about 3mm thick.
It is played on a flat road about 35m and 6m wide.
Players are placed a distance of 40 m and 20 m high.
1-2 hours
How can I do?
They usually make groups of two; each player has a
projectile, which is usually a metal disc.
Ii is placed on the ground stick call “caliche” about 20cm
vertically and coins of all participants are placed on the
caliche.
72
For ashotto be considered valid, the coin, falling caliche,
should be closer of the projectile thrown than the caliche.
Otherwise, when projectile that we throw is closer to the
Caliche than the falling coin, the play is called a "Ganga".
For a"Ganga" could be considered valid, the missing players
for throwing have two options: throw another projectile
with the intention of pulling over to the currency that
toppled caliche, or throw the projectileagainst the Caliche it
remains to be further from the coin which initially
launching the projectile. When the player practices of these
two releases are said toplay "arrimar" or"arrastrar".
If after completing these two moves do not get anything, the
caliche and currency are put back in the starting position for
the
last
attempt.
The team that throw the first have four opportunities to
break down the caliche and make "Ganga". If successful, the
team throwing below should try to do"Gran Válida" to take
the point.
There are other forms of caliche that more than variants
are games that belong to the same family, including:
- The tuka or toka a modality Basque-Navarre.
- The tuta practiced in Castilla y León.
- The Tarusa practiced in Andalusia and Extremadura.
- The chito practiced in Madrid and Guadalajara.
All of them have very similar features and even identical.
73
74
75
GAME (SLOVAKIA)
What is it?
A folk children’s game: Rabbits, out of the bush!
How many people?
An odd number of players is better (but it can be played
with even number of players as well)
Nothing
As long, as the players want
How can I do?
The children form small circles (= bushes) of three people
with hand-clasp. There is a rabbit in each bush and one
more without it. The“homeless” rabbit stops in the middle
of the playground, and he cries out: “Rabbits, out of the
bush!” Bunnies run out of the bushes and they try to get
another one. The homeless bunny also creeps in a bush.
Who couldn’t find a bush for himself, stops in the center and
shouts again: “Rabbits, out of the bush!”
76
What is it?
A folk children’s game: Catch the stick!
A stick
How can I do?
The players stand in a
semicircle. They are
numbered sequentially.
One of them holds an
ordinary stick in his
hand.
Everyone
is
watching, because at any
given
moment he/she
releases the stick from his hand, and at the same time he
says a number. The player wearing this number needs
to catch the stick to avoid it falling to the ground. Then this
player (the catcher) tells a number, and so on until all the
players take their turn. Anyone who makes a mistake,
i.e. he/she doesn't catch the stick in time or he/she jumps to
do it with a wrong number, is penalized. Two penalty points
preclude the player.
77
TRADITIONAL SPORT WORKSHOP - GIG
ROWING (UK)
GIG ROWING
What is it?
The Cornish pilot gig is a six-oared rowing boat, built of
Cornish narrow leaf elm, 32 feet (9.8 m) long with a beam of
four feet ten
inches.
It
is
recognized as
one of the first
shore-based
lifeboats
that
went to vessels
in distress, with
recorded
rescues going
back as far as the late 17th century.
The original purpose of the Cornish pilot gig was as a
general work boat, and the craft is used for taking pilots out
to incoming vessels off the Atlantic. In those days the race
would be the first gig to get their pilot on board a vessel
(often those about to run aground on rocks) got the job, and
hence the payment.
What do I need?
A Cornish Pilot Gig.
Water/river of the Sea
Appropriate
clothes,
shoes (will get wet) and
safety jackets
Safety instructions
78
How many people?
6 in the Gig at a time
How can I do it?
Introduce to group to the Gig – the correct names for the
parts of the boat.
Safety instructions regarding safety jacket and handling
the Gig (It is heavy!)
There are some basic points about being in a gig and being
on the water that all new rowers need to be aware of. Some
newcomers to gig rowing will have different knowledge of
aspects of various types of rowing and being on the water.
Here is some information to provide everyone with the
basics to being in a gig:
The Cornish pilot gig is a six-oared rowing boat built of
Cornish narrow leaf elm, 32 feet (9.8 m) long with a beam of
four feet ten inches. The coxswain (cox) sits at the stern
(back) end and steers the gig by holding a rope in each hand
- the ropes being attached to the rudder.
There are six rowers – each rowing one oar. So there are
three oars in the water on both the port (left) side of the gig,
and the starboard (right) side of the gig. The oars that are
over the port side are called BOW oars – those over the
starboard side are STROKE oars.
Each rower has their own seat and sits at the furthest
distance away from the side that their oar goes over.
The oars are placed between two wooden sticks (PINS) on
the edge (GUNWALE) of the gig, and rest on a piece of
plastic (MARZIPAN) so that the gunwale is not damaged.
The rower’s feet rest on a long piece of wood
(STRETCHER) – the position of which can be altered as
necessary.
The oars are numbered 1-6. Oar 6 is called the STROKE
oar (as well as it being an oar that goes over the stroke
79
side!) – it is this oar that sets the timing of the oars – it is the
one that all the other oars have to follow (i.e. all oars should
enter and exit the water at the same time!)
The actual process of rowing would be explained in more
detail in further teaching sessions.
There are some basic commands that the cox (person
in charge of the Gig – not rowing) will use that all
rowers should be aware of:
“HOLD WATER” – keep or put the blade of your oar in the
water and hold it firmly at 90 ° so that the boat slows down
and stops moving – this is in fact an EMERGENCY STOP!
Beware that if the boat is moving at speed the handle of
the oar can be difficult to keep in position, and may come
towards your chest area with force.
“FORWARD TO ROW” – the rower leans forward with
straight arms and back, head up, knees bent, the position of
the handle of the oar being directly above the feet – no
further – in the position ready to drop their oar into the
water.
“ROW” – the rower puts the blade in the water and pulls a
stroke- following the timing of the 6 oar.
“EASY ALL” or “EASY OAR” – stop rowing, and hold your
blade out of the water.
“BOW SIDE – UP ONE” – all the oars that are out on the
bow side are required to pull one stroke together through
the water, hopefully at the same time!
“STROKE SIDE – DIG IN” – all oars on stroke side put their
blade in the water at 90°, whilst sitting upright – in order to
keep that side of the gig in position.
“BACK WATER” – this command is to move the gig
backwards – so you in fact reverse the action of going
forward, but do not alter the position of the face of the
blade.(i.e. do not turn the oar around).
80
“LIFT YOUR OARS” – this command is to get all oars in a
vertical position – the end of the handle resting on the floor
boards, between your legs, with the blade straight up in the
air. You will need to reach your arms up and hold onto the
shaft of the oar quite high up, to keep it steady.
The cox will instruct you by your oar number – so
“number one oar – up one “ will only require only that oar to
pull one stroke forwards. The cox will address all rowers by
the number of the oar that they are rowing – this is not
because you are new, or he can’t remember your name! It is
to enable commands to be given quickly and directly to the
correct rower – so do not take offence!
BASIC SEAMANSHIP
The cox is normally in command of the boat (there are
some exceptions) - so you need to listen to what is being
said at all times. If you cannot hear please let the cox know.
The cox is not only teaching you, but also steering the gig
and ensuring that it does not collide with any obstacles, nor
does it go aground. Hen coming alongside the pontoon or
another boat – the cox will command who is to move.
Life jackets are worn by all those under 16 years. If you
cannot swim you should wear a life jacket, and inform the
cox.
Be careful when getting in and out – ensure that the
rowers are not all on one side of the boat – and that you
make everyone aware of your intentions if you are moving
around in the gig, so that it doesn’t become unbalanced.
81
TRADITIONAL SPORTS AND GAMES (ROMANIA)
WHAT IS IT?
Oina
(Oina
is
considered to be the
national
sport
in
Romania. Oina is a
Romanian traditional
ball sport, similar in
many ways to baseball.)
FOR HOW MANY
PEOPLE?
Oina teams have 11
players.
WHAT
MATERIALS DO I
NEED?
The stick is used by
the
squad
which
“battles”, when hitting
the ball during the game and at the choice of land by the
masters. It must be made of a hardwood, in the shape of a
truncated cone.
Oina ball - a spherical ball made of leather, filled
with horse, pig, or bovine hair is used in oină. The ball is
around 8 cm in diameter and 140 grams in senior games
and around 7 cm in diameter and 100 grams in U-18 games.
Players’ equipment consists of: shirt, pants with
suspender, shoes with spikes or sports shoes, leggings.
82
A game takes only 30 minutes
HOW CAN I DO IT?
There are two teams of 11 players, one attacking side or "at
bat” and one defending side or "at catch".
The roles switch at half time.
The defending players are placed in the following positions:
•
3 midfielders, 3 advance side players, 3 return
side players
•
1 back player that is free to move within the
back zone
•
1 forward player that is free to move within the
batting zone.
The attacking players change roles as the game progresses.
The roles are chronologically ordered this way:
•
waiting one's turn
•
serving the ball
•
batting
•
waiting to enter the game (make a run)
•
running the advance corridor
•
staying in the back zone
•
running the return corridor
Each team has a captain. The midfielder 2 is usually used as
captain because he can throw the ball at an attacking player
in any game position.
Each team has a maximum of 5 substitutes available.
The team at bat is selected by a ritual where the players
have to grab the bat, thrown by the referee, and the last one
to be able to place at least 4 fingers on the bat wins. The game
begins with the team at bat, with one of the players throwing
the ball while another player of the same team has to hit it
with a wooden bat and send it as far as he can towards the
adversary field. After that, if the ball is caught by the
83
adversaries, the player can run (if he wishes, or if he is forced
to run by the referee) the advance and return corridors/lanes,
without being hit by the defenders. If he stops the ball with his
palm, it is not considered a hit. The player is not allowed to
catch the ball, and he must release it immediately. If the
player doing a run is hit he goes out of field and into the back
zone, or he finishes his tasks, depending on which lane he is
running.
Scoring:
At catch players score 2 points for each player hit with a
ball, unless the ball touches the palm or the back of the palm.
At bat players score by batting beyond certain lines, like
this:
• the ball crosses the 65m line in the air and doesn't go out
of bounds (doesn't cross the lateral lines), whether or not the
defense touches the ball in the air - 2 points
• the ball falls in the back zone - 2 points
• the ball is touched in the air by the defense, and goes out
of bounds in the air from within the back zone - 2 points
• the ball goes out of bounds in the air from within the back
zone without being touched by the defense - 1 point
• the ball crosses the 60m line (the back line) in the air and
is caught by the defense - 1 point
• the ball crosses the threequarters line in the air and falls
in the threequarters area - 1 point
• the ball goes out of bounds in the air from within the
threequarters area - 1 point
• the ball is diverted out of bounds in the air from within
the threequartees area by the defense - 1 point
• the ball falls on the threequarters area of the back line - 1
point
• the ball is diverted from within the threequarters area in
front of the threequarters line by the defense and is not
subsequently caught in the air - 1 point
84
It resembles baseball in many ways.
If you are interested in this sport you can enroll in one of the
competions organised in Romania.
All competitions are organized by the governing body, the
Romanian Oină Federation ("Federaţia Română de Oină" FRO).
The main competitions are:
•
The National Championship
•
The Romanian Cup
•
The Romanian Supercup
•
The National Junior Championship.
85
SPORTS AND GAMES (POLAND)
“Berek” – What is it?
It's a type of game, mostly for kids. It uses your skills to
run, react fast and avoid the other participants.
Usually it's for 4-8 people, sometimes even more, but to
play it with more people you need much more space.
Nothing, you should only find a large place to run safely,
usually it's just your neighbourhood, with trees and stuff.
You can play forever! The game never ends, there is no
finish line. Kids often play it during their P.E lessons. It's
used as a warm up and kids play it for about 5-10 minutes.
How can I do it?
With a group of people you have to stay in a spread group.
There is always one Berek – a person who is chasing the
others. When you shout “Start” everyone starts running
away from “Berek”. If Berek touches anyone then the
touchedone becomes Berek and he is the one who chases
everyone else. This game can really last forever!
There are plenty of variations of this game which can
make it more interesting or difficult. Sometimes there is a
rule, thatif you are running away from the Berek and you sit
down then he can't touch you. Then there is a maximum
time that youcan sit, after this time you stand up and start
running again.
86
THOUGHTS
FROM DIFFERENT COUNTRIES
87
THOUGHTS FROM DIFFERENT COUNTRIES
Traditional dishes: It was really exciting to try the cuisine
of different countries and get to know the eating habits of
different nations. It's wonderful to have some delicacies'
recipes in this book!
Traditional games and sports: It is always nice to learn
and see different traditional games, that you think that are
from your country but the reality is that in other countries
it’s the same but with other name.
Traditional handicraft: Handcrafting has its roots in
ancient civilizations, which means that the most types of
handicrafts are well known in every country. The
motives are specific but the traditional handicraft products
are very similar.
Folk costumes: The traditional national costumes of a
country tell us a lot about what that nation values, as well as
its culture, geographic ties, historical influences and more.
Dressing up in folk costumes is popular for festivals,
holidays, saints' days and other days when the culture of a
particular region is celebrated.
Folk dances: It’s our tradition, it’s what the grandparents
teach us and we know and learn. We dance for laughter, we
dance for tears, we dance for madness, we dance for fears,
we dance for hopes, we dance for screams, we are the
dancers, we create the dreams.
88
PARTNERS
ASOCIACION COMPASS (SPAIN)
CSEMADOK ZÁKLADNÁ ORGANIZÁCIA
BRUTY (SLOVAKIA)
KC ENGLISH NOTE
(ENGLAND)
COLEGIUL NATIONAL STEFAN
VELOVAN (ROMANIA)
AKADEMICKIE CENTRUM INFORMACJI I EDUKACJI
EUROPEJSKIEJ
(POLAND)
89
More information about
the project you can find
in our web-blog:
www.reprotradition.wordpress.com
90
This publication was prepared by the partners of the LLP Grundtvig
Learning Partnership (years 2011-2013) during the project activities.
Any further information about the project is available on our
webpage: www.reprotradition.wordpress.com
This project has been funded with
support
from
Commission
the
under
European
the
Lifelong
Learning Programme.
This publication reflects the views
only
of
the
Commission
author,
cannot
and
be
the
held
responsible for any use which may
be
made
of
contained therein
91
the
information

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Transcription

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