The Folk Dance Corner, from Miami Valley Dance News, 1977-1984

The Folk Dance Corner, from Miami Valley Dance News, 1977-1984

FOLK DANCING
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The f o l k dance a s w e know i t i s mostly p e a s a n t d a n c e s , a s opposed t o
c o u r t , t h e a t r i c a l o r ballroom dances, although it h a s absorbed some a s p e c t s
of t h e o t h e r t y p e s of dancing. Folk dancing began i n t h i s country when p e r Fqns of many n a t i o n a l i t i e s came h e r e b r i n g i n g w i t h them t h e i r c o u n t r i e s 1
. aces.
S i n c e most of t h e immigrants t o t h e U. S. came from Europe, most American f o l k dance has European r o o t s . Folk dancing was a n a t u r a l , spontaneous
Children l e a r n e d by watching and i m i t a t i n g t h e
e x p r e s s i o n by t h e people.
a d u l t s , t h e r e b y m a i n t a i n i n g t r a d i t i o n . Some a d d i t i o n a l s t e p s might have been
i n v e n t e d by someone, b u t t h e b a s i c p a t t e r n of t r a d i t i o n was n o t changed.
I n a d d i t i o n t o dances being handed down from g e n e r a t i o n t o g e n e r a t i o n i n
p e a s a n t v i l l a g e s , t h e r e a r e o t h e r s o u r c e s of f o l k dances being done today.
Some f o l k dance l e a d e r s t a k e movements from s e v e r a l v i l l a g e s , p u t them
t o g e t h e r and choreograph dances i n c o r p o r a t i n g a l l t h e movements. They a r e
t h e n new dances b u t n o t c h a r a c t e r i s t i c of any p a r t i c u l a r v i l l a g e .
Choreographed dances a r e a l s o made up by u s i n g s t e p s t h a t have been handed down b u t p u t i n d i f f e r e n t formations o r combinations t o become new dances
--folk dances because t h e y use t h e same s t y l i n g and same movements a s p e a s a n t
dances b u t , a t t h e same time, f r e s h , new dances.
An i n s t r u c t o r might a l s o r e v i v e o l d , almost f o r g o t t e n dances.
He would
use f o l k movements he knows i n a way he t h i n k s t h e dances would be done by
the villagers.
Music p l a y s a p a r t i n t h e c r e a t i n g o f f o l k dances, t o o . Sometimes music
s o w e l l l i k e d t h a t spontaneous dances a r e made up t o t h e a l r e a d y p o p u l a r
melody.
Many of t h e dances passed down from g e n e r a t i o n t o g e n e r a t i o n w e r e n o t
w r i t t e n down. Most of t h e ones done now a r e w r i t t e n down f o r American d a n c e r s
t o have something t o which t o r e f e r .
Folk dances o r i g i n a l l y had n a t i o n a l o r r e g i o n a l costumes. However, t h e
American f o l k dancer, who does dances from many d i f f e r e n t c o u n t r i e s i n t h e
c o u r s e of an evening, cannot wear t h e n a t i o n a l costume o f each dance, and i t
would n o t do t o wear a costume from one country and perform a dance from ano t h e r one. To avoid problems of dress,. t h e r e a r e two t h i n g s American f o l k
d a n c e r s can do; they can e i t h e r dance i n everyday c l o t h e s o r adopt a g e n e r a l
peasant-type costume.
F o r such a peasant-type costume t h e women might wear b r i g h t - c o l o r e d , f u l l
s k i r t s , peasant b l o u s e s and s o f t shoes w i t h h e e l s t h a t won't come o f f when
t h e y stamp t h e i r f e e t . The men .might wear comfortable p a n t s and s h i r t s i n
b r i g h t c o l o r s w i t h s a s h e s i n s t e a d o f b e l t s . This costume i s n o t from any p a r t i c u l a r country b u t i s a g e n e r a l , f o l k s y t y p e one.
There a r e many f o l k dance c l u b s i n t h i s c o u n t r y , most of which a r e i n
t h e e a s t e r n and western a r e a s . Although they a r e fewer i n number, t h e r e a r e
f o l k dance clubs i n t h e Midwest, t o o . One such c l u b i s t h e M i a m i V a l l e y Folk
Dancers, a member of o u r Council. I n t h e n e x t i s s u e o u r l o c a l f o l k dance
g a n i z a t i o n w i l l be s p o t l i g h t e d .
THE FOLK DANCE
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CORNER
SO YOU
TO TEACH FOLK DANCE?
- WANT
-I t you are serious about teaching f o l k dance, study.
i s a technique t h a t I use.
There are many ways, but here
1. Know the dance well enough t o lead i t , o r call i t .
2. Study detai led w r i t t e n i n s t r u c t i o n s , e i t h e r yours o r someone e l s e ' s .
3. Compare written i n s t r u c t i o n s from various sources and s e e how other people
describe the dance. Glean from these instructions any background information
t h a t would make o t h e r people i n t e r e s t e d in the dance.
4. In private, p r a c t i c e the dance u t i l i z i n g the written instructions.
5. Figure out what cues t o use f o r each type of step.
6. On a 3x5 card, w r i t e down the cues and a much condensed description of each step.
7. Dance the dance using your cues t o cue yourself.
8. Pick a sympathetic individual and teach him/her the dance even i f they already
know i t . (Husbands/Wives are good suckers f o r t h i s phase).
9. Be critiqued by them ( i f you can stand t o be c r i t i c i z e d by anyone). Otherwise,
t h e i r unspoken reaction should give you clues about your, performance.
10. I f a sympathetic individual does not e x i s t , use a mirror.
11. I f needed, rewrite your cues on another 3x5 card.
12. Teach the dance t o the intended group using your cue card.
13. I f needed, rewrite your 3x5 card using feedback from t h e group. If
l o t of
questions a r e asked about the same part of the dance, e i t h e r t h i s is,,difficult
p a r t or your instructions/cues were not understood very well. Rethink t h i s
p a r t of the dance. Change something i f necessary. (Cues/Instructions)
14. I f some part of t h e dance was d i f f i c u l t f o r you, chances a r e , i t will be d i f f i c u l t f o r o t h e r people. Concentrate your e f f o r t on t h i s part.
15. In general, i t i s b e t t e r t o demonstrate rather than t a l k your way through a
dance. A Combination of the two is* q u i t e powerful.
16. I f there are p a r t s of the dance t h a t require the student; backs t o you, stop
a t t h a t point and g e t in f r o n t of them s o t h a t they can see what you a r e doing.
Couple dances a r e prone t o t h i s type of p i t f a l l . I have gotten more s t i f f
necks trying t o t u r n around t o see what was going on t h a t I disliked the dance
f o r a long time. (Until someone e l s e taught i t properly.) I f possible, think
of some way t o teach the dance individually before teaching i t in the c o r r e c t
formation.
17. In general, i f you l i k e the dance, you will do a b e t t e r job of teaching i t .
18. Keep the 3x5 cards f o r future use.
19. You should concern yourself with the s t y l e of the dance, demonstrate i t corr e c t l y , and c o r r e c t any wrong s t y l e s as immediately as you see them. B u t
don't browbeat your students. We a l l make mistakes.
HERE IS AN EXAMPLE OF MY 3x5 CARD FOR CUES FOR TREI PAZESTE.
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TREI PAZESTE BATRINESC
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1.
2.
3.
4.
5.
6.
7.
8.
(Romanian : T -
Introduction (No dancing) 8 - 4 c t measures
Step, kick, s t e p , s l a p ( 4 x)
Slap, s l a p , step-behind-step ( 4 x )
1-2-3-hold ( 2 X )
stamp-2-3-4 (Right f o o t ) ( 3 x)
Cross r i g h t , l e f t , cross r i g h t , l e f t .
Stamp-back-back ( R t . ) , stamp-back-leap-sl ap.
7 ' s t o l e f t , 7 ' s t o r i g h t , 7 ' s t o l e f t , kick, kick,
step, slap
1
MIAMI VALLEY FOLK DANCXRS
The only folk-dance o r g a n i z a t i o n i n o u r Council, t h e M i a m i Valley Folk
Dancers, was o r g a n i z e d some 2 5 y e a r s ago by Michael Solomon, who was t h e n
w i t h t h e Bureau of R e c r e a t i o n i n Dayton. A f t e r a few y e a r s under h i s l e a d e r s h i p , t h e c l u b was t h e n led by Grace Wolff f o r about 1 5 y e a r s . S i n c e t h a t
t i m e , t h e c l u b h a s been a c o o p e r a t i v e ; t h a t i s , t h e r e i s no d e s i g n a t e d l e a d e r
--each member t a k e s h i s t u r n i n l e a d i n g t h e c l u b .
Business m a t t e r s of t h e c l u b , whose members range i n age from 1 4 t o 8 3
y e a r s , a s e conducted by t h e c l u b c o u n c i l , c o n s i s t i n g of five persons e l e c t e d
from t h e membership. The c o u n c i l a p p o i n t s t h e program c o m i t t e e .
The program committee i s r e s p o n s i b l e f o r p r o v i d i n g one hour of i n s t r u c t i o n f o r new d a n c e r s each week, a s w e l l a s a one-half hour i n s t r u c t i o n p e r i o d
on a more-advanced l e v e l f o r t h e m e m b e r s .
The c o m i t t e e a l s o a s s i g n s members
t o p l a n and d i r e c t t h e weekly program s e s s i o n s . Another r e s p o n s i b i l i t y o f
t h i s committee i s t o p r o v i d e t h e e t h n i c Sunday programs.
On t h e second Sunday of each month a p a r t i c u l a r n a t i o n a l i t y o r e t h n i c
group i s d e s i g n a t e d , and dances from -that group a r e t a u g h t and danced.. The
m e m b e r s a l s o e n j o y a covered-dish d i n n e r of e t h n i c a l l y r e l a t e d foods.
The c l u b i s comprised of members and a s s o c i a t e members. An a s s o c i a t e
member can become a member by a t t e n d i n g 20 i n s t r u c t i o n s e s s i o n s . The c l u b
does n o t o f f e r s p e c i f i c l e s s o n c l a s s e s , a l t h o u g h it d i d a t one time, b u t h a s a
weekly b e g i n n e r s ' s e s s i o n p r i o r t o t h e c l u b ' s program. Anyone may begin w i t h
any s e s s i o n and need n o t a t t e n d 20 c o n s e c u t i v e weeks. The c o s t i s 50 c e n t s
p e r person p e r s e s s i o n , and s i n g l e s a s w e l l a s couples a r e welcome, f o r many
of t h e dances do n o t r e q u i r e p a r t n e r s . The c l u b does n o t demand t h e s t u d e n t s
become p r o f i c i e n t f o l k d a n c e r s , s i n c e t h e r e a r e s o many d i f f e r e n t s t y l e s i n
f o l k dancing. I t a s k s only t h a t they have an i n t r o d u c t i o n t o f o l k dance, s o
t h e y can e n j oy t h e m e l v e s
.
During t h e y e a r , t h e c l u b sponsors weekend workshops, f e a t u r i n g n a t i o n ally-known i n s t r u c t o r s who t e a c h dances of t h e i r s p e c i a l t i e s . The workshops
a t t r a c t folk-dance groups from o t h e r a r e a s .
The c l u b a l s o . conducts programs and demonstrations t o promote f o l k dani n g i n t h e community. During t h e d e m o n s t r a t i o n s , t h e performers wear a
f o l k s y - t y p e costume, b u t t h e r e a r e no s p e c i a l c l o t h e s worn f o r t h e weekly
dances.
The f o l k d a n c e r s meet e v e r y Thursday from 7 t o 11 a t t h e Michael Solomon P a v i l i o n f o r a f u l l evening of f o l k dancing. Each evening i s organized
i n t h e f o l l o w i n g manner:
7:OO
8:OO
9:OO
9:30
1O:OO
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8:OO
9:OO
9:30
1O:OO
11:OO
Beginners' i n s t r u c t i o n s
Program
Advanced t e a c h i n g s e s s i o n
Program resumed
Request t i m e
The Miami Valley Folk Dancers would l i k e f o r you t o g e t t o know them.
V i s i t o r s a r e always welcome.
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the a s s i s t a n c e g i v e n b y JOHN P A P P A S a n d KEN S T E E D .
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THE
FOLK
D A N C E
C O R N E R
by John Pappas, MVFD
WHY DOES A PERSON FOLK DANCE?
I am s u r e t h e r e a r e a s many reasons why a s t h e r e a r e people
who p a r t i c i p a t e i n f o l k dancing. I won't try t o answer f o r t h o s e
who a l r e a d y p a r t i c i p a t e i n t h i s avocation, b u t r a t h e r I w i l l t r y
t o give some reasons why t o t h o s e who d o n ' t .
For some of us f i r s t g e n e r a t i o n Americans, t h i s w a s our form
of s o c i a l i z a t i o n . There was no q u e s t i o n of why. A l l our f r i e n d s ,
r e l a t i v e s and p r o s p e c t i v e sweethearts d i d it. We d i d n ' t know w e
enjoyed it s o much.
,
For t h o s e dancers o f r e c e n t c o n v e r s t i o n , some-do it because
t h e i r mates a r e i n t o it, o t h e r s because of t h e i r parents. For
some s i n g l e s i t i s an a c t i v i t y t h a t i n t r o d u c e s them t o o t h e r s i n g l e s looking f o r companionship. Others say t h e r e i s nothing e l s e
worthwhile t o be done. Those w i t h a r e s t l e s s s p i r i t r e b e l a g a i n s t
s p e c t a t o r a c t i v i t i e s and immerse themselves i n t o f o l k dancing.
''"
For o t h e r p r a c t i t i o n e r s t h e r e i s a challenge i n t h e s t e p s ,
formations and b o d i l y . c o n t o u r s needed. While f o r g t h e r s t h i s
challenge manifests i t s e l f i n a forum t o d i s p l a y o r show o f f t h e
i n t r i c a t e s t e p s thus' mastered. Others w i t h an eye t o t h e d i f f e r e n t o r f r i n g e a c t i v i t y s e e t h i s a s a very e s o t e r i c a c t i v i t y and,
t h u s , do i t t o be d i f f e r e n t .
For t h e s c h o l a s t i c a l l y - i n c l i n e d i n d i v i d u a l , f o l k dancing i s
a v e h i c l e t o l e a r n about o t h e r c u l t u r e s , f o r one. can r e a l l y t e l l
about peoples from t h e i r forms of s o c i a l i z a t i o n . .Most f o l k danc e r s g e t a g r e a t e r i n s i g h t i n t o t h e i r own e t h n i c backgrounds. Because f o l k dancing was an a n c i e n t form of worship, r e l i g i o u s remn a n t s s t i l l remain, and a f e e l i n g of communion can be shared with
those i n t h e same c i r c l e o r l i n e o r grouping.
Most of t h e above reasons apply t o o t h e r forms of dance a s
well. Perhaps t h e most compelling reason f o r me was u t t e r e d by
George Tomov a t one of o u r workshops. H i s b e l i e f was t h a t f o l k
dancing' i s one form of a c t i v i t y t h a t i s an a r t form i n which t h e
common person can p a r t i c i p a t e . No m a t t e r how g i f t e d an i n d i v i d u a l
may be, f o l k . d a n c i n g provides him an a c t i v i t y f o r p u t t i n g h i s s o u l
i n t o e x p r e s s i n g f e e l i n g s . This i s what a r t i s a l l about.
I am s u r e everyone does n o t q u e s t i o n h i s p a r t i c i p a t i o n i n
f o l k dancing. For many i t ' s an inexpensive form of r e l a x a t i o n ,
and i t ' s fun.
Future "Folk Dance Corner" a r t i c l e s w i l l explore v a r i o u s topi c s i n f o l k dancing. Some w i l l be o r i g i n a l , some from noted
a u t h o r i t i e s . I f you have any i d e a s , p l e a s e s e e me.
1%
e.
TEE
FOLK
D A N C E
C O R N E R
by John Pappas, MVFD
WE ARF: NOT ALONE!
T h i s p h r a s e has been u s e d r e c e n t l y t o d e s c r i b e t h e folk-dance
activity
i n t h e Miami Valley.
I n a d d i t i o n t o M i a m i V a l l e y F o l k Dancers, t h e r e are
o t h e r o r g a n i z a t i o n s nearby t h a t f o l k dance o r sponsor folk-dance a c t i v i t i e s .
L e t ' s enumerate some of them.
Two c o l l e g e - s p o n s o r e d g r o u p s a r e l o c a t e d i n n e a r b y Yellow S p r i n g s , Oh.,
and Richmond, Ind. Both A n t i o c h and Earlham C o l l e g e had v e r y a c t i v e f o l k
dance o r g a n i z a t i o n s and are i n t h e p r o c e s s o f b u i l d i n g up t h e i r memberships.
A l o c a l group t h a t m e e t s F r i d a y n i g h t s i s t h e Dayton Folk Dancers a t
Rose E. M i l l e r R e c r e a t i o n C e n t e r . They welcome newcomers b u t p r e f e r c o u p l e s .
The K e t t e r i n g Dancers s p e c i a l i z e i n d a n c e s o f C o l o n i a l America and S h a k e r
dances. S e e Lou H y l l i f you are i n t e r e s t e d .
Two o t h e r groups t h a t h a v e c l o s e t i e s w i t h M i a m i V a l l e y Folk Dancers
a r e t h e Yugoslav Dancers, s p e c i a l i z i n g i n Yugoslavian and o t h e r Balkan danc e s and m e e t i n g e v e r y Wednesday a t 7: 30 p.m. a t Lohrey C e n t e r , and t h e Ameri c a n a Dancers, s p e c i a l i z i n g i n dances o f t h e U. S. and m e e t i n g e v e r y o t h e r
Tuesday a t 8:30 p.m. a t t h e F i r s t U n i t e d Church of C h r i s t .
See C h a r l e s
Krainz and Grace Wolff, r e s p e c t i v e l y , i f you are i n t e r e s t e d i n t h e s e g r o u p s .
On F r i d a y evenings a t 8: 00, i f you are c l o s e t o S t . P a u l ' s E p i s c o p a l
Church a t 33 W. D i x i e Avenue i n Oakwood, g o i n and v i s i t w i t h t h e S c o t t i s h
See
juntry Dancers.
Doreen B e r n s t e i n i s an e x p e r t d a n c e r and t e a c h e r .
The I r i s h K e r r y Dancers, l e d by
a a r l e s C a s t e l l a n o i f you are i n t e r e s t e d .
An Richens, meet a t T r i n i t y United M e t h o d i s t Church a t 1500 Huffman n e a r
Smithville.
Both t h e I r i s h and S c o t t i s h g r o u p s c h a r g e a s m a l l f e e and are
i n need o f m a l e dancers.
Another group t h a t n e e d s young m a l e d a n c e r s i s t h e American Czechoslovakian Dancers.
They m e e t a t t h e Youth C e n t e r a t Peach L u t h e r a n Church i n
Beavercreek.
Like most g r o u p s , t h i s one h a s b e g i n n e r s ' c l a s s e s . The Dayton
Contemporary Dance Company i s a t r u l y " p e r f o r m i n g o n l y " g r o u p t h a t a u d i t i o n s
newcomers.
They s p e c i a l i z e i n b a l l e t , modern, and e t h n i c dance of t h e Negro
cultures.
T h e i r performances a t t h e I n t e r n a t i o n a l F e s t i v a l a r e examples o f
d e d i c a t i o n t o t h e dance.
Most o f t h e previously-mentioned g r o u p s are a s s o c i a t e d w i t h t h e Dayton
This. o r g a n i z a t i o n i s c h a r t e r e d by t h e
I n t e r n a t i o n a l F e s t i v a l , I n c . (DIFI)
s t a t e of Ohio a s a n o n p r o f i t o r g a n i z a t i o n and s p o n s o r s t h e a n n u a l f a m i l y o r This year's
f a i r w i l l b e h e l d on May 25, 26 & 27
i e n t e d " A WORLD A'FAIR".
a t t h e Dayton Convention C e n t e r .
.
O t h e r e t h n i c groups t h a t have f o l k - d a n c e a c t i v i t i e s i n c l u d e China, Cuba, Germany, Greece, Hungary, I n d i a , I s r a e l , Lehanon , L i t h u a n i a , Panama,
P h i l i p p i n e s , Poland, and S p a i n .
Toni F r a n c i s l e a d s t h e I s r a e l i group, and
N i l o J o s o n i s a l e a d d a n c e r w i t h t h e P h i l i p p i n e group.
F o r more i n f o r m a t i o n
c o n t a c t t h e group of y o u r c h o i c e o r t h e D I F I o f f i c e , 1 0 1 P i n e S t r e e t , S u i t e
7, Dayton, Ohio 45402, t e l e p h o n e 222-1590.
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TEE
FOLK
DANCE
'7,
CORNER
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by John Pappas, MVFD
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The f o l l o w i n g a r t i c l e , "From t h e V i l l a g e " , a p p e a r i n g i n "Mixed P i c k l e s " ,
June 1978, i s an opinion by Bruce T. Holmes of Evanston, I l l . I t w a s chosen
because he e x e m p l i f i e s t h e f e e l i n g s of s o many of t h e members of MVFD. I f you
s u b s t i t u t e Thursday f o r Monday and s e v e r a l o t h e r r e f e r e n c e s p e r t a i n i n g t o h i s
group, you w i l l g e t an i d e a of why w e f o l k dance.
Every Monday n i g h t , I j o i n a v a r i e d c o l l e c t i o n of supremely average peop l e ; and, f o r a few hours a t l e a s t , we a r e transformed.
The music w a i l s ; f e e t
f l y through i n t r i c a t e p a t t e r n s ; l i n e s of c o n t r o l l e d f r e n z y c a r e e n about t h e
gym; s o b e r , s e n s i b l e people suddenly l e t l o o s e b a r b a r i c cries o f e x u l t a t i o n .
I t ' s c a l l e d f o l k dancing, and I c a n ' t h e l p wishing more people would
g i v e it a t r y .
A s w e dance, an u n l i k e l y v i l l a g e t a k e s shape....We
have a s p l e n d i d c o u p l e
who t e a c h t h e dances and h o l d us a l l t o g e t h e r , a l s o a few p a t r i a r c h s and mat r i a r c h s who have been dancing a l l t h e i r l i v e s and a r e more than w i l l i n g t o
l e a d t h e l i n e s . Perhaps most heartwarming f o r m e i s o u r d i v e r s i t y - - p e o p l e
from a l l walks of l i f e and of a l l ages, from k i d s t o g r a n d p a r e n t s .
I'm r e minded how much w e l o s e s e g r e g a t i n g o u r s e l v e s by s t a t i o n o r g e n e r a t i o n
...
....
T h e r e ' s something t o be s a i d f o r s h a r e d t r a d i t i o n s , even borrowed o n e s .
f e a r t h a t w e i n t h i s s o c i e t y have l o s t a s e n s e o f t r i b e , a s e n s e of commuyty. W e t h e o r i z e about t h e advent of a g l o b a l v i l l a g e , b u t e l e c t r o n i c comm u n i c a t i o n s . . . c a n ' t r e p l a c e h o l d i n g onto your f r i e n d s and dancing and laughi n g and s i n g i n g t o g e t h e r . .
..
But enough t h e o r i z i n g . The r e a l reason I f o l k dance i s because i t ' s fun.
The music, t h e movement, t h e excitement, t h e e x h a u s t i o n of i t a l l . There i s
an enormous r e p e r t o i r e of dances a v a i l a b l e from a l l o v e r the world:
Greece,
Scandinavia..
Hungary, I s r a e l , Scotland, A f r i c a , S e r b i a , South America,
There a r e c i r c l e dances, l i n e dances, even a few s e x i s t dances s o l e l y f o r t h e
men o r women. That may sound outdated t o t h o s e who b e l i e v e i n our mutual l i b e r a t i o n , b u t such moments can be q u i t e s p e c i a l
A l l t h i s f r i v o l i t y is set
t o some of t h e most s t u n n i n g music you w i l l e v e r h e a r , a t t i m e s l y r i c a l , a t
t i m e s s p i n e - t i n g l i n g , i n s p i r e d madness.
..
....
Nowadays, much of my s o c i a l l i f e c o n s i s t s of f o l k dancing. We have a
l e a d e r s h i p c o u n c i l which p u t s on p i c n i c s , performances, Christmas p a r t i e s ,
workshops, Armenian d i n n e r dances, camp weekends, and each s p r i n g and f a l l a
Regardless of a g e , i t ' s a n i c e way t o m e e t members of t h e oppofestival.
s i t e s e x o r a fun t h i n g c o u p l e s can do t o g e t h e r .
...
Folk dancing can be f o r l i f e . I e x p e c t t o be l e a d i n g t h e l i n e s when I ' m
h e l p i n g t h e new people, i n l o v e w i t h t h e e a s y comfort of t h e o l d
an o l d man:
f a m i l i a r dances, y e t s t i l l e x p e r i e n c i n g t h e e x c i t e m e n t and s a t i s f a c t i o n o f
m a s t e r i n g new ones. There i s no l i m i t t o how f a r you can go w i t h i t . The
' ; s t of dances goes on and on, and t h e r e a r e more b e i n g t a u g h t a l l t h e t i m e . . .
P
I n a world where t h e l a t e s t news o f t e n r e f l e c t s p o o r l y on t h e m e r i t o f
I see i n i t something
o u r k i n d , f o l k dancing reminds m e of our good p o i n t s .
of t h e b e a u t y and v i t a l i t y of our s p e c i e s . Give it a t r y and see f o r yours e l v e s . Maybe someday w e can s e s t o r k a t o g e t h e r .
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by John Pappas, MVFD
IMPRESSIONS OF A NEW MEMBER
Being a new and e n t h u s i a s t i c member o f a folk-dance group, I o f t e n t e l l
people about t h i s enj o y a b l e pasttime.
O f t e n t h e r e a c t i o n i s , "Folk d a n c i n g ?
You mean what 'kooky' p e o p l e a l l d r e s s e d up i n e t h n i c costumes do a t f e s t i v a l s ? " To which my answer i s , "No, my f r i e n d s , I mean t h e dance of l i f e . "
When I f i r s t a t t e n d e d a t t h e u r g i n g of a f r i e n d , I ' l l admit I was c u r i o u s , and s l i g h t l y u n s u r e , about what I would f i n d a t such a happenin?.
I remember
Would I have two l e f t f e e t and be unable t o p i c k up t h e s t e p s ?
t h e p u l s i n g rhythm o f t h e music commanding and t h e d a n c e r s converging t o t h e
c e n t e r o f t h e p o l i s h e d f l o o r . "Everyday" p e o p l e t h e y had seemed, c h a t t i n g
and l a u g h i n g t o g e t h e r i n c l u s t e r s around t h e h a l l , g r e e t i n g t h e newcomers.
But w i t h t h e m u s i c ' s c a l l I n o t i c e d t h a t c o n v e r s a t i o n s were a b r u p t l y f i n i s h e d , words l e f t h a n g i n g i n t h e a i r . Now, a s a l l j o i n e d i n t h e d a n c e , a
d i f f e r e n t t y p e of communication took p l a c e - - a
communication of t h e whole
s e l f , b y p a s s i n g t h e spoken word w i t h body and mind j o i n e d i n t h e dance.
Somehow a l l s e l f - c o n s c i o u s n e s s f e l l away t h a t f i r s t n i g h t , a s I j o i n e d
hands w i t h t h o s e who were p e r f e c t s t r a n g e r s and l o s t myself t o t h e p u r p o s e
of l e a r n i n g .
I w a s aware of
f r i e n d l y s m i l e s and h e l p f u l d i r e c t i o n s on a
c o n s c i o u s l e v e l , t h e good e x e r c i s e and a s e n s e of p h y s i c a l w e l l b e i n g . Only
l a t e r , a s I c a r e f u l l y a n a l y z e d t h e " h i g h " I had e x p e r i e n c e d , d i d I uncover
t h e s u b c o n s c i o u s f e e l i n g s t h a t had been t a p p e d d u r i n g t h e e v e n i n g and t h a t I
r e - e x p e r i e n c e each t i m e I a t t e n d .
One i s a b l e t o m e e t , t o u c h and f e e l t h e warmth, t h e v i b r a t i n g f o r c e o f
l i f e , t h r o u g h o t h e r human beings.
Even d u r i n g segments where t o u c h i n g i s
n o t r e q u i r e d , a l l u n i t e i n t h e enjoyment of a known and s h a r e d p a t t e r n o f
movement
.
F o l k dancing i s l i f e . I t i s "of t h e p e o p l e " , t h e f o l k , of a l l c u l t u r e s
and n a t i o n a l backgrounds.
I t weaves a t a l e of t h e i r c e l e b r a t e d h a p p i n e s s o r
t h a n k f u l n e s s t o a h i g h e r power, triumphs, c o u r t i n g r i t u a l s o r h a u n t i n g sadnesses.
The j o i n i n g w i t h p a r t n e r s can symbolize a s s o c i a t i o n s o r j o i n i n q s
w i t h l i f e p a r t n e r s and f r i e n d s ; t h e bonding o f a l l i n a c i r c l e o r onwardf l o w i n g l i n e speaks o f t h e brotherhood o f a l l mankind. The p a t t e r n s of t h e
s t e p s and t h e music are handed down v i r t u a l l y unchanged.
F i r s t comes t h e
T h i s form of a c t i v i t y i s an a r t o f t h e whole s e l f .
p r e p a r a t o r y "work" o f g e t t i n g a c q u a i n t e d w i t h t h e s t e p s and how t h e y f i t
A f t e r u n d e r s t a n d i n g t h e r e q u i r e m e n t s i n t h i s way, t h e danw i t h t h e music.
c e r can " l e t go" and do.
A s t h e b e g u i l i n g b e a t of t h e music sounds an i n v i t a t i o n t o dance and
t h e p e o p l e meet with hands o u t s t r e t c h e d , something v e r y s p e c i a l o c c u r s a s
t h o u g h t s of s e l f a r e f o r g o t t e n and e a c h d a n c e r becomes an e s s e n t i a l l i n k i n
a l i v i n g , moving c h a i n .
Here he can be a t one w i t h a l l o t h e r s ; and t h e r e f o r e , a t one w i t h h i m s e l f .
Come!
J o i n i n t h e dance--the
dance o f l i f e !
-Pamela G i l b e r t OWFD)
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REGGAE
A r e c e n t musical development i n Jamaica i s t h e emergence of a new,
h i g h l y popular and commercial dance c a l l e d reggae, which more o f t e n t h a n n o t
uses c o n v e n t i o n a l combo i n s t r u m e n t a t i o n of s a x , g u i t a r , organ, drums and
bass, e t c .
I n Kingston t h e r e e x i s t s a f l o u r i s h i n g reggae i n d u s t r y complete
with e l e g a n t e l e c t r o n i c r e c o r d i n g s t u d i o s r e g u l a r l y t u r n i n g o u t i s s u e s of
t h e new music.
Reggae o r i g i n a t e d i n Jamaica and i s o f t e n i d e n t i f i e d w i t h
t h a t i s l a n d ' s R a s t a f a r i a n c u l t , a p o l i t i c a l - r e l i g i o u s movement which embraces t h e d e i f i c a t i o n of H a i l e S e l a s s i e and, among o t h e r t h i n g s , b e l i e v e s t h a t
Jamaica should "drop o u t " and become an a g r a r i a n n a t i o n based on black p r i d e
and A f r i c a n c u l t u r e .
The term "reggae" h a i l s from t h e t i t l e of a 1969 r e c o r d i n g h i t . Reggae
l y r i c s t r e a t of p o l i t i c a l t e n s i o n s ,
s o c i a l grievances and black c u l t u r e .
"Reggae i s much more a c c u r a t e t h a n a p o l i t i c a l machine when it comes t o
gauging m a s s r e a c t i o n , " remarked Jamaican Prime M i n i s t e r Michael Manley t o
Tinle correspondent David DeVoss i n March 1976.
Nanley won t h e v o t e s of t h e
poor by making t h e reggae song " B e t t e r Must Come" h i s campaign anthem.
'
Reggae music i s c h a r a c t e r i z e d by a s c r a t c h y , s t a c c a t o g u i t a r and a drum
rhythm which a c c e n t s t h e f i r s t b e a t of t h e b a r i n s t e a d o f t h e second. I n it
can be t r a c e d t h e i n f l u e n c e of r o c k , s o u l , b l u e s , rhythm and b l u e s , g o s p e l ,
izz, country and western and calypso.
Reggae l y r i c s a r e p i t h y and c y n i c a l . "Revolution", Bob Warleyls h i t of
a few y e a r s back, c o n t a i n s t h e f o l l o w i n g l i n e : "Never make a p o l i t i c i a n
g r a n t you a favor--they w i l l always want t o c o n t r o l you f o r e v e r . " Marley i s
a Jamaican s u p e r s t a r , making i n f r e q u e n t p u b l i c appearances with h i s shaman,
cook, h e r b a l i s t and s e v e r a l a t h l e t e s . N a t t y Dread, t h e m y t h i c a l hero of one
of h i s albums has a l r e a d y become a n a t i o n a l symbol. Other c e l e b r a t e d reggae
composers i n c l u d e Jimmy C l i f f , Toots H i b b e r t and Max Romeo.
I n Kingston, t h e f i v e r e c o r d p l a n t s .and 1 2 major r e c o r d i n g s t u d i o s pump
o u t over 20 new s i n g l e s every week.
"Dubs" of t h e i r h i t r e l e a s e s a r e des i g n e d e s p e c i a l l y f o r dancing. They c o n s i s t s o l e l y of t h e f i v e t r a c k s cont a i n i n g t h e g u i t a r , b a s s and drum c o n t r i b u t i o n ; i. e . , t h e rhythm. Kingston
has some 70 discotheques u t i l i z i n g t h e s e "dubs".
Reggae i s s i g n i f i c a n t a s a composite of numerous 20th century m u s i c a l
Marphenomena mixed with v a r i o u s a n c i e n t p o l i t i c o - r e l i g i o u s p h i l o s o p h i e s .
cus Gamey, f o r example, i s one of the adopted heroes of t h e reggae movement, w h i l e American country and w e s t e r n music has i n s p i r e d t h e reggae of
such bands a s Toots and t h e Maytals.
A popular dance i n t h e reggae s t y l e a t Miami V a l l e y Folk Dancers i s
"Louis, Louie".
This dance was i n t r o d u c e d about one y e a r ago by Anne Beatt i e , a member of MVFD.
The preceding a r t i c l e was " l i f t e d " from " ~ i l t i s "Vol. 37, No. 3.
42..
fl.
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FOLK D A N C E
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by John Pappas, MVFD
i
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-- --
---
-
-
_
----_
-_
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-
..
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The following a r t i c l e [appearing i n two p a r t s ] w a s w r i t t e n by Toni
Francis. Although a n a t i v e Daytonian, s h e s p e n t two y e a r s i n a k i b b u t z i n
I s r a e l . I n a d d i t i o n , s h e was a member of a performing I s r a e l i troupe and
s t u d i e d with Fred Berk, t h e dean of I s r a e l i dance i n t h e USA. P r e s e n t l y s h e
i s one of t h e l e a d dancers i n t h e " Z i v i o Yugoslav Dancers". One o t h e r i n t e r e s t t h a t i s absorbing h e r time i s r a i s i n g a happy f a m i l y with h e r husband Sam.
ISRMLI FOLK DANCE
I n t h e family of e t h n i c dance, I s r a e l i f o l k dance i s a very "odd c h i l d "
indeed, b u t one t h a t i s loved and accepted no l e s s because of i t s unique
q u a l i t i e s . The obvious d i f f e r e n c e between t h e dances of I s r a e l and t h o s e of
o t h e r c o u n t r i e s i s t h a t t h e I s r a e l i dances have n o t been passed down from
g e n e r a t i o n t o generation. Rather, they a r e t h e miraculous f r u i t s of a mere
th2rty years.
I n o r d e r t o take a c l o s e r look a t t h e development of t h i s unique a r t
form, w e must begin w i t h t h e waves of Jewish i m i g r a t i o n t o P a l e s t i n e t h a t
occurred i n t h e l a t e 1800's and i n t h e f i r s t h a l f of t h i s century. These
pioneers o r "chalutzeem" came mainly from Russia and e a s t e r n Europe, and they
t r a n s p o r t e d with them t h e c u l t u r e s of t h e c o u n t r i e s from which they came, esF i a l l y t h e i r f o l k dances.
ad you p a i d a v i s i t t o t h o s e e a r l y s e t t l e m e n t s
you would have seen t h e polka, Roumanian hora, krakowiak, cherkessia, e t c .
b u t no idigenous Jewish dances.
I n t h e s p r i n g of 1 9 4 4 a group of i n t e r e s t e d persons gathered t o examine
the s t a t e o f t h e dance i n P a l e s t i n e . They were d i s a p p o i n t e d a t . w h a t they
found; i.e. , dances borrowed from o t h e r c u l t u r e s . J u s t a s they longed f o r a
homeland of t h e i r own, s o they longed f o r dances of t h e i r own--dances t h a t
would c a p t u r e t h e i r f e e l i n g s and e x p e r i e n c e s a s a people and n o t simply r e f l e c t t h e centuries i n e x i l e .
I t seems impossible t h a t t h e Jewish people -with one of t h e o l d e s t t r a d i t i o n s i n t h e world should be l a c k i n g a dance t r a d i t i o n , s o an i n v e s t i g a t i o n
was begun.
S c r i p t u r e s and h i s t o r i c a l s o u r c e s were scoured f o r r e f e r e n c e s t o
dance.
I t quickly became apparent t h a t t h e J e w s i n B i b l i c a l times had indeed
been a dance-loving, dance-rich people. There w e r e dances f o r holy days and
s a c r i f i c e s , f o r n a t u r e f e s t i v a l s and f o r a l l of l i f e ' s important occasions.
Unfortunately, t h e r e w a s no h i n t given as t o how t h e dances were done o r what
they looked l i k e . There was no way t o r e v i v e t h e s e dances of a n t i q u i t y . One
t h i n g became c l e a r . I f t h e r e was going t o be a Jewish P a l e s t i n i a n (soon t o
be I s r a e l i ) f o l k dance, it would have t o b e c r e a t e d .
[To b e concluded i n t h e next i s s u e . 1
.
by John Pappas, MVFD
.
.
- .
.
. . . . .
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ISRAELI FOLK DANCE
by Toni F r a n c i s
The brave artists who were t o c r e a t e an I s r a e l i f o l k dance were faced
with q u i t e a task. They had t o have f a i t h , energy, and, l e t ' s f a c e i t , cons i d e r a b l e "chutzpah" t o t a c k l e it. For i n order. t o e s t a b l i s h a t r a d i t i o n o f
t h e i r own, they had t o break t h e laws of development of f o l k c u l t u r e t h e
world over and compress a process of hundreds of y e a r s i n t o j u s t a few. I t
was a psychological h u r d l e t h a t had t o b e jumped.
F o r t u n a t e l y , t h e y a l s o had a few t h i n g s w e l l i n t h e i r favor. F i r s t o f
a l l , they had motivation; t h e i r need f o r dance was g r e a t , Secondly, t h e y had
a w e a l t h of c u l t u r a l and s p i r i t u a l m a t e r i a l t o draw from and give them ins p i r a t i o n . The key word then was a c t i o n .
A dance f e s t i v a l w a s h e l d on a farming s e t t l e m e n t i n . t h e summer o f 1 9 4 4 ,
and it had a s u r p r i s i n g l y good turnout. 'It was b a s i c a l l y a d i s p l a y of borrowed dances, b u t t h a t w a s i t s only d i s a p p o i n t i n g f e a t u r e , The f e s t i v a l had
g r e a t impact i n t h a t it drew a t t e n t i o n t o t h e s u b j e c t of f o l k dance and w a s
followed by a . g e n e r a l awakening of dance enthusiasm i n t h e communal settlements and by a p e r i o d of f e v e r i s h c r e a t i v i t y . A s one choreographer p u t it,
" ?w dances grew up l i k e mushrooms a f t e r t h e rain.".
There were many i n f l u e n c e s on t h e formation o f t h e s e dances, some s u b t l e ,
some obvious. The choreographers moved away from European s t y l i n g , absorbing
some dance p a t t e r n s from t h e i r Arab neighbors and p i c k i n g up an o r i e n t a l flavor from t h e Yemenite t r a d i t i o n . The developing Israeli s t y l e of dancing w a s
a l s o a f f e c t e d by t h e dances of Chassidic Jews of e a s t e r n Europe f o r whom
dance was an e c s t a t i c e x p r e s s i o n of worship. Like t h e Chassidim, t h e I s r a e l i s
tend t o use t h e e n t i r e body when dancing and t o i n f u s e t h e i r movements w i t h a
s p i r i t and i n t e n s i t y t h a t makes them seem e l e c t r i c a l l y charged,
I n a d d i t i o n t o s t y l i n g , t h e r e w a s a l s o t h e important c o n s i d e r a t i o n of
theme--what would t h e dances b e about? what s t o r i e s would they t e l l ? Basic a l l y , t h e r e were two s t o r i e s t o t e l l , t h e old and t h e new. Often choreogr a p h e r s would t u r n t o a n c i e n t sources f o r i n s p i r a t i o n , plucking p h r a s e s and
e v e n t s o u t of t h e Old Testament, having them s e t t o music, and t h e n c r e a t i n g
a dance around them.
The new s t o r y was e q u a l l y s t i m u l a t i n g . There. was.- something very s t r o n g
t h a t grew o u t of t h e day t o day experiences of t h e modern I s r a e l i , experiences c o l o r e d by a c o n s t a n t p r e p a r a t i o n f o r war and a longing f o r peace and.by
a s h e e r love of t h e l a n d and a d e s i r e t o redeem i t and make it b e a u t i f u l and
productive.
r
t,
A l l of t h e s e elements, modern and a n c i e n t , a r e embodied i n t h e f o l k dano f I s r a e l . That i s why they deserve a place among t h e f o l k dances of t h e
..rid a s an a u t h e n t i c and eloquent expression of t h e s o u l ,of a people.
3
Tm
FOLK
D A N C E
ZLJL~S
' Y G 79
3
CORNER
by John Pappas, MVFD
-
-
--
--
-
- -
The f o l l o w i n g t r e a t i s e was w r i t t e n by Nancy H y l l , a member o f
It w i l l appear i n - s e v e r a l installments
of
t h i s column.
Nancy h a s u s e d o v e r 2 4 r e f e r e n c e s , p l u s h e r k n o w l e d g e g a i n e d f r o m
a t t e n d i n g numerous workshops i n American f o l k d a n c e .
MVFD.
ROOTS OF AMERICAN FOLK DANCE
Our P i l g r i m f a t h e r s landed on Plyqouth Rock and immediately i n v e n t e d American s q u a r e dancing. Right? There i s a d i s t i n c t impression t h a t many
people t h i n k so.
I n a way they are r i g h t .
Our E n g l i s h a n c e s t o r s brought
t h e i r dancing with t h e m i n New ~ n g l a n da' s w e l l a s V i r g i n i a and t h e r e s t o f
the seacoast.
Most c o u n t r i e s have some s o r t of square formation as a p a r t of t h e i r
e t h n i c f o l k dances.
The most d i r e c t a n c e s t o r of American squares seems t o
be t h e French c o t i l l o n (Anglecized a s c o t i l l i o n ) which t h e French adapted
from t h e English longways (contra) t y p e of dance.
Ralph Page has observed t h a t t h e dance must f i t t h e dancing space. The
E n g l i s h danced i n l a r g e p u b l i c assemblies where t h e longways type o f dance
was a p p r o p r i a t e .
The French p r e f e r r e d dancing i n t h e i r homes where t h e i r
Eventually t h e y adapted t h e longways i n t o a s q u a r e f o r
s a l o n s were square.
The
e i g h t a l t e r n a t e l y c a l l i n g it " c o t i l l o n " o r "contredanse Prancaise. "
French used very fancy, i n t r i c a t e footwork, almost b a l l e t s t e p s , i n t h e co+"lions.
I n comparison with country dances, t h e c o t i l l i o n was very s h o r t ,
t h e dancing masters wrote a d d i t i o n a l "changes'' o r v e r s e s t o be danced between t h e c o t i l l i o n f i g u r e i n o r d e r t o lengthen t h e dance. It was very popu l a r i n America from 1760 t o 1820, b u t t h e Americans never used q u i t e s o many s t e p s o r s o fancy footwork a s t h e French. I n c i d e n t a l l y , t h e heads w e r e
numbered 1 and 2 , t h e s i d e s 3 and 4.
'
.
Over t h e y e a r s t h e term c o t i l l i o n gradually came t o mean a fancy d r e s s
The c o t i l l i o n a s a dance d i d n o t d i e , however; it merged and blended
ball.
It was
w i t h t h e q u a d r i l l e , a f r e e r , more exuberant, less i n t r i c a t e dance.
p r e s e n t e d a t Almackt s , perhaps t h e most famous of England's assembly rooms,
i n 1815. Within a y e a r , i t was brought t o t h e U. S. and soon became t h e new
dance s e n s a t i o n . T h a t w a s t h e beginning of t h e end f o r t h e c o t i l l i o n .
A q u a d r i l l e does n o t s p e c i f i c a l l y need f o u r couples.
The Fledermaus
Q u a d r i l l e i s danced i n c o n t r a l i n e s , couple f a c i n g couple, with any even
number of couples from a s few as two.
I t i s a German dance o f t h e l a t e 1 9 t h
c e n t u r y . Another German q u a d r i l l e , J a e g e r q u a d r i l l e , i s danced by t h r e e men,
each w i t h a lady on e i t h e r s i d e , i n t h r e e rows of t h r e e a l l f a c i n g t h e head
of t h e h a l l .
.
The Lancers was and i s a very e l e g a n t form of t h e q u a d r i l l e .
P J. S.
Richardson, an E n g l i s h a u t h o r i t y , s a y s it i s an E n g l i s h dance. I t was f i r s t
danced i n Dublin i n 1817 and a t A l m a c k ; ~p e r i o d i c a l l y t h e r e a f t e r , b u t it was
n o t u n t i l t h e 1850's t h a t t h i s dance t o o k hold.
Two o t h e r names f o r s q u a r e
These
dances are Caledonians and D I A l b e r t s , both from t h e 19th century.
c i d r i l l e squares c o n s i s t e d of f i v e o r s i x p a r t s o r dances p u t t o g e t h e r i n t o
one dance.
fl.
FOLK
T9E
D A N C E
CORNE.R
by
J
O
Pappas,
~
LWD
ROOTS OF AMERICAN FOLK DANCE, PART I1
Ay //e.ncy / J y / l
There a r e many s i m i l a r i t i e s i n our modern s q u a r e dancing t o our ancest o r s ' , n o t only i n t h e dances o r music b u t i n t h e f i g u r e s .
Of c o u r s e , you
a r e a l l f a m i l i a r w i t h c i r c l i n g , r i g h t and l e f t stars, forward and back,
r i g h t and l e f t grand and promenade. Figures such a s t h e s e a r e common t o
n e a r l y a l l c o u n t r i e s and a l s o t o c h i l d r e n ' s p a r t y games. Terms such a s do
s a do come from t h e French. ,The c o t i l l i o n and q u a d r i l l e d i r e c t i o n s o r i g i n a l l y were i n French.
A f t e r a l l , P a r i s had been t h e c u l t u r a l c e n t e r of t h e
world f o r hundreds of years. The French term "dos a dosn l i t e r a l l y i s "back
t o . back."
"The Allemande, a s i s s i g n i f i e d by i t s name, i s of Allemanic o r German
origin."
( P o l i t e and S o c i a l Dances) The term allemande means t o t u r n o r
turning.
There i s a couple dance named Allemande d a t i n g from t h e 1500's.
I t i s danced i n Varsouvianna p o s i t i o n and, e x c e p t f o r t h e t u r n i n g , seems t o
b e s i m i l a r t o o u r couple dance Varsouvianna, perhaps b e t t e r known a s "Put
Your L i t t l e Foot."
-
The Caller/Teacher Manual i n d i c a t e s a d e s c r i p t i o n f o r an allemande dat e d 1811, "The man a t A and t h e lady a t B move around each o t h e r ' s s i t u a t i o n
back t o back, " which sounds l i k e a do s a do.
I
There i s an allemand f i g u r e done i n c o t i l l i o n s and c o u n t r y dances of
200 and more y e a r s ago which i s more l i k e t h e back-hand j i t t e r b u g swing done
i n some a r e a s i n t r a d i t i o n a l o r old-fashioned s q u a r e dancing.
The French words " a l a main" mean "by t h e hand.'":
I n e a r l i e r cowboy
days one could h e a r cowboys say " a l l t h e men l e f t . "
The' b l e n d i n g of t h e s e
two terms may have r e s u l t e d i n our allemande l e f t .
The grand s q u a r e has a long and v a r i e d h i s t o r y . - I t i s . found i n a
dance, Hunsdon House, i n a book of English c c u n t r y dances s u g g e s t i n g t h a t
t h a t dance "evolved from country o r peasant dances d u r i n g t h e 1 6 t h and 1 7 t h
centuries."
(Folk Dances of t h e B r i t i s h Isles) T h i s would i n d i c a t e t h e age
of t h e grand s q u a r e f i g u r e a s 300 t o 400 y e a r s . The dance i s a s q u a r e f o r mation numbering 1, 2 , 3 , 4 clockwise i n s t e a d of counterclockwise, t h e opp o s i t e of t o d a y ' s modern square setup. The book i n which t h i s dance i s
found very c a r e f u l l y diagrams each of t h e e i g h t movements, and i n d i c a t e s t h e
a c t i o n i s done w i t h s i x t e e n running s t e p s , f o u r on each of t h e f o u r s i d e s .
The d e s c r i p t i o n i s much a s t h e f i g u r e i s done today.
.
e.
FOLK
THE
DANCE
CORNE.R
by John Pappas, LMWD
ROOTS O F AMERICAN FOLK DANCE, PART I11
'
by
Nancy Alyll
Marlbrouk C o t i l l i o n (1808) has a modified grand s q u a r e .
Heads m e e t i n
c e n t e r , rigadoon ( a f a n c y s t e p ) , f i v e b o t h hands t o o p p o s i t e s and c h a s s e
( s a s h a y ) o u t t o s i d e p l a c e s , rigadoon, c h a s s e back t o c e n t e r and f a l l back
t o places.
S i d e s w a i t t h e f i r s t e i g h t b e a t s then c h a s s e sideways away from
p a r t n e r s , rigadoon, c h a s s e back t o p l a c e s and rigadoon.
This is t h e n r e peated w i t h t h e s i d e c o u p l e s moving t o t h e c e n t e r .
Howe's Complete Ballroom Handbook (1859) c o n t a i n s s e v e r a l sets i n which
a grand s q u a r e appears.
S p e c i f i c i n s t r u c t i o n s a r e g i v e n f o r two s i d e s of
t h e s q u a r e , b u t t h e o t h e r two s i d e s a r e nebulous.
F i r s t f o u r forward t o
c e n t e r , j o i n o p p o s i t e and chasse t o t h e r i g h t and l e f t t o p l a c e of s i d e coup l e s , t h e n chasse t o r i g h t and l e f t around t o p l a c e where t h e y meet p a r t n e r s . The " f i r s t f o u r " a r e t h e head c o u p l e s .
Good Morning '(1926) i n d i c a t e s a l l a c t i o n i n t h e grand square a s b e i n g
forward; i n s t e a d o f f a c i n g , t h e s i d e s t u r n t h e i r backs t o each o t h e r .
I n a l l t h e s e s q u a r e s each s i d e o f t h e i n d i v i d u a l s q u a r e i s e x e c u t e d
w i t h f o u r f u l l counts w i t h f o u r running, chasse, o r walking s t e p s .
The
I t i s n o t i c e d todav t h a t w i t h t h e s m a l l e r
s q u a r e sets took a l a r g e s p a c e .
?ts many dancers u s e o n l y t h r e e s t e p s on each s i z e o f t h e s q u a r e , b u t it
-till takes 1 6 b e a t s of music f o r a grand s q u a r e .
L e t ' s t a k e a look a t square t h r u .
C e r t a i n l y this i s a modern f i g u r e .
Right? O f c o u r s e , it is--with a h i s t o r y t h a t goes back w e l l over 200 y e a r s ,
t h a t h a s i t s c o u n t e r p a r t i n modern E n g l i s h and S c o t t i c h country dancing.
Thev b o t h c a l l i t " r i a h t s and l e f t s . " The d i f f e r e n c e , YOU ask? Yes, t h e r e
is
s l i g h t differenc;.
When t h e E n g l i s h , t h e S c o t s , a&d, i n c i d e n t a l l y , o u r
C o l o n i a l a n c e s t o r s , dance a " r i g h t and l e f t , " a f t e r completing t h e f i g u r e ,
they immediately f a c e t h e c e n t e r of t h e i r s e t ; whereas, t h e modern s q u a r e
dancers do n o t t u r n a f t e r t h e f i n a l pull-by.
'
I n c i d e n t a l l y , t h e r e i s a f i g u r e i n t h e Hunsdon House mentioned f o r
grand s q u a r e a s b e i n g 300 o r 400 y e a r s o l d c a l l e d " a p o r t i o n of a ' c i r c u l a r
hey'."
(Folk Dances o f t h e B r i t i s h I s l e s ) Heads g r a s p r i g h t hands ( o f opp o s i t e ) and pass by r i g h t shoulders.
P a r t n e r s then g r a s p l e f t hands and
pass by l e f t s h o u l d e r s . T h i s c e r t a i n l y i s a h a l f s q u a r e t h r u .
This - ' c i r c u l a r hey' o r e a r l y r i g h t s and l e f t s i s t h e f i g u r e from which
grew o u r more modern r i g h t and l e f t t h r u . Some a u t h o r s f e e l t h e grand r i g h t
and l e f t a l s o grew o u t of t h i s f i g u r e f o r f o u r .
To b e c o n c . l u d e d i n t h e n e x t i s s u e .
fl.
THE
c o R n ~ . ~
by John Pappas, L'~NFD
ROOTS OF AMERICAN FOLK DANCE, PART I V
by
w~C,\l
Hy//
One of t h e extended b a s i c s , ocean wave has been around f o r many y e a r s .
c o n t r a d a t i n g from t h e War of
1812, t h e only d i f f e r e n c e being i n t h e hand hold.
H u l l ' s Victory u s e s a
"pigeon wing, " t h a t i s , hands h e l d a t shoulder h e i g h t .
I t i s t h e b a s i c f i g u r e i n H u l l ' s Victory, a
P a r t of the chorus f i g u r e of t h e Queen of Diamonds C o t i l l i o n (1809)
c o n s i s t s of an ocean-wave s t a r f i g u r e s i m i l a r t o an allemande t h a r f i g u r e
with t h e l a d i e s j o i n i n g r i g h t hands and joining l e f t w i t h p a r t n e r s f o r a
sideways b a l a n c e .
There i s a l s o an ocean wave i n t h e t h i r d p a r t of the
Fledermaus Q u a d r i l l e
.
There i s a n o t h e r ocean wave done i n t r a d i t i o n a l s q u a r e dancing t h a t was
Couple one dances forward and
danced i n this a r e a n o t t o o many y e a r s ago.
back w h i l e couple two s e p a r a t e s and dances around couple one back t o p l a c e .
This i s t h e n r e p e a t e d by couple two moving forward and back while c o u p l e
one moves around.
C a s t o f f , c a s t around,
c a s t ( a person moving around another person) i s
and w a s used i n c o u n t r y dancing, E n g l i s h , S c o t t i s h , C o l o n i a l , a s w e l l a s
modern c o n t r a , a s a method of p r o g r e s s i o n .
S u b s t i t u t e . "Undoubtedly t h i s movement was c r e a t e d t o add a b i t of
s p i c e and s u r p r i s e i n t o t h e a c t i o n and t o involve t h e i n a c t i v e couple who
might o t h e r w i s e be ' s t a n d i n g o u t ' a r a t h e r lengthy p a t t e r n .
In addition,
it h a s proved t o be a t r u l y v e r s a t i l e b a s i c . "
(SIOASDS, The Caller/Teacher
Manual, Extended B a s i c s )
However, this movement e x i s t s i n an o l d English c o u n t r y dance c a l l e d
I t i s s a i d t o d e p i c t t h e t u r n i n g i n s i d e o u t of t h e s l e e v e s .
Greensleeves.
The d i r e c t i o n s a r e g i v e n two ways: w i t h t h e lead couple arching w h i l e t h e
t r a i l i n g couple s k i p s under, and t h e l e a d couple backing under t h e a r c h of
t h e t r a i l i n g couple.
There i s one p a r t i c u l a r a s p e c t of square dancing t h a t i s t r u l y American. T h a t i s ' t h e c a l l e r . . I n some o l d books one who c a l l s i s mentioned b u t
seems t o i n d i c a t e t h e person who c a l l s t h e name of t h e tune t o t h e music i a n s , t h e name of the music and t h e dance being t h e same.
The c a l l e r ,
as
t h e person i n d i c a t i n g which f i g u r e f o l l o w s another, seems t o have sprung i n ~
t h e r e i s some evidence f o r " c a l l t o prominence d u r i n g the 1 8 5 0 ' ~although
i n g " some f o r t y y e a r s s o o n e r , and was o f t e n t h e l e a d f i d d l e r i n t h e o r c h e s t r a , perhaps t h e o n l y musician.
Modern p u b l i c a d d r e s s systems made it e a s i e r f o r a c a l l e r t o b e h e a r d
by l a r g e numbers of d a n c e r s . The c a l l e r r e a l l y came i n t o h i s own a f t e r
WW I1 w i t h t h e advent of p o r t a b l e a m p l i f i c a t i o n equipment and good r e c o r d e d
music.
r
e.
FOLK
.-
-
THE
D A N C E
CORNER
by John Pappas, L W D
HUMAN EMOTIONAL PROBLEMS AND DANCE
Dance t h e r a p y w a s developed i n t h e e a r l y 1940's a s an a i d t o p s y c h i a t r i c t r e a t m e n t . I t h a s had miraculous s u c c e s s i n some c a s e s t h a t would have
r e q u i r e d y e a r s of a n a l y s i s w i t h a p s y c h i a t r i s t .
However, it i s n o t l i m i t e d t o t h o s e who might s u f f e r from mental illness.
Thousands of p e o p l e w i t h d r u g o r a l c o h o l problems o r r e c o v e r i n g from
t r a u m a t i c e x p e r i e n c e s o r t r y i n g t o cope w i t h t h e job o f l i v i n g i n t h e p r e s ent-day world a r e d i s c o v e r i n g t h a t dance i s a g r e a t a i d t o s a n i t y . They a r e
t h u s a b l e t o e x p r e s s themselves i n movement as they w e r e never a b l e t o exp r e s s themselves v e r b a l l y .
Dance s e r v e s t h e same k i n d of emotional r e l e a s e
and c a t h a r s i s a s a r e found i n more c o n v e n t i o n a l approaches.
The c o o r d i n a t o r o f t h e dance t h e r a p y m a s t e r ' s program a t New York ' s
Hunter College, P r o f e s s o r C l a i r e Schmais, has t h i s t o s a y about t h e r a p y and
dance :
"Dancing makes p e o p l e f e e l good--no
m a t t e r what k i n d t h e y ' r e doing.
I t a c t i v a t e s them, e n e r g i z e s them, g e t s t h e c i r c u l a t i o n , t h e h e a r t -
b e a t going. You f e e l v i t a l , a c t i v e . Dancing i s a l s o o r g a n i z i n g ,
a
s o c i a l i z i n g . I t p u t s t h i n g s i n o r d e r , gives them a p a t t e r n ,
rhythm, a form.
You're moving i n t i m e t o g e t h e r , f e e l i n g p a r t of a
group, a commitment.
T h e r e ' s a s e n s e of competency, a s e n s e of
d i s c i p l i n e and--what can I say?--a s e n s e of s e l f . "
She h a s c a t e g o r i z e d some not-so-serious human problems and has o f f e r e d
a s u i t a b l e t y p e of dance a c t i v i t y f o r a l l e v i a t i n g ' t h e m , o r a t l e a s t p r e v e n t i n g t h e o n s e t of t h e s e problems. These follow:
Fidgety, restless, c r e a t i v e l y suppressed/repressed? Modern dance
Dreamy, r o m a n t i c , u n d i s c i p l i n e d , i r r e s o l u t e ? B a l l e t i s f o r you.
Weak, v a c i l l a t i n g , i n d e c i s i v e , u n a s s e r t i v e ? You need jazz.
Pent-up, r e s t r i c t e d , c o n f o r m i s t , wary? Try d i s c o dancing.
Sloppy, d i s o r g a n i z e d , t r o u b l e d , confused? Tap dancing w i l l h e l p .
Shy, s e l f - e f f a c i n g , i n s e c u r e ? Spanish Flamenco
I n h i b i t e d , s e l f - c o n s c i o u s , s e x u a l l y u p t i g h t ? B e l l y dancing
Self-absorbed, i n t r o v e r t e d , uncommunicative, i n s e n s i t i v e ? Mime
Lonely, s o l i t a r y , noncommital, withdrawn? Square dancing
I n s u l a r , p r o v i n c i a l , u n s o p h i s t i c a t e d , confined? Folk dancing
T h i s i s f i n e a d v i c e . The o n l y t h i n g I could add i s t h a t f o l k
is by f a r t h e b e s t remedy f o r a l l t h e s e maladies. T r y i t and s e e .
dancing
For more d e t a i l e d i n f o r m a t i o n on t h i s s u b j e c t w r i t e t o t h e American
Dance Therapy A s s o c i a t i o n , I n c . , 2000 Century P l a z a , S u i t e 230, Columbia, MD
21044. Enclose a s e l f - a d d r e s s e d , stamped envelope.
T h i s i n f o r m a t i o n was found i n Woman's Day Magazine, A p r i l 2 4 , 1979.
=
FOLK
D A N C E
i
8 b
C O R N E R
Sy Job
S a ~ g e s ,.XZD
"I
I t i s o n l y n a t u r a l t h a t t h e r e w i l l b e l i k e s and d i s l i k e s i n v a r i o u s
types of dances t h a t w e do.
This is to, be expected.
As
individuals, we
have d i f f e r e n t backgrounds and a b i l i t i e s . A b e a u t i f u l d a n c e t o one i s a
d r a g t o someone e l s e . A n e x p r e s s i o n of s e l f t o a n o t h e r i s a c a l i s t h e n i c exe r c i s e t o someone e l s e .
What w e n u s t n o t f o r g e t i s t h a t o u r g r o u p needs a l l t h e s e t y p e s o f
dances b e c a u s e w e nave a l l t y p e s of i n d i v i d u a l s h e r s . W e c a n n o t e x i s t as a
v i b r a n t g r o u p i f o u r r e p e r t o i r e i s o n l y s q u a r e s o r o n l y m i x e r s o r o n l y coup l e s o r only l i n e s o r c i r c l e s , easy, d i f f i c u l t , e t c .
W e must p r o v i d e
an
o u t l e t f o r a l l d e s i r e s and a b i l i t i e s . I am s u r e you w i l l a g r e e w i t h m e t h a t
an e v e n i n g o f a l l w a l t z e s , b e a u t i f u l though t h e y may b e , would b e a d u l l evening.
S i m i l a r l y , an e v e n i n g of a l l l i v e l y Balkan d a n c e s would be t o o demanding f o r most p e o p l e .
The problem Lien, r e d u c e s t o one o f h a v i n g a good mix. A good mix
would a s s u r e us of a r e l a t i v e l y l a r g e membership. And I am s u r e you would
a g r e e w i t h m e t h a t i t i s more e n j o y a b l e t o dance w i t h a l a r g e group. I have
gone o v e r t h e average a t t e n d a n c e f i g u r e s o v e r Ltle l a s t s e v e r a l y e a r s t o see
i f a t r e n d e x i s t s . I n 1972 t h e a v e r a g e Thursday a t t e n d a n c e was 2 4 . 7 p e o p l e .
I a t t r i b u t e t h i s i n c r e a s e i n membership t o a
I n 1980 i t i s more l i k e 5 4 . 7 .
I- t t e r mix o f dances and an i n c r e a s e i n o u r r e p e r t o i r e .
F o r g i v e me i f t h e
lowing becomes a b i t p e r s o n a l i z e d .
A
I had f o l k danced f o r a l a r g e p a r t o f my l i f e p r i o r
t o j o i n i n g LWFD.
I n i t i a l l y , i t was d i s c o u r a g I n 1974 C a r o l e and I c o n s i d e r e d j o i n i n g MVFD.
ing t o me.
Not o n l y were my f a v o r i t e d a n c e s n o t danced h e r e b u t t h e r e was a
h i g h p r e p o n d e r a n c e of c o u ~ l e - t y p e- d a n c e s . T h i s s h o u l d n o t have s u r p r i s e d
me, b u t w i t h my Balkan background t h e r e were n o t very many c o u p l e d a n c e s i n
my r e p e r t o i r e . T h i s d i s c o u r a g e m e n t d i d n ' t l a s t t o o l o n g , however.
F o l k dance was i n my b l o o d s t r e a m , a d i f I c o u l d n o t d a n c e t h e d a n c e s
t h e n I would l e a r n t o l o v e t h e d a n c e s t h a t were b e i n g danced. I
a l s o d i s c o v e r e d t h a t members o f MVFD w e r e w i l l i n g and happy t o l e a r n d a n c e s
t h a t I l o v e d . I n f a c t , members of I N F D h a v e t o be t h e most f l e x i b l e p e o p l e
i n t h e w o r l d . I o b v i o u s l y t h i n k they a r e t h e b e s t .
I loved;
I s t i l l h e a r z u t t e r i n g s of
"That 2ance i s nothing b u t a c a l i s t h e n i c . "
But I a l s o h e a r of t h e same d a n c e , "What an e x h i l i r a t i n g f e e l i n g when I
finish. "
F u t u r e a r t i c l e s w i l l c o n t i n u e t h i s d i s c u s s i o n of an i n t e r n a t i o n a l f o l k
dance r e p e r t o i r e , a l o n g w i t h my recon?meni?atlons of what d s n c e s i t s k o u l d
include.
TBE
.
FOLK
DANCE
J,,I~-A
8" * ~
CORNE.R
by ~ o h nPappas,
A N INTERNATIONAL FOLK DANCE REPERTOIRE
-
m~
I1
S e v e r a l a r t i c l e s on t h i s s u b j e c t have been w r i t t e n i n C a l i f o r n i a , I have
t a l k e d w i t h i n d i v i d u a l s who were members o f MVFII? o r a t l e a s t danced w i t h
u s a w h i l e ? b u t a r e no l o n g e r w i t h us+ A well-known d a n c e r ? t e a c h e r ? and writer
i n C a l i f o r n i a l a n ~ e n t e d t h a t a t t h e i r r e d i o n a l ureetingst sacrarss were t a k i n g u p
too utuch tinre and s i m p l e r l i n e dances were n o t i i v e n e m u & time* He s t a t e d
. t h a t i n o r d e r t o a t t r a c t r o u n s e r d a n c e r s l i n e d a n c e s s h o u l d d o m i n a t e an evening,
also
A former MVFD d a n c e r c o n f i d e d t o me t h a t t h e reason s h e no l a n d e r danced
was t h a t s h e was t i r e d o f s i t t i n g out d a n c e s , She wanted a f e e l i n g o f
with 5
Soute present-day
e x h i l i r a t i o n from e x h a u s t i o n and was n o t s t e t t i n 9 i t from 'us.
memtber~ a r e showing U P l e s s o f t e n than when t h e r f i r s t j o i n e d ,
Their c o n t ~ l a i n t
is t h 2 t c o u p l e dances a r e ~ r e d o n ~ i n a n tand
t
since t h e r don't have P a r t n e r s t t h e y
don' t e n i o r dancing a s R I U C ~ +
O n t h e o t h e r hand? l e t rrle add t h a t some o f t h e w e l l - e s t a b l i s h e d dancers
with p a r t n e t - s p r e f e r slower c o u p l e - t r ~ e d a n c e s and abhor f a s t l i n e dances, O u r
~ r o b l e mi s t o t r r t o p l e a s e t h e s a ~ o r i t r *
aome p e o p l e have t r i e d t o c a t e 9 o r i z e d a n c e s a c c o r d i n s t o t h e d e f i n i t i o n of
" e a s r r i n t e r m e d i a t e and d i f f i c u l t + " A b e t t e r c l a s j s i f i c a t i o n would be t o rar!R.
their! a c c o r d i n g t o enerslr l e v e l needed; s u c h a s ? '"c,lowt i n t e i - m e d i a t e , ' f z s t " o r
" l " . t l e eiIei.3=i nr a l o t of e n e r S u + "
P
S e v e r a l s u g g e s t i o n s f o r r r o s r a w u ~ i n gh a v e been enuir~erated~ r e v i o u s l r * The
f o l l o w i n g a r e t h e ones t h a t I l i k e ,
1,
2,
L i n e r c i r c l e r no p a r t n e r dances s h o u l d predominate*
A good mix of trres o f dances s h o u l d be included.
3*
A good mix of enel-$3 l e v e l s s h o u l d b e i n c l u d e d ,
4,
T r ~ e sof dances s h o u l d be i n s e t s of 3 o r 4 t o a l l o w d a n c e r s t o be
s a t i s f i e d w i t h a t r r e o f dance and t o waste l e s s time t o g e t i n t o
fori~stions,
S i n c e t h e r e e x i s t oi-~ec o n t r a ? 3 r o u n d dance and manr s n u a r e dance
c l u b s ? our r s ~ e r t o i r eshould have fewer o f t h e s e t r ~ e so f d a n c e s *
5,
One o f
t h e ii~ost r o p u l a r Proslrarrrs t h a t I had c o n s i s t e d o f t h e followins!
t r p e . ~ o f d a n c e s and i n t h i s o r d e r :
3 o r 4 s l o w l i n e and c i r c l e d a n c e s ? 3 o r 4
irri;.:erst .j o r 4 i n t e r n l e d i a t e no ~ a i - t n ed~a n c e s ? 3 01- 4 c o c l ~ l ed z n c e s t 3 or- 4 f a s t
o r high--eriei-g~l e v e l l i n e o r c i r c l e dances9 3 o r 4 s e t d a i 7 c e s - - - s o u a r e Si-#ups o f
T
37 e t c ,
This w a g r a m would a c c o u n t f o r a b o u t 18 t o 24 l a n c e s i n a t o t a l of 9O
rr~iniites or about 5 t o 3 + 7 ~ti1-1utes
pet- d a n c e ,
F e ~ h a ~t s
h i s ir; a l i t t l e too
a t l e a s t ? i t would a l l o a t h o s e i n d i v i d u s l s who a r e "dance hilnzir-r"
a i r i b i t i e ~ sblit
~
a l o t t , ~ ? choose from and t h o s e i n d i v i d u a l s who t i r e more e a s i l y t o s i t ~ i i t
dani-.ss
a s t h e y s e e f i t + Groupinsf d a n c e s h r t r p e e l i n : i n z t e s l o s t time due t o
r'ett.ifi9 i n t o 2 foi-.nratiolis +
Hare t h o u d h t s on s r e ~ e i - t o i r ew i l l come i n f u t u r e i s s u e s *
AN INTERNATIONAL FOLK DANCE REPERTOIRE
The
- I11
a r t i c l e of t h i s s e r i e s touched on l o s t t i m e during the dan&
would l i k e t o enumerate t h e S u i d e l i n e s from a previous modram
Ther follow* Uhen s t a r t i n s a new dancer ~ l a ar smell w r t i a n o f
coami t tee*
the record, t i f t the arm, announce t h e dance t i t l e and t r ~ e tand then play the
record from t h e bedinnins
This w i l l do two thin9s. I t w i l l 209 the mlrrarim
of t h o s e i n d i v i d u a l s who reco5nize melodies but . n o t names and v i c e versa? and
i t w i l l g i v e the dancers time t o assemble i n t o s e t s OP c i r c l e s or find
~ e ~ t n e r s Never
*
announce a t i t l e alone and w a i t f o r member-5 t o assembler Host
people do n o t recosnize dances b r t i t l e s a l o n e * Sometimes w a i t i n s for s e t s t a
f i l l UP uses as much time a s the dance itself taRes t o perform,
P C C O S F ~+~ U
last
1
'
The
followins a u e s t i o n h a s not a r i s e n r e t r but i t should be asked and
Whu a l l t h i s t a l k of a r e ~ e r t o i r e rwhat is its purpose?
I think the idea of a r e p e r t o i r e came abaut because of a coutrarison
between t h e Hiari Valler Folk Dancers and t h e a a n r snuare dance clubs* #WD i s
the Sranddaddr of dance o r d o n i z a t i o n s i s e t i t is i n the .minority i n menrbershfP
when c o n t r a s t e d with s a u a r e dancers.
Some of our members thinl( t h a t t h i s is
because f o l k d a m i n 9 r e a u i r e s a set of c h a r a c t e r i s t i c s not e a s i l y found i n manr
dancers..
Others t h i n k t h a t t h e doal s e t t i n s t h a t sauare dance orsfanirations
v e s e n t t o t h e i r members s a t i s f i e s some i n t e r n a l need, These 2oals taKe t h e
o f l e a r n i n s and executind the f i g u r e s i n b a s i c ? mainstream? p l u s 1, r l v s
2 r ate+
I f some s i m i l a r s o a l s were p r e s e n t e d t o folk dancers9 p e r h a ~ ssome
folk d a n m s uould be s t i & u l a t e d 4
A second Purpose f o r a r e p e r t o i r e could be t o c u l l out dances t h a t a r e not
'steeped i n e t h n i c h i s t o r r t The o n l r two t h a t came . t o mind st t h e present a r e
'Msvar
Travar" and "Dir i a dads+" There a r e other Greek l a n c e s t h a t a r e more
e t h r r i c a l . 1 ~dei-ived and more r e p r e s e n t a t i v e of t h e c u l t u r e *
A . t h i r d purpose t h a t h a s been ~ r o ~ o s eis
d ' t h a t the r e r e r t o l r e list could
used a s a teaching a i d . Hore e f f o r t could be expended on teschind dances
from t h i s list since they could be c o ~ s i d e r e d"basic," If a So31 wefe s e t t o
l e a r n t h i s b a s i c l i s t r t h i s would a s s u r e t h a t everrone could dance a minimvir~
number. of dances on a Siven ~ r o d r i if
l ~ a l a r i e ~ e r c e n t a 3 eo f t h e s e d a n c e s i s
included e v e c r dance n i d h t .
Of courser a ~ r e r e ~ u i s i t teo t h i s is a
r e s ~ o n s i b l i t v t o thase i n d i v i d u a l s havins p r o s r a a s on a 3iven n i s h t t o r u t on
dances t h a t they thenrselves do not l i k e or do not do b u t t h a t a r e well l i k e trr
~ t h ~ s t
be
B e f o r e any folk dancer becomes v e r r a s i t a t e d r however; remember t h a t these
a r e o n l r suddestlons and n o t d i c t a t e s *
1
@ .F O L K
TEE
pappas,
by
AN iNTERNATIUi4AL FOLK
flog
CORNER
D A N C E
DANCE
REPERTOIRE
-
-0GC
80
LMWD
IV
"The Dozen Dozen"
W e l l r I have ~ r o c r a s t i n a t e bl o n g enoush,
I have been beaning t o coffirile a
list o f d a n c e s t h a t I c o n s i d e r a r e p e r t o i r e f o r a l k o s t one r e a r * T h i s i d e a h a s
been around ever s i n c e Hulon Shows s t a r t e d workins on i t . T h i s list is
i n d e p e n d e n t of h i s +
'
I t ' s a donserous t h i n s f o r ar? i n d i v i d u a l t o r u b l i s h a list l i k e t h i s * For
one t h i n d r soiiteone"s f a v o r i t e w i l l n a t be i n c l u d e d , Secondlrr such a l i s t w i l l
be b i a s e d d e ~ e r t d i n son who is c o c ~ i l i n si t , T h i r d l r r i t is t r a n s i t o r r + Grour
f a v o t - i t e s w i l l change w i t h t i a e , P l e a s e rer;terilber t h a t t h i s l i s t is o n l r sr
recontntendation + I t is , n o t iiteant to b e s u t o c r . a t i c .
T h i s list was e s t a b l i s h e d u s i n 3 sorise of &he c r . i & e r i a t h a t were enuiiterated
previous a r t i c l e s *
Initiallrr
I t h o u 9 h i t h a t 7 5 dances would be a sood
number t o be i n c l u d e d i n a l i s t * T h i s rtueber s t u c k i i - I GIY b i n d f r o % s o ~ e t n i r i a
t h a t Marr Ann Heratan once s a i d * V e r ~Q U ~ C Z ~t Yh i s a ~ o ~ i i traved
t
t o b e Lou
small +
Even 150 s e e i i ~ e b n o t ertoush+
i-lowever; r l i r ; t i t j iiad t o be s e t * One
hundred f o r t s - f o u r seeriled a Soob nutilber 7 su here s r e a dozen dozen f o l k dances,
in
k l Sadeinu
Alewander
Alexandr ovska
;li P a s h a
.
Alunelul
Ar &F
k t Wa'ani
A t l a n t i c Hixer
AvanZ, Deux de Tr-avers
E a n n i e l o u Lasbaoi
Bavno Oro
Bela Rada
.Black E a r t h C i r c l e
Black Nas
Bran l e Noriitand
Bufcansko
EunJevacko MorttacRo t < o l o
Cacak
Calico Polka
C a r n a v a l i to
Ccr e s n o
Changier h a d r i l l e
Cher k a s s i r a
Cinege
Ciueleanbr a
Cotton-Ered J o e
C r o a t i a n Waltz
Crt Crt
D' Harit~~ter
sch~tiedsSselIn
'ar Sason
Gas F e n s t e p
Der Lau Let- bacher
.
'
Dodi L i
L i l i hrlene
Doudlebska Polka
L i t t l e Han i n a Fi:.:
D r ~ t e sf ram a d e n c i n a
Louie Louie
. .E l s e - n k . e i . l n e . ~ ts
Ha . Ni3v.u'
Elerio Home.
M a i r i ' s W&tjj.ns
.
Erev -&
Mat; a z i c e
Mar i n e l l a
Fandango ( E n g l i s h 1
Godeck i Cacsk
Market Lass
Grand S c u a r e Q u a d r i l l e
Ma~iiitr Marim
Hairtho
Mechal Hashabat
Haruton i c a
Mexican Polka
Hasa~iKos
Milanovo Kalu
Min Skal Din Skal
Hava N a s i l a
Hora A!S%adati
Mitzva Tanz
Nar odno
Horehrunskr Czarbas
Italian Quadrille
NebesRo Kolo
I t a l i a n C o t i l l o n C I1 CodiSliorte)
tdecia Grivne
J e s u s i t a En Chihuahua
Newcastle
Jocul de a Lunsiul
Oh .Johnny
Jovano Jovaniie
#alantatianos S r r t o
Or iden t
Kar asoun a
Pairjushka
Kar apse t
Patch Tan-,
Kreuz Kaen is
Petronells
Kritikos Srrtos
PicKins u p S t i c k s
PlJesRavac
KuJawiak ( S l e e p i n s 1
t<utita Echa
P o s t i e ' s JiS
La B a s t r i n s u e
Povr a ten o
La Russe
Fravo
Lamb' s F o l d Woo1
P u t Youra Little Foot
L e E a l b e Jugon
Raksi JaaR
Lech r Lech Lactidt~sr
Reel of Mer
'
FOLK DANCE REPERTOIRE con t +
Rhein laender- f o r Three
Road t o t h e I s l e s
R o r s l Eiit~re s s Tan20
Rufi~undsku Kulo
Sack e t t" s Har bor
S a i n t Bernard Waltz
S a i n t John River
S a v i l l a Se Bela Loza
S e l i a n c i c a Kolo
Sestorka
Setnia
S h i h o l e t h Basadeh
Siamsa B e i r t e
Sintchu lia
S i r tali i
Slavonsku K ~ i o
S l a v e n i a n Wai t z
Somo9i Kar i k a s o
Sonber hon in3
Svinnrobl
Srbiianiia
S t u d e n t Lancers
Sweets o f Mar
S r r t o s Asihias E l e n i s
Szekelr F r i s s
Tan So P o ~ iuto
T a n t e Hessie
T a r i n a b e l a Abrud
Teton Houri Lain Stoiitp
Tinlun i a
T i n T i n T i n i M i n i Hani~t
Triti Puti
Tsari~ikos( 12 c o u n t 1
TsanliKos C lij cotifit, 1
Tzadik Ka taiiiar
Tzlil Zusim
U Sest
USr 0s
Ve tiavid
Vo Sadu
Vranianka
Waltz uf t h e Bells
Willow Tree
Yedid Nefesh
Zalna Hadka
Zar o u r a
Zen~ldoHakebonsko
Zikino Kolo
LET"S TAKE A LOOK
COUPLE UF' ;k
---------
From a n r box c i r c u l a t e fuursoi~ter a l l box c i r c u l a t e one ~ l a c e ?andr w i t h o u t
s t o ~ ~ i n g trh o s e f a c i n s o u t t u r n back i n t h e d i r e c t i o n of h o i r f l o w t o e n d i n
facing r
( F o r r i g h t handed boxes t h e f l o w is LQ t h e r i s h t r a n i f o r l e f t
handed Luxes t h e f l o w i s t o t h e l e f t ,
T i m i n s is 6 steps+
TRACK TWO
Fr.on1 a c m v l e t e d d o u b l e p a s s t h r u ~ o s i t i o n rboss' ~ o s i t i o n s~ ' l e f ts i d e s I
s t a r t a s i n a t r a r ~ s f e rr a t t e r n s i n s l e f i l e t o t h e r i s h t halfwar a r a u n i r b u t 60
n o t f a c e i n ? t o beconte e n d s o f waves* G i r l s ' ~ o s i t i o n s( r i s h t s i d e s 1 c l o v e r i n
t o t h e l e f t s i n s l e f i l e r d o i n s t h e e ~ u i v a l e n i ,of a h a l f La9r as sing l e f t
s h o u l d e r s t o becoute c e n t e r s o f t h e v a r a l l e l waves.
TRACK AND TRADE
---------------
F ~ Q R Ia coluntnr t h e l e a d two d a n c e r s
e x t e n d a n d t r a d e + Ends i n two-faced l i n e s *
do a traclc tuor t r a i l i n s d a n c e r s
DIXIE DERBY
----------Front f a c i n g c o u p l e s ? do a s t a n d a r d d i x i e s t r l e t o a wave; a n i r w i t h o u t
s t o ~ p i n g r c e n t e r s t r a d e and s p r e a d a s e n d s step far-ward and f o l d t o d e t i n
between s ~ r e a b i n gc e n t e r s t o Torn8 a two-faced l i n e +
LINEAR CYCLE
------------
From
r i s h t h a n d r f o u r - d a n c e r w a v e s ~ a l l s i n g l e hinsier v e r t i c a l t a 3
( o u t f a c e r s f o l d and a l l d o u b l e p a s s t h r u ) r each s i n g l e f i l e twosorrte then p e e l s
t o t h e r i g h t t o e n d as f a c i n s c o u p l e s + P a r a l l e l ocean waves end i n f a c i n 3
l i n e s of f o u r . Righthand waves p e e l r i s h t and l e f t h a n d waves peel l e f t + The
nmvenlen t nrar a l s o k~& f r a c t i o n a l i z e d ( 1 / 3 r l i n e a r c r c l e r 2 / 3 l i n e a r c r c l e 1,
* Callerlab nuarterlr
s e l e c t i o n ( G S 1 b e g i n n i n 9 October 1, 178r3,
fl.
TBE
FOLK
D A N C E
CORNER
by John Pappas, MVFO
"THE TIMES, THEY ARE A CHAWGIN'U
I 2 1 n o t sure whether Bob D ~ l a nc o n s i d e r e d d a n c i n g a s a b e l l wether of
s o c i a l change.
Howevorr d a n c i n g is a " s i g n of t h e t i m e s t ' r t o ~ s r a ~ h r a s e
a n o t h e r song made r o ~ u l a rby P e t u l a C l a r k
.
In h i s t a l k on "Dance H i s t o r y Research:
P e r s p e c t i v e s f r o m Related
1 l i s c i r l i n e s " r J . ld.
KesliinohomoKu s t e t e d r "The i w o r t a n c e of dance f o r
u n d e r s t a n d i n g a s o c i e t v and its c u l t u r e h a s been overlooked b r t h e s o c i a l
scientists*
The wider s i g n i f i c a n c e of d a n c e h a s been a v e r l o o k e d hr
d a n c e r s + + . + H e c a u s e dance is a human u n i v e r s a l a c t i v i t r w e w e s t e r n e r s s h o u l d not
s e t o u r s e l v e s a p a r t a s i f we were some b a s e l i n e which i m p l i e s a s t a t e of
a c h i e v e a ~ e n tb r which w e can d i s t i n d u i s h hetueen "our" a n d t h e " t h e % " a s i f a n l r
t h e " t h e r " had e t h n i c dance.
A l l d a n c e r e v e a l s the c u l t u r e i n which i t e x i s t s .
A l l d a n c e i s e t h n i c , Dance a s a human a c t i v i t y h a s its aun u n i a u e ~ r o ~ e r t i e s
Dance w i t h i n a c u l t u r e
b e c a u s e i t is t h e most c o m ~ l e t emind-hods b e h a v i o r
r e v e a l s t h e v a l u e srstemr t h e i d e a l s a s well a s the narmsi dance r e v e a l s t h e
Dance
e s t h e t i c r i t shows modal r e r s o n a l i trt i t e x p r e s s e s ~ s r c h o l o ~ i c ar al n g e .
i s a n i n d i c a t o r o f world view*"
A conteniporarr dance form t h a t is s s i g n o f o u r times is d i . s c o t h e a u e . The
word i t s e l f is a French term t h a t means a p l a c e where r e c o r d s a n d discrues a r e
stored*
However? i t is a perfect i n d i c a t o r o f s o c i a l c 0 n d i t i o n . s i n t h e time
p e r i o d o f 1960 t o t h e l a t e 1 9 7 0 ' ~ ~ G e n e r a l l r s ~ e a k i n g r r a c k music is
e v a l e n t t snd i n a11 c a s e s s o p h i s t i c a t e d e l e c t r o n i c e a u i m e n t c a r a b l e o f laud
u e c i b e l l e v e l s is used f o r p l a r b a c k * Live m u s i c i a n s a r e n o t a p a r t o f . & h i s
scene h u t d i s c Jockeys a r e .
The dancing area is u s u a l l r s m a l l . The
c h a r a c t e r i s t i c s o f d i s c o a r e : 1) s s t a t i o n a r y b a s e r 2 ) a r e s p o n s e t o a s t e a d 3
h e a t 9 3 ) e x a g d e r a t e d a c t i o n i n t h e upper p a r t o f t h e badur .and 4 ) n o t followins!
t h e lea'd o f a p a r t n e r
The c a t e g o r i e s o f atovenrent s t r u c t u r e i n disc^ and some of t h e disco dances
follows*
1 ) I n i i t a t i o n : Man t h e nrialic and h i s environment a r e embodied i n t h e s w i m r
t h e n ~ o n k e r t and t h e w h e e l c h a i r ,
V i b r a t i o n : Movement is l o c a l i z e d i n t h e t r u n k * A r m a c t i o n g i v e s t h e dance
its name* Prorrlinent d a n c e s a r e t h e dog? t h e J e r k r and t h e f r u a .
P a t t e r n s : There is n~uch borrowing h e r e f r o m f o l k forms. D i s c o dances
i n c l u d e d h e r e a r e t h e r o n r r t h e s k a t e r and t h e h u l l r S u l l u ,
zre
2s
I n a n o t h e r 50 r e a r s d i s c o d a n c e s w i l l be l o o k e d a t a s a n o t h e r form of
American f o l k dancer f o r i n d e e d t h e s e dances reflect - a n d a r e d e r i v e d from f o l k
d a n c e f o r m s and v a r i a t i o n s found i n a u r c u l t u r e *
There
r e
indications
from
ncsnr
s o u r c e s t h a t d i s c o is on t h e d e c l i n e ,
W i l l
i t go t h e war of t h e Lindv s t e ~ rt h e i i t t e r b u d r t h e bunnr hop; o r w i l l
t h e r e h e a r e s u r g e n c e of i n t e r e s t ? From m r s h o r t r e r s v e c t i v e I would g u e s s
t h a t . i t w i l l he s u r ~ l a n t e dbr some new type o f dance.
No d e n e r a t i o n wants t o
isii t.ate i t , s
ionrediate o l d e r s e n e r s t i o n * A r e b e l l i o n h a s t o t a k e p l a c e . T h i s
i s how r h s n g e i s e f f e c t e d * T h i s is how i t h a s always been* and t h i s is hau i t
1.1 ~ r o h a h l rhe*
Most o f t h e terms b e l o w a r e f r o m . t h e "World o f
,
fur^" manual o f i n s t r u c t i o n *
,
1*
Allemande l e f t ,
l e f t a 1l e m a n d e
left-hand
t u r n left-hand around, o r
l e f t - h a n d swinq:
E a c h man t l ~ r r ~t o
s f a c e t h e l a d y or1 h i s l e f t ( h i s c o r n e r
each
l a d y t u r n s t o f a c e t h e man o n h e r r i g h t ( h e r c o r n e r 1 + Each man t a k e s
h i s corner
lady's
l e f t h a n d i n h i s l e f t h s n d , 3 r d t h e y walk c o m p l e t e l y
a r o u n d o n c e i n a c o ~ ~ ~ n t e r c l o c k w di si er e c t i o n a n d come b a c k o t t h e i r o r i g i n a l
p o s i t i o n * R e t u r n i n g t o p l a c e , t h e y d r o p hartds a n d f a c e t h e i r own p a r t n e r s *
May a l s o b e d o n e w i t h p a r t n e r , l e f t h a n d s j o i n e d * T h i s i s ~ - ~ s ~ a floll lyo w e d
by g r a n d r i q h t a n d l e f t *
2.
1 1 m a r 1 risht,
r i g h t allemande, r i s h t - h a n d around, right-hand swing o r
ti-lrn p a r t n e r s :
P a r t r ~ e r sf a c e e a c h o t h e r , j o i n r i g h t h a n d s , artd t h e n walk.
completely around once i n a clockwise d i r e c t i o n ,
retl-lrninq t o t h e i r
original position*
Et-~zz s w i ~ I :Q
P a r t n e r s s t a n d f a c i n g each o t h e r i n c l o s e d s o c i a l dance
position,
s l i g h t l y t o t h e s i d e - - r i g h t s i d e t o r i q h t side--with t h e f e e t
s l i g h t l y * a p a r t a n d t h e w e i q h t f o r w a r d on t h e r i g h t f o o t , o u t s i d e e d g e o f
s o l e s almost touching+ H i s r i g h t ~ F M
e n c i r c l e s h e r w a i s t , h e r r i g h t hand
i n h i s l e f t hand,
w i t h arms e x t e n d e d i n a c u r v e s l i g h t l y below s h o u l d e r
Her l e f t h a n d r e s t s o n h i s r i g h t s h o u l d e r * E e e p i n q w e i g h t on t h e
level•
right foot,
e a c h s t e p s s l i s h t l y b a c k w a r d o n t h b a l l of t h e l e f t f o o t ,
r a i s i n g t h e r i g h t h e e l a d p i v o t i n g ( t l , ~ r n i n g ) on t h e b a l l o f t h e r i s h t
foot
C o n t i n u e t o p u s h w i t h t h e l e f t f o o t , m ~ ~ cahs you w o ~ l d PUS^ ij
scooter,
w h i l e p i v i o t i n q f i r ~ l yo n t h e b a l l o f t h e r i s h t f o o t , movinq t h e
r i g h t f o o t a s l i t t l e a s p o s s i b l e , s o a s t o p i v o t t o g e t h e r i n a smooth f a s t
circle i n place,
moving c l o c k w i s e +
D a n c e r s s h o u l d l e a n away f r o m e a c h
other a s they turn--pull
back w t i h t h e shoulders--to maintain a b e t t e r
t ~1
aante +
D a n c e r s s h o u l d s w i n g s l o w l y w h i l e l e a r n i n s a n d move f a s t e r ss
t h e y q a i n q r a c e a n d c o n f i d e n c e + May b e d o n e i n a s h o u l d e r - w a i s t p o s i t i o n *
4+
Circle l e f t :
A l l d a n c e r s j o i n h a n d s i n a c i r c l e a r ~ lmove arot-tnd t o t h e
l e f t , walking c l o c k w i s e +
5,
Circle r i g h t :
A l l d a n c e r s j o i n h n d s i n a c i r c l e a n d move a r o u n d t o t h e
r i g h t , w e l k i n s counter clock wise^
6.
G r a n d T i ~ h tand l e f t t r i q h t a n d l e f t g r a n d , o r g r a r ~ dc h a i n :
P a r t r ~ e r sf a c e
e a c h o t h e r a n d j o i n h a n d s * A l l t h e men f a c e c o ~ , l n t e r c l o c l . w i s e a n d a l l t h e
ladies
face clockwise,
A l l
move f o r w a r d p a s s i n q r i r i - l t s h o t - l l d e r s *
R e l e a s i n g r i q h t h a n d s , e a c h marl t a k e s t h e n e x t l a d y ' s l e f t hand i n h i s l e f t
h a n d a n d t h e n p a s s e s t h a t l a d y ' s l e f t s h o l - ~ l d e r ~ *Each c o n t i n u c ? ~t o t r a v e l
a r o u n d t h e s e t i n t h e same d i r e c t i o o ( n e n c o u n t e r c l o c k w i s e
ladies
c l o c k w i s e ) w i t h o l i t t u r n i n q , a l t e r r ~ a t i n sr i g h t a n d l e f t h a r ~ d sa n d p a s s i i r 1 ( 3
r i g h t and l e f t s h o u d e r s , I - l n t i l t h e y meet t h e i r p a r t n e r s a g a i n * T h i s is a
w e a v i nq-i n-and-out
movement
E a c h t i m e you j o i n r i g h t h a n d s , p a s s r i q h t
shot-llfders; e a c h time you j o i n l e f t h a n d s , p a s s l e f t s h o u l d e r s +
7.
Varsovierlne (var-soo-vee-en)
or b u t t e r f l y position:
P a r t n e r s s t a n d s i d e br
side
f s c i n q c o ~ ~ ~ r ~ t e r c l o c k . w i sl ea ,d y or1 marl's r i g h t + f l i 3 ~ 1 ' r~ i s h t arm i s
b e h i n d l a d y , b o t h r i q h t hands a r e j o i n e d above h e r r i q h t s h o u l d e r ; h i s l e f t
hand h o l d s h e r l e f t hand i n f r o n t o f h i s l e f t s h o ~ - r l b e r *
,
fl
-&J
TEE
FOLK
C ~ R H E R
DANCE
-
by John Pappas, MVFD
--
--
- SOME SELECTED FOLK DANCE TERMS
-
-
-
I1
--
D e f i n i t i o n s o f terms b e l o w a r e f r o m v a r i o u s s o u r c e s *
YEMENITE STEP:
T h e y e m e n i t e s t e p i s named a f t e r t h e p e o p l e o f Yemen* T h e s e
It i s
g e n t l e p e o p l e h a v e e v o l v e d t h i s g r a c e f u l s t e p i n many d i f f e r e n t f o r m s ,
g e n e r a l l y d o n e i n 4 / 4 meter* It may s t a r t w i t h e i t h e r l e f t o r r i g h t f o o t * It
is h u m o r o u s l y c a l l e d a "change y o u r mind" s t e p *
a ) Y e m e n i t e r i g h t : s t a r t w i t h w e i g h t on l e f t f o o t , s t e p t o r i g h t w i t h r i g h t
f o o t ( c o u n t 11, s t e p l e f t f o o t s l i g h t l y b e h i n d r i g h t f o o t ( c o u n t 2 1 ,
s t e p r i q h t f o o t i n f r o n t of l e f t f o o t ( c o u n t 3 1 , h o l d ( c o u n t 4).
b ) Yemenite l e f t :
s a ~ e a s Yemenite r i g h t e x c e p t l e f t and r i g h t f o o t a r e
interchanged and d i r e c t i o n s are r e v e r s e d *
c ) Yemenite backward:
With w e i g h t on l e f t f o o t , s t e p r i q h t f o o t backward
(cot-lnt 1 1 ,
c l o s e l e f t f o o t t o r i g h t f o o t ( c o u n t 21, s t e p r i q h t . f o o t
f o r w a r d ( c o u n t 3) hold ( c o u n t 4 ) +
d ) Y e m e n i t e f o r w a r d : same a s Y e f i e m i t e backward e x c e p t words " b a c k w a r d " a n d
"forward" are interchanged +
e ) Y e ~ e n i t e hop:
same a s Y e n e n i t e r i g h t e x c e p t on c o u n t 4 i n s t e a d o f z
h o l d , you hop o n t h e r i g h t f o o t ,
f ) Q u i c k Y e m e n i t e : a Yemenite s t e p d o n e i n two ( 2 ) c o u n t s *
,
.
N o t i c e t h a t i n Yemenite
e i t h e r left or r i g h t foot*
backward,
forward,
o r hop t h e s t e p may s t a r t w i t h
?COMOTION:
L o c o m o t i o r ~ is movement t h r o t ~ g hs p a c e * It is a c c o m p l i s h e d by t h e
These a r e t h e most f u n d a m e n t a l i n i n t e r n a t i o n a l f o l k
.llowing e i g h t s t e p s *
d a n c e * Other f o r m s o f locomotion a r e n o t a s s i m p l e *
a ) Walk:
l a Even r h y t h m *
2 + S t e p s a r e from o n e f o o t t o t h e o t h e r ,
t h e weight being
t r a n s f e r r e d from h e e l t o t o e *
b) Run:
1* A f a s t , even rhythm*
2+ A r u n c a n . be c o n p a r e d t o a f a s t walk e x c e p t t h a t i n t h e r u n
t h e w e i q h t is c a r r i e d f o r w a r d on t h e b a l l of t h e f o o t .
C ) HOP:
I*
Even r h y t h m *
2 + A t r a n s f e r of
w e i g h t by a s p r i n g i n g a c t i o n o f t h e f o o t f r o m
o n e f o o t ( p u s h o f f a n d l a n d on b a l l of f o o t ) t o same f o o t *
d ) JUMP:1* Even rhythm.
2 * S p r i n g from one o r b o t h f e e t and l a n d on b o t h f e e t *
3* F e e t p u s h o f f f l o o r w i t h s t o n g f o o t a n d k n e e e x t e n s i o n , t h e
h e e l coming o f f f i r s t a n d t h e n t h e t o e *
4 + On l a n d i n q , b a l l o f f o o t t o u c h e s f l o o r f i r s t , t h e n h e e l comes
down, a n d k n e e s b e n d t o a b s o r b t h e s h o c k o f l a n d i n g *
e ) Leap:
1* Even r h y t h m *
2* A t r a n s f e r of w e i g h t from one f o o t t o t h e o t h e r f o o t , p u sh i n s
o f f w i t h a s p r i n g a n d l a n d i n g on t h e b a l l o f t h e f o o t , l e t t i n g
t h e h e e l come down, b e n d i n g k n e e t o a b o s r b t h e s h o c k *
f
Skip:
1+ Uneven rhythm,
,
2 + A s t e p a n d a hop o n t h e same f o o t *
q ) S l i d e : 1 + Uneven rhythm.
2. Movement s i d e w a r d c a n g o r i g h t o r l e f t ,
3. A s t e p on t h e r i q h t f o o t , s l o w b e a t , c l o s e l e f t f o o t t o r i g h t ,
s h i f t i n g t h e w e i g h t q u i c k l y o r ~ t ot h e l e f t , qi-lick t r e a t *
h ) G a l l o p : l + Uneven r h y t h m *
2 * Movenent f o r w a r d , k n e e a c t i o u , h e e l l e a d i n g *
3. A s t e p f o l l o w e d by a ql-lick. c l o s e o f t h e o t h e r f o o t *
mz
FOLK
D A N C E
C O R N E R
by ;aha PEFP-,
.
SOME SELECTED FOLK DANCE TERMS
-
.
&Q?D
I11
Def i n i t i o r c s a r e f r o m v a r i o u s s o u r c e s +
Hey f o r three:
T h r e e p e r s o n s s t a n d i n l i n e * Second a n d t h i r d p e r s o n s f a c e
head o f
hall;
f i r s t p e r s o n t u r n s t o f a c e them,
H i t h 16 s k . i p p i r ~ qs t e p s t h e
t h r e e e:.:ect-tte a f i q u r e e i s h t s i m u l t a r ~ e o t - ! s l y . Dl-lrirtq t h e f i r s t h a l f o f t h e
f i q t i r e e i q h t ? t h e , f i r s t p e r s o n swings o u t t o h i s l e f t and p a s s e s t h e secortd
p e r s o n r i q h t sh01.11der t o r i g h t s h o l - t l d e r 3 r d t h e t h i r d p e r s o r t l e f t s h o l ~ l d e r t o
D ~ ~ r i n gt h e s e c o n d h a l f
t h e f i r s t persort p a s s e s t h e s e c o r ~ d
l e f t shoulder +
p e r s o n l e f t shol-llder t o l e - f t s h o f - l l d e r ? t h e n t h e t h i r d p e r s o n r i g h t s h o u l d e r t o
r i q h t shot-tlrjer.
Each p e r s o r t shol-tld swinc3 w i d e f r o m t h e h e a d a n d f o o t p o s i t i o r t s
Upon l e a v i n g h e a d o r f o o t p o s i t i o n s h e m u s t p a s s
t o cut a larqe figure eight,
between t h e o t h e r two,
F i r s t p e r s o n moves f r o m h e a d t o c e n t e r t o f o o t t o
center
t o h e a d * S e c o n d p e r s o n moves f r o m c e n t e r t o h e a d t o c e n t e r t o f o o t t o
c e n t e r * T h i r d p e r s o n moves f r o m f o o t t o c e n t e r t o h e a d t o c e n t e r , t o f o o t ,
Pas-de-basql-te
(pah-dee-bah)
or hopsa:
Step t o l e f t s i d e with l e f t f o o t ,
touch r i s h t t o e a c r o s s i n f r o n t of l e f t f o o t , a l l o w w e i q h t t o rest b r i e f l y o n
s t e p or1 l e f t f o o t i n p l a c e ( c o l ~ r ~1t a n d 2 )
Step r i q h t with r i g h t
riqht toe,
f o o t ? t o u c h l e f t t o e a c r o s s i n f r o n t of r i s h t f o o t ? allow weiqht t o r e s t
b r i e f l y or1 l e f t t o e , s t e p o n r i e h t f o o t i n p l a c e ( c o u r t t 3 a n d 4 ) + T h i s i s d o r ~ e
v e r y q l - l i c k l y i n t w o - s t e p r h y t h m ( l e f t - r i g h t ? l e f t and r i q h t - l e f t ? r i q h t a n d ) .
~
may b e I-tsed t o move f o r w a r d or* back.ward, T h e
The h o p s 3 ( 3 S c a n d i r ~ a v i a rterm)
-as-de-basql-le
step
may b e f o u n d i n v i r t u a l l y e v e r y c u l t u r e i n o n e for^ o r
r r ~ o t h e +r
I t mar t a k e t h e f o r m o f a w i l d k i c k a s i n t h e b a s i c h o r a , t h e h i q h
c r o s s as i n I r i s h d a n c i n g , t h e low s w i n g a s f o u n d i n some N e w E n g l a n d c o n t r a s ,
o r t h e e m b e l l i s h e d l e a p s i n some M a c e d o n i a n d a n c e s ,
Reel o r r e e l down t h e s e t :
The r e e l i s u s u a l l y d o n e i n a l o n q w a y s s e t .
The h e a d cot-tple l i n k s r i g h t e l b o w s i n t h e c e n t e r o f t h e s e t a n d tl-lrns o n c e a n d
a half
a r o u n d ; t h e n t h e h e a d l a d y g o e s t o t e s e c o r ~ dMarl a n d t h e h e a d mart g o e s
t o t h e s e c o r l d l a d y ; t h e y e a c h l i n k . l e f t e l b o w s a n d t u r n ortce arol-trtd; t h e n t h e
h e a d c o t ~ p l e meets i n t h e c e n t e r ? l i n k s r i g h t e l b o w s a n d s w i n q s ortcr s r o t . t n l +
They l i n k . l e f t e l b o w s a n d
The h e a d col,lple t h e n g o e s t o t h e . t h i r d l a d y and man.
s u i r t q o n c e a r o t ~ r ~ dt h? e n b a c k t o t h e c e n t e r o f t h e s e t t o swirtq w i t h t h e r i q h t ;
and s o or1 10wr1 t h e s e t , r i q h t i n t h e c e n t e r s r ~ dl e f t or1 t h e s i d e s , Nhen .the
h e a d cot-tple r e a c h e s t h e f o o t o f t h e s e t , i t s w i n g s o n c e arid a h a l f a r o u n d ; s o
t h a t t h e l a d y f i n i s h e s on t h e l a d i e s ' s i d e o f t h e l i n e , a n d t h e marl f i r t i h e s or!
t h e men's s i d e *
A
d i f f e r e n t t y p e of
r e e l is d o n e i n t h e S c a n d i n a v i a n d a n c e "Weaving t h e
Hadmal * "
I n t h i s dance t h e head couple qoes t o t h e certter of t h e c o n t r a l i n e
and h o o k s l e f t e l b o w s a n d t u r n s o n c e a r o u n d e a c h o t h e r ; t h e l a d y s o e s t o t h e
h e a d of t h e merl's l i n e , h o o k s e l b o w s w i t h t h a t man and t t - l r n s o n c e arol-tnd w h i l e
h e r p a r t n e r q'oes t o t h e f o o t o f t h e women's l i n e ? h o o k s e l b o w s w i t h t h a t womsn
and t t - l r n s o n c e arot.lnd+ T h e h e a d c o l ~ p l et h e n g o e s t o t h e c e n t e r of t h e c o r t t r s ?
l i n e a g a i n ? a n d t h e a c t i o n r e p e a t s a s a b o v e e x c e p t t h a t t h e h e a d Mart q o e 5 t o
t h e secorrd-to-last
w o ~ a r t3 s h i s p a r t n e r g o e s t o t h e s e c o r l d Mart.
In t h i s way,
e v e r y o n e i n t h e c o n t r a l i n e i s t t ~ r r t e d o n c e by t h e h e a d c o u p l e .
.
FOLK
DANCE
CORNER
by John Pappas, MVFD
..
SOME SELECTED FOLK DANCE TERMS
-
I V
F h - ~ r t i r ~ qs e t :
T h i s is o n e o f
t h e most e x c i t i n g and b e a u t i f u l o f a 1 1
I t came d i r e c t l y from E n g l a n d t o o u r m o u n t a i n s i n t h e
Anericari folk. d a n c e s *
Sol-lth w h e r e i t e x i s t s t o d a y a s a c o m p a r a t i v e l y p u r e form o f t h e o l d c i r c l e
d a n c e o f E n s l a n d * The r u n n i n g s e t is f o u n d i n many s e c t i o n s of t h e S o u t h , but,
it is danced i n its p u r e s t f o r m s i n western North C a r o l i n a , Tennessee, and
E e n t v c k y * To t h e s e p e o p l e i t is known a s t h e r e a l s q u a r e d a n c e * The f o r m a t i o n
o f t h e r u n n i n g s e t i s a c i r c l e w i t h a s many c o u p l e s a s want t o d a n c e , b u t a n
The f iql-tres a r e danced by a l l t h e c o t ~ p l e sf o r m i n g a
e v e n number is p r e f e r a b l e ,
l a r g e c i r c l e * The c i r c l e t h e n b r e a k s i n t o s m a l l e r s e t s o f two c o u p l e s i n a s e t *
The l a r g e c i r c l e f i g u r e s a r e u s e d a s t h e i n t r o d u c t i o n , c h a n g e , and e n d i n g of
t h e d s r ~ c e . The t w o - c o u p l e f i g # - t r e s o f t h e s q u a r e d a n c e a r e danced a s t h e body
of t h e dance*
T h e r e is a c o n s t a n t c h a n g e , a l a r g e c i r c l e a l t e r n a t i n g w i t h
s m a l l e r s e t s o f two c o u p l e s , a n d t h e n t h e l a r g e c i r c l e f o r m i n g a g a i n *
Mazurka:
T h i s is a v e r y o l d a n d d i s t i n g u i s h e d f a m i l y of b a l l r o o m d a n c e
w h i c h had many a n d c o m p l i c a t e d v a r i a t i o n s *
The v a r s o v i e n n e a n d
v a r s o v i a r r h a v e s u r v i v e d a s p r a c t i c a l l y t h e o n l y l i v i r t s e:<amples o f t h e q r a c e
and b e a u t y of t h e m a z ~ r k a * One c h a r a c t e r i s t i c o f t h e mazurka is v e r y d e f i n i t e :
t h e s t e p a l w a y s s t a r t s o n t h e same f o o t , i n c o n t r a s t t o a 1 1 o t h e r d a n c e s t e p s
which a l t e r n a t e l e a d i n g f e e t + If rotJ s t a r t a mazurka s e r i e s on t h e l e f t f o o t ,
you c o n t i n u e l e ~ d i n qw i t h t h a t l e f t f o o t u n l e s s o r u n t i l you i n t e r p o l a t e some
o t h e r s t e p t o change t h e l e a d *
steps
The p o l k a s t e p
Po:Lka:
P o l k a M I J S ~ C is i n 2 / 4 t i m e , c o l ~ n t e dand-1-and-2+
h,,ins
w i t h a hop o n t h e l a s t "and" o f a measl-!re+ Hop 01-1 t h e r i g h t f o o t ( c o u n t
step
f o r w a r d o n t h e l e f t f o o t (tout 1): c l o s e r i g h t f o o t t o l e f t f o o t ,
and);
P I - ~ t t i n g t h e w e i g h t b r i e f l y on t h e r i g h t f o o t ( c o u n t a n d ): s t e p fo rw a r d on t h e
l e f t f o o t a g a i n ( c o u n t 2); c o n t i n u e w i t h a hop on l e f t f o o t , s t e p f o r w a r d o n
t h e r i g h t f o o t , e t c * ( c u : hop, s t e p , c l o s e , s t e p ; c o u n t and 1 and 2 ) + N o t i c e
t h a t t h e hop comes o n t h e v p b e a t .
Schottische:
Each s c h o t t i s c h e s t e p t a k e s o n e m e a s u e o f mvsic i n 4 / 4 t i m e ,
even r h y t h n *
S c h o t t i s c h e s t e p s a r e d a n c e d i n a b r i s k , l i g h t manner w i t h t h e
body erect. a n d f i r m *
,
a)
R e g u l a r : S t e p f o r w a r d on r i g h t f o o t ( c o v n t 1) c l o s e w i t h t h e l e f t
f o o t , p u t t i n q w e i g h t on l e f t f o o t ( c o u n t 2 ) : s t e p f o r w a r d a g a i n o n
t h e r i s h t f o o t ( c o u n t 3) t hop o n t h e r i s h t f o o t a n d swing t h e l e f t
f o o t forward
(count 4);
repeat,
s t a r t i n s with the left f o o t
forward,
c l o s e w i t h t h e r i g h t f o o t , e t c * (cue: s t e p , c l o s e , s t e p ,
hop: c o u n t : 1, 2, 3, 4 1 ,
The r e g u l a r s c h o t t i s c h e s t e p c a n be d o n e
forward or sideways*
b)
Runnins:
Three running s t e p s forward, b e g i n n i n s with t h e r i g h t
left, r i g h t
( c o u n t 1, 2,
3 ) : hop on r i g h t f o o t ,
foot--risht,
s w i n s i n s l e f t f o o t forward ( c o u n t 4 ) f r e p e a t , beginning with l e f t
foot--left,
r i g h t , l e f t , e t c * ( c u e : s t e p , s t e p , s t e p , hop; c o u n t :
1, 2 , 3, 41,
-
6
$SP
T9E
FOLK
D A N C E
CORNER
by John Pappas, MVPD
SOME COMMON FOLK DANCE COURTESIES
The
c o n t i n i ~ i n s series
interruption*
of
folk
dance
terms
will
reslJme
after
this
I f my Memory s e r v e s m e c o r r e c t l y , t h e f o l l o w i n s i s t r u e ,
Unfort~~~natei
l yt ?
w i l l
a l s o r e v e a l m y a q i r i g c - o r i d i t i o r ~ ~P r i o r t o , d u r i n g , and a f t e r t h e S e c o n d
W o r l d War,
i n t h e m o u n t a i n s o f M a c e d o n i a , I c a n remember b e i n s g i v e n a b a t h
twice a y e a r * My m o t h e r woi-lld i r c s i s t or1 i t ? e v e n t h o i ~ s hI d i d n ' t n e e d i t , Not
o n l y t h a t , I w o u l d h a v e t o c a r r y t h e w a t e r home f r o m t h e c e n t e r o f t h e v i l l a s e *
B u t , 301-Ik.r~ow, I d o n ' t r e m e m b e r b e i r i s s m e l l y * I m u s t ' h a v e beere? b u t I c o t - i l d n ' t
s m e l l it*
T o d a y s h o w e r s o r b a t h s come m o r e o f t e n * And i f I d i d n ' t w a s h c r i t i c a l
a r e a s d a i l y ? m r w i f e w o u l d b e s u r e t o r e m i n d me* N o t o n l y t h a t , I c o u l d t e l . 1
by m y s e l f ,
If I d i d n ' t u s e d e o d o r a n t d a i l y , my c l o t h e s woi-ild r e m i n d me* Which
l e a d s fie t o t h e c o n c l u s i o n t h a t t h e r e a s o n t h a t I n e e d t o b e more c a r e f l - 1 1 t o d a y
i s t h a t t h e m a t e r i a l s i n modern c l o t h e s a r e v e r y p r o n e t o a c c e n t u a t i o n o f body
odors*
T h i s is e s p e c i a l l y t r u e o f t h o s e g a r m e n t s t h a t a r e 1 0 0 % p o l y e s t e r o r
some o t h e r s r n t h e t i c ,
S o w h a t d o e s a 1 1 o f t h i s h a v e t o d o w i t h f o l k d a n c i n s ? Well? b a s i c a l l r ,
c 1 1 t e ire s o ~ , ~ t h w e s t e r O
n hio is d i f f e r e n t from t h a t i n t l e t ' s s a y , lower
o
S ~ ~ 3 b b o v i a . T h e r e a r e s o ~ ec o u r c t r i e s i n t h e w o r l d w h e r e body o d o r i s a c c e p t e d
a s a p a r t of
a p e r s o n ' s t o t a l m a k e u p * I n c o u n t ~ i e sl i k e t h e U + S * ? h o w e v e r ,
some p e o p l e f i n d o t h e r p e o p l e ' s b o d y o d o r v e r y o b j e c t i o n a b l e + Now I r e a l i z e
t h a t w e d o i n t e r n a t i o r i a l f o l k d a n c e s , ' a n d t h e b e s t wsy t o e n j o y d a n c e s o f o t h e r
c o i - i n t r i e s is t o t o t a l l y i ~ m e r s e o r i e s e l f
i n t h e cc-ilture o f t h a t courctrr,
However,
i n t h e c a s e of b + o , , t h i s h a s a tendency t o dimish t h e p l e a s u r e o f
other
people? especially
i f c l o s e c o n t a c t i s r e q i J i r e d * T h i s is a c a s e w h e r e
p e r s o n a l f r e e d 0 M mcist b e s u p p r e s s e d f o r t h e g o o d o f t h e m a j o r i t y ,
. F o l k d a n c i n g r e q u i r e s a c t i o n t h a t produces p e r s p i r a t i o n ? and t h i s il-I t u r n
his b o d y o d o r c l i r c s s t o arty q a r ' m e n t t h a t w e
cai-1ses d i s t i r ~ c t i v e b o d y o d o r .
m i q h t b e w e a r i n s , e s p e c i a l l y s y n t h e t i c s * The a p p e t i t e o f t h e d r m e s is t h w a r t e d
when t h e a r o m a o f b * o + p e r m e a t e s t h e a t n o s p h e r e ,
Wow!
T h e r e f o r e , f o l k dancirty
c l a . t h e s shot-ild r i o t b e w o r n o v e r arid over8 w i t h o u t a t h o r o i ~ g hc l e a n i n q i n betweer1
e a c h wear.
Also,
d e o d o r a l - i t shot-ild b e a p p l i e d d a i l y ? u n l e s s o n e w a n t s o t h e r
folk. d s r i c e r s t o think. h e is from lower S l o b b o v i a ,
My
mother
i s p r o ~ i d o f me riow* N o t o n l y d o I b a t h e d a i l y I d o n ' t
b r i n g t h e water from t h e c e n t e r o f E e t t e r i n q *
have t o
e.
FOLK
TEE
DA&E
CORNER
by John Pappas, MVTD
SOME SELECTED FOLK DANCE TERMS
-
V
A , f i 1 ,
'
I-A
-RPR
'
I
8~
S a q l e circ1.e:
no p a r t n e r s :
A r i n g of p e r s o n s a11 f a c i n q toward t h e
c ~ n t e+r
1
circl-e; b r o k e n :
A r i n g of persons f a c i n g i n but brokkn a t t h e
l e a d e r ' s r i g h t or* l e f t ,
S j . r ~ ~ - cc; i r c l e ; w i t h p s r ? , r ~ e r s : A r i n g o f c o l - ~ p l e ss i d e by s i d e *
a
The l a d y an t h e man's r i g h t , a 1 1 f a c i n g t h e c e n t e r *
ht IQ c o u p l e faces e a c h o t h e r i n a s i n s l e c i r c l e , t h e man s t a n d s w i t h h i s
l e P t h a n d t o w a r d Lhe c e n t e r , t h e l a d y w i t h h e r r i g h t h a n d t o w a r d t h e
center +
I)ol..fble c i r c l e o f p a r t n e r s :
a
P a r t n e r s s t a n d s i d e by s i d e f a c i n g c o u n t e r c l o c k w i s e , l a d y o n t h e man's
1 - i g h t+
b + IP p a r t n e r s f a c e e a c h o t h e r i n t h e d o u b l e c i r c l e , t h e man s t a n d s w i t h
h i s b a c k t o t h e c e n t e r , a n d t h e l a d y s t a n d s f a c i n g him+
t w o cocip3.es i n a s e t , o r d u p l e m i n o r s e t :
A r i n q of any
&)~..lbls c i r c l e ,
even number o f c o u p l e s +
a
A l l f a c i n s c o u n t e r c l o c k w i s e , l a d y on man's r i g h t ( G r e e n S l e e v e s ) +
b + F a c i n q ~ 1 t e r r t a t o l . yc l o c k w i s e arrd c o u n t e r c l o c k w i s e t o form t h e s e t , l a d y
on Man's r i g h t , ( S i c i l i a n c i r c l e ) +
c + One c o u p l e i n s i d e w i t h b a c k s t o c e n t e r , f a c i n s c o u p l e o n t h e o u t s i d e ,
l a d y o n man's r i s h t ( r u n n i n g s e t ) ,
d + P a r t n e r s f a c i n q , men on i n s i d e w i t h b a c k s t o c e n t e r , l a d i e s on o u t s i d e
( C h r i s t Church B e l l s ) ,
S
. S t e p f o r w a r d o n l e f t f o o t , t h e n p i v u t ( t u r n q u i c k l y ) on l e f t f o o t ,
w - i t h o u t t o l , l c h i n ~ t h e r i g h t f o o t t o t h e f l o o r , t o f a c e back i n t h e o p p o s i t e
d i r e c l i o r r o r t o make s c o m p l e t e t u r n a r o u n d i n p l a c e a c ' c o r d i n q t o t h e
d i r e c t i o r ~ s of
t h e p a r t i c u l . a r d a n c e * To make a s m o o t h ~ i r ~ g pl iev o t t h e w e i g h t
m ~ s t r e s t o n the t o e o f t h e l e f t f o o t w i t h t h e h e e l c l e a r o f t h e f l o o r * S a ~ e
i:riit i i s 1 f o r w a r d moment^-~m i s n e c e s s a r y +
Coup l e :
U s e s i n g l e s t e p s i n c l o s e d dance p o s i t i o n , t u r n i n s q u i c k l r w i t h
me: s t e p t o e a c h b e a t o f t h e MI-tsic* The l a d y s t e p s w i t h h e r r i s h t f o o t Lietween
t h e man's f e e t ; h i s r i g h t f o o t i s h e t w e e n h e r f e e t , S t e p f o r w a r d o n t h e r i a h t
P a ~ t a n d backward
o n t h e l e f t f o o t a s p a r t n e r s t u r n * 1-eaning s l i g h t 1 3 away
f+.om e a c h o t h e r w i t h t h e s h o u l d e r s b a c k w i l l make a s m o o t h , f a s t p i v o t *
LQNGWAYS OR CONTRA:
a+
b+
Any numher o f c o u p l e s s t a n d i n g i n a d o u b l e l i n e t
The l a d i e s i n o n e l i n e f a c e t h e i r p a r t n e r s i n t h e o t h e r ; men i3re i n t h e
left-hard
l i r ~ e when f a c i n g t h e h e a d o f t h e h a l l , and l a d i e s .are on
t h e i r r i s h t ( V i r g i n i a Reel, B l a c k N a g ) +
Twu c o u p l e s i n a l i n e f a c i n g two c o u p l e s i n a l i n e : e a c h Man h a s h i s
lad!d on h i s r i g h t ( F i r e m a n ' s D a n c e ) +
@ .F O L K
THE
DANCE
LORNE.R
by John P appas , MVFD
FOLK DANCING A N D T H E PERFECl'IGNIST
Most
parents w a n t their kids t o be perfect.
Fortunateiy, the kids are too
smart
to
fall
for
this.
Sure.
they
k n o w that p e r i e c t l o n r s t s a r e in t h e
limelight
and
there
is
some
hero
worship
f o r t h o s e w h o a r e ' p e r f e o t in a n
endeavor,
but k i d s a l s o r c a i x z e t h a t p e r f e c t i o n ~ s t s s u f f e r in m a n y w a y s .
They
are
harder
on
themselves
than
anvone
else would
dare be.
T o s t r i v e for
perfection
means
to
deprive
o n e s e l f of o t h e r t h i n g s . T h e t r u e a r i l s t h a s a
single-m~nded fixation
for e x c e l l e n c e ~ n o n e t ~ e l d . A s k a b a l l e r i n a w h a t s h e
d o e s in h e r s p a r e t r m e .
i'll w a g e r h e r r e p l y will b e , " W h a t s p a r e t i m e ? "
- S o m e kids
g r o w u p t o be a d u l t s s t i l l s t r i v i n g t o b e p e r f e c t .
U u i t e often
T h e n for
they
try
folk d a n c i n g .
Folk dancrnq looks srmole until you try i t .
some
reason
the
b r a i n and feet s t a r t t a l k i n g t o e a c h o t h e r in u n i n t e l l i g i b i e
languages.
T h e o n e s a y s "right", and the other interprets i t as "left."
This
a
n o - n o f o r t h e perfectionist.
N o t o n l y that b u t , b e i n g a n a a u i t , t h i s 1s
is
interpreted
as m a k i n a
a f o o l o f o n e s e l f . A f t e r a c o u p l e of e x p e r i e n c e s l i k e
t h i s , o u r n e o p h y t e d e c i d e s t h a t f o l k d a n c i n g is n o t f o r h r m . T o o b a d .
Ah.
but
g ~ v em e t h a t i n d i v x d u a l w h o k n o w s n o t w h a t i t i s t o b e p e r i e c t ; I
make
a f o l k d a n c e r o u t of n l m .
C r v e m e s o m e o n e w h o r s n o t a f r a i d to m a k e
B
takes.
someone
who
d o e s n o t t h i n k h l m s e l f a f o o l i f o t h e r p e o p l e s m a i e at
his
terpsichorean
talents.
G i v e m e s o m e o n e w n o g e t s n i g h o n I i v ~ n g ,s o m e o n e
I can
w h o c a n g e t l o s t i n a p h y s i c a l a c t i v i t y , s o m e o n e w h o will s w e a t w i t h m e .
make
a f o l k d a n c e r o u t of h l m . T h e r e a r e p l e n t y of p e o p l e l i k e t h i s .
S o m e of
them meet on Thursday night.
It's a u n l q u e t h e r a p y s e s s i o n .
can
O.K.,
different
subject.
9,
5 ,
6
a r e almost h e r e .
T h e " W o r l d A ' F a i r " will b e at t h e D a y t o n
June
C o n v e n t ~ o n Center
one more
time.
This
is
the
9 t h Annual internai ronai
Festival.
T w o t h i n ~ sa m a z e m e a b o u t t h l s f a r r .
1 ) 9 9 % of t h e p e o p l e w h o h a v e
been
to
previous
ones
are
e c s t a t l c about t h e m .
C o m m e n t s s u c h a s " t h e best
event
in Dayton" a r e very common.
2 ) There are still some Daytonians who have
n e v e r b e e n to e v e n o n e "World A'Fair."
H o w can this be?
It's a brq w o r l d .
This
year
the
Miami
V a l l e y F o l k D a n c e r s will h a v e a v i s i b l e p a r t i n t h e
festival.
Members
of
MVFD
have
alwavs been a s s o c i a t e d w i t h it, either as
e n t e r t a i n e r s or w o r k e r s o r c h a i r m e n o f e v e r y c o m m i t t e e i m a a i n a b l e , b u t n o t a s a
group.
W e will t e a c h d a n c e s i o t h e a u d i e n c e a n d e n c o u r a g e t h e m t o j o r n u s xn
dancing around the w o r l d .
E x a c t t i m e s a r e n o t k n o w n at t h i s t i m e .
r
TEE
-
FOLK
DANCE
CORNER
by ~ o h nPappas, MVPD
.
SOME S E L E C T E D F O L K D A N C E T E R M S
-
.
VI
Waltz
balance:
Step
forward
o n t h e left f o o t (count 1 ) ; s t e o riqht foot
beside
l e f t f o o t . r i s i n q o n b a l l of r i g h t f o o t t c o u n t 2 ) ; s t e o o n l e f t f o o t i n
p l a c e b e s i d e r i q h t f o o t , e t c . ( c u e : s t e o , r i s e . s t e ~ ;c o u n t : 1, 2 . 3 ) .
Buzz: a. A s
used
in
a
partner swing:
In c l o s e d dance position partners
p I a c e right feet s i d e t o s i d e .
K e e o i n g w e i a h t o n r i a h t f o o t , t h e y ~ i v o ta r o u n d
each
other
by
p u s h i n g w i t h t h e l e f t f o o t . u s l n q t h e r i g h t foot a s t h e p i v o t .
stepping
o n t h e r i q h t foot w i t h e a c h b e a t of t h e m u s i c .
T h e s t e p s h o u l d be a s
smooth as walkina.
with
foot
b . A s in a c i r c l e o f f o u r o r m o r e : P u s h t o t h e l e f t a r o u n d t h e c i r c l e
a s t e p s i m i l a r t o p a r t n e r b u z z s t e p . r i p h t f o o t o n f l o o r in f r o n t of l e f t
t o w a r d t h e c e n t e r of t h e c i r c l e .
Clockwise:
In t h e direction i n w h i c h
Counter-clockwise:
clock move.
t h e h a n d s of
a ciock move.
I n a d i r e c t i o n o o p o s i t e t o t h a t . in w h l c h t h e h a n d s of a
Kolo:
T h i s is t h e basic kolo s t e o (there a r e m a n v variationsj: H o p on left
foot;
leap
a n d d r o p o n t o r i o h t f o o t i n f r o n t of l e f t f o o t . S t e p o n l e f t f o o t
Hop
m o v i n g behind right foot:
s t e o in p l a c e o n r i g h t f o o t ; h o p o n r i q h t f o o t .
on
r i g h t f o o t a g a i n ; l e a p a n d d r o p o n t o l e f t f o o t i n f r o n t of r i g h t f o o t ; s t e ~
on
r i g h t f o o t m o v i n g b e h i n d l e f t f o o t : s t e ? in p l a c e o n l e f t f o o t ; h o p o n I e f t
foot
(cue: h o p - l e f t , leap-riqht, l e f t , riqht. h o p - r i q h t ; hoo-riaht. Ieao-left.
right,
hop-Ief t ) .
S t e p s should be c l o s e to the f l o o r , small. and w i t h flexed
knees.
Movement is m o r e up and d o w n rather than s i d e to side.
In
general.
however, kolo
in S l a v i c m e a n s d a n c e ; a n d t o A m e r i c a n f o l k
d a n c e r s , i n p a r t i c u l a r , i t m e a n s a n o p a r t n e r d a n c e , s u c h a s a c i r c l e . l i n e , or
open circle.
T h e k o l o s t e p d e s c r i b e d a b o v e i s a v a r i a n t of t h e p a s - d e - b a r q u e .
Two-step:
S t e p f o r w a r d o n l e f t f o o t ( c o u n t 1); c l o s e the riaht f o o t t o the
left f o o t , p u t t i n q w e i q h t b r i e f l y o n r i q h t foot ( c o u n t a n d ) ; s t e o f o r w a r d a q a i n
on
t h e left foot ( c o u n t 2); p a u s e t c o u n t and); r e p e a t w i t h riqht f o o t , c l o s i n g
w i t h t h e Ieft foot ( c u e : s t e p , c l o s e . s t e p , p a u s e : c o u n t : 1 and 2 a n d ) .
Waltz:
( u s e d in a c l o s e d w a l t z ) : A n e v e n s t e p i n 3 / 4 r h y t h m .
S t e p forward
on
the
right
f o o t ( c o u n t 1 ) ; s t e p s i d e w a r d o n t h e l e f t f o o t ( c o u n t 2).; c l o s e
the
riaht
f o o t t o t h e Ieft foot a n d s h i f t t h e w e i q h t t o the riqht f o o t tcount
3 ) .
Repeat,
s t a r t i n q on t h e l e f t f o o t . e t c . W e i g h t is chanaed t o a l t e r n a t e
feet
on
e a c h beat o f the m u s i c .
T h e s t e p is s m o o t h . not like the u n e v e n f l o w
of a t w o - s t e p , a n d f e e t a r e a l w a y s i n c l o s e d p o s i t i o n o n count 3 not o n count 2
(cue: step, step, close, steo, steo, close; count: 1 , 2, 3, 1 , 2, 3 ) .
mi-;
I/alIeJ
e.
s gp7-- DC+ 8~
>ace
FOLK
TBE
DANCE
CORNER
by J o b Pappas, MVPD
S O U R C E S FOR F O L K D A N C E RECORDS
The
f o l l o w i n g list w a s l i f t e d f r o m " T h e P e o p l e s F o l k D a n c e D i r e c t o r y . "
It
is
a
list
of s o u r c e s o f f o l k d a n c e r e c o r d s w h i c h a r e r e p u t e d to h a v e a l a r g e
variety
of r e c o r d s .
In a d d i t i o n to these, m a n y teachers sell the records f r o m
which
they
teach,
a n d s o m e p r e s s t h e i r o w n l a b e l s , w h i c h c a n be d i f f i c u l t t o
get f r o m o t h e r s o u r c e s .
1. A A R D V A R K F O R E I G N R E C O R D S : F o r e i g n 6 f o l k d a n c e r e c o r d s 6 t a p e s , Bill
" W o r l d w i d e " S t e w a r t , 4 4 7 5 I n d i a n o l a A v e . ( P . 0. B O X 8 0 3 3 ) , C o l u m b u s , O H 4 3 2 0 1 ,
6141262-2777.
2. A L C A Z A R P R O D U C T I O N S : S q u a r e & c o n t r a d a n c e b o o k s 6 r e c o r d s , c / o J o a n
Pelton, P . 0 . Box 429, W a t e r b u r y , V T 0 5 6 7 6 .
3. B A Y R E C O R D S : S m a l l r e c o r d c o m p a n y s p e c i a l i r i n q in m u s i c r e c o r d e d in t h i s
country, c l o M i k e Cogan, 1516 O a k St., S u i t e 320, Alameda, CA 94501,
41 5 1 8 6 5 - 2 0 4 0 .
4. B O U T H I L L E R M U S I Q U E , I N C . : F o l k d a n c e r e c o r d s , 6 3 0 5 S t - H u b e r t , M o n t r e a l ,
Quebec H 2 S 2L9, Canada.
5 , C A N . ED. M E D I A , L T D . ( C A N A D I A N F O L K D A N C E AECORD S E R V I C E ) : F o l k d a n c e a n d
educational r e c o r d s , m a n y labels, 185 S p a d i n a , T o r o n t o , O n t a r i o M 5 T 2C6,
Canada.
.,. C O U N T R Y D A N C E I N C O N N E C T I C U T ,
216, West Hartford, C T 06107.
7. D A N C E R E C O R D D I S T R I B U T O R S
07114, 2011243-8700.
I N C . : C o u n t r y d a n c e r e c o r d s , P . 0 . B o x 7-
(formerly Folkraftl: 10 Fenwick S t . , Newark, NJ
8. ED K R E M E R S ' F O L K S H O W P L A C E : D a n c e , s c h o o l , f o r e i g n r e c o r d s , 161 T u r k S t . ,
San Francisco, CA 94102, 4151775-3444.
9. E L E C T R A C O R D , I L E X I M : R o m a n i a n r e c o r d i n g s , c a t a l o g u e , $ 4 . 5 0 per disk.
address: str. 13 Decembrie Ni 3, Bucureoti, Romania.
10. F E S T I V A L R E C O R D S : L a r g e s e l e c t i o n of f o l k d a n c e r e c o r d s , b o o k s , s y l l a b i ,
c / o John FiIcich, 2769 West P i c o Blvd., L o s Angeles, CA 90006, 2131737-3500.
11. F O L K D A N C E H O U S E ( H E R M A N ' S ) : F o l k d a n c e r e c o r d s , a l l
North Babylon, Long Island, N Y 11703, 5161661-3866.
l a b e l s , Box 2 3 0 5 ,
12. F O L K D A N C E U N D E R G R O U N D R E C O R D S : c l o R i c h L a n q s f o r d , P. 0 . B o x N, C u l v e r
City, CA 90230.
13. F O L K F R I E N D S : R e c o r d s a n d b o o k s o n G e r m a n d a n c e s , c a t a l o g $ 2 , c l o D i e t e r
Balsies, Henri-Dunant-Allee 32, 2300 Kiel-Kronshagen, West G e r m a n y .
14. F O L K R A F T - E U R O P E : R e c o r d s , t o u r s , s e m i n a r s , c / o R i c k e y H o l d e n , R u e
- N o r b e r t 6, 6 - 1 0 9 0 B r u s s e l s , B e l g i u m .
P
15. F O L K W A Y S R E C O R D S : F o l k d a n c e r e c o r d s a n d f i e l d r e c o r d i n g s , 4 3 W . 6 1 S t . ,
N e w York, N Y 10023.
16. H E B R A I C A R E C O R D D I S T R I B U T O R S : I s r a e l i a n d J e w i s h r e c o r d s and p a r a p h e n a l i a ,
especially Israeli f o l k d a n c e records, A l a n Bloom, 5 0 Andover Rd., R o s l y n
He.Lghts, N Y 1 1 5 7 7 , 5 1 6 / 4 8 4 - 4 0 0 6 taf t e r 4 p . m . 1 .
17. H U N G A R I A R E C O R D S : H u n g a r i a n f o l k d a n c e a n d f o l k m u s i c r e c o r d s a n d books,/..
K a l m a n M a g y a r , P. 0 . B o x 2 0 7 3 , T e a n e c k , N J 0 7 6 6 6 , 2 0 1 / 3 4 3 - 5 2 4 0 .
18. I N T E R N A T I O N A L F O L K R H Y T H M S , L T D . : R e c o r d s , books, p h o n o g r a p h s , a c c e s s o r i e s ,
J o a n A m s t e r d a m , P . O . B o x 1 4 0 2 , N o r t h b r o o k , It 6 0 0 6 2 , 3 1 2 1 5 6 4 - 2 8 8 0 .
19. J U N E A P P A L R E C O R D I N G S : A p p a l a c h i a n
41'858, 6 0 6 1 6 3 3 - 9 9 5 8 .
folk music, BOX 7 4 3 A l Whitesbutg, KY
20. L L O Y D S H A W F O U N D A T I O N : A m e r i c a n s q u a r e a n d c o u n t r y d a n c e r e c o r d s ,
edu.oationa1 records, B O X 134, S h a r p e s , F L 32959, 3051636-2209.
21. M O N I T O R R E C O R D S :
156 F i f t h Ave., N e w York, NY
10010.
22. M U S I Q U E LARIDAINE, INC.: Folk dance records, Case Postale 467, OuebuecSi lilery, Q u e b e c C 1 T 2R8. C a n a d a .
23.. N E V O F O O N : R e c o r d s , s e m i n a r s , B i l d e r d i i k s t r a a t
Ne-therlands, tel. ( 0 0 3 1 ) 0570-13522.
2 4 . QUALITON
2121937-8515.
20, NL-9673 G E W i n s h o t e n , T h e
I M P O R T S , L T D . : 39-28 Crescent S t . , Long I s l a n d , NY
11101,
2 5 . R E Q U E S T R E C O R D S : M a n u f a c t u r e r of i n t e r n a t i o n a l e t h n i c m u s i c f r o m 6 6
c c u n t r i e s , i n c l u d i n g f o l k a n d d a n c e m u s i c , c / o R u t h C a m b a , 5 9 3 7 R a v e n s w o o d Rd.
H-11, F t . L a u d e r d a l e , F L 3 3 3 1 2 , 3 0 5 1 9 6 6 - 0 6 8 0 .
24.. R H Y T H M S P R O D U C T I O N S R E C O R D S : R. S. W h i t e , B o x 3 4 4 8 5 , L o s A n g e l e s , C A 900:
2X31836-4678.
27... S O C I E T Y F O R T H E D I S S E M I N A T I O N OF N A T I O N A L M U S I C : C r e e k v i l l a g e m u s i c ,
no:t.es, w o r d s , 6 t r a n s l a t i o n s , a d d r e s s : E r s i s 9 a n d P u l c h e r i a s , C o f o s S t r e f i ,
A.t:hcns 7 0 7 , G r e e c e .
2 8 . T H E T A Y L O R S , R E C O R D S : c / o M a r i a n n e T a y l o r , 62 Fottler Ave., Lexington, MA
02173, 6171861-8932.
2.9.. W O R L D T O N E M U S I C , I N C . : K e n n e t h S p e a r , 2 3 0 7 t h A v e . ,
2C21691-1934.
T h e s e p e o p l e a r e d o u r o e r of
N e w York, NY 100l1,
their o w n records.
A m a n E n s e m b l e ( p e r f o r m i n g g r o u p , L . A . , C A ) I S o l i s t i Ui Z i r n a c h r o n ( m u s i c G r o u p ,
Tom Borigian (teacher)
Metropolitan, NJ)
Andor C z o m p o (teacher)
Laduvane Ens.(music group, B o s t o n , M A )
Adia. D z i e w a n o w s k a ( t e a c h e r )
Nama Orchestra (music g r o u p , L . A . , CA)
Bora Orkok (teacher)
EYtinic F o l k A r t s C e n t e r ( N Y C )
NATIONAL
FOLK
DANCE
COMMITTEE
On
June
1 P r e s i d e n t R e a g a n s i g n e d a bill d e s i g n a t i n g the s q u a r e d a n c e as
the n a t i o n a l
folk
dance
of t h e U n i t e d S t a t e s . T h e d e s i g n a t i o n , h o w e v e r , is
I i m i t e d a n d will e x p i r e a t t h e e n d of 1 9 8 3 .
. .
i
The
National
Folk
Dance
Committee wishes
to
thank
a 1 1 t h e dancer%',
callers,
publications,
and
everyone
w h o helped m a k e the campaign a s u c c e s s .
Work
will
continu'e
in
an e f f o r t
to
achieve
permanent
status
for
the
designation.
4
l/&.//eJ Dance d e d s
/"rl&rn;
' fl
'lgE
FOLK
DANCE
CORNER
by John Pappas, MVFD
T h i s is P a r t I i n a s e r i e s of a r t i c l e s bv Pat H e n n e m s y o n
A N INSIGHT INTO T H E D E V E L O P M E N T OF RECREATIONAL DANCING IN T H E AREA
R e c r e a t i o n a l f o l k d a n c i n g in D a y t o n t o o k place b e c a u s e B i l l 6 M i r i a m R o b i n son
lived
'in S a n D i e g o , C a l i f o r n i a . d u r i n g World W a r 11 and b e c a m e i n t e r e s t e d
in
folk
dancing.
T h e n t h e y s e t t l e d n e x t d o o r t o M i k e .& M a r g a r e t S o l o m o n i n
Dayton.
During
casual
conversations
between
Bill
and
M i k e about f o l k d a n c i n g ,
Mike's
foresight
into
t h e p o s s i b i l i t y of a d d i n g t h i s f o r m of r e c r e a t i o n i n t o
the Dayton
B u r e a u of R e c r e a t i o n ' s f o r m a t led M i k e 6 M a r g a r e t S o l o m o n t o o f f e r
t h e R o b i n s o n s t h e u s e of t h e i r b a s e m e n t i f they w o u l d t e a c h f o l k d r n o i n a * to a
group
of
f r i e n d s w h o m the S o l o m o n s had invited.
In time n e w recruits joined
the
group
and
the
S o l o m o n ' s b a s e m e n t c o u l d not a d e q u a t e l y h a n d l e t h e g r o u p .
Mike
Solomon
then
p r e s e n t e d his p l a n t o the B u r e a u of R e c r e a t i o n , a n d i t w a s
accepted.
The move
to
R i v e r b e n d Recreation Center started the
into
the field of'recreational dancing.
As the B u r e a u of
programs
a n d t h e i r s c h e d u l i n g of a c t i v i t i e s w a s f u l l , t h e
another
center.
After
many
moves,
the g r o u p f i n a l l y
Burkhardt
Recreation
Center
where
ther
stayed
until
s c h e d u l e d for d e m o l i t i o n to p r o v i d e s p a c e for the e x i s t i n g
r qter.
B u r e a u of R e o r o a t i o n
recreation added n e w
d a n c e g r o u p m o v e d to
s e t t l e d at t h e " O l d "
the "Old C a n t e r " w a s
Burkhardt R e c r e a t i o n
Sometime
i n 1 9 5 5 t h e C i t y of D a y t o n R e c r e a t i o n B u r e a u w i t h d r e w s p o n s o r s h i p
of
t h e D a y t o n F o l k D a n c e C l u b . and t h e g r o u p b e c a m e a f f i l i a t e d w i t h t h e D a y t o n
Y.M.C.A.
In
1956 Mike
Solomon
s e l e c t e d G r a c e Wolff a s l e a d e r of a p r o u p that w a s
later
to
become
the Miami Valley F o l k Dancers.
G r a c e continued to lead t h e
g r o u p f o r q u i t e a n u m b e r of y e a r s .
When
Grace w a s
a p p o i n t e d D i r e c t o r of N u r s e s ' T r a i n i n g at S t . E l i z a b e t h ' s
H o s p i t a l , s h e felt t h a t s h e c o u l d not a d e q u a t e l y h a n d l e b o t h p o s i t i o n s , a n d s h e
s u b m i t t e d h e r r e s i q n r t i o n a s l e a d e r of t h e M i a m i V a l l e y F o l k D a n o e r s .
Under
Grace's
direction,
the
group
had e s t a b l i s h e d s o u n d o r a c t i c e s a n d
l e a d e r s h i p ; a n d w h e n G r a c e Icft. t h o g r o u o c o n t i n u e d h e r f o r m a t a n d d e l e g a t e d
the
teaching
and
p r o g r a m m i n g f u n c t i o n s to t h e p r o g r a m C o m m i t t e e .
Except for
m i n o r c h a n g e s f r o m t i m e t o t i m e , t h e b a s i o p r o a t a m is in u s e t o d a y .
To
Bill
gratitude.
&
Miriam
Robinson
and
Mike
6
Grace
Wolft
w e o w e r debt of
folk
dancing
encomoassed
the w h o l e
field
and
included
1.)
*Note :
~ n t e r n a t i o n a l folk
dancing,
2 . )
square
dancing, 3 . ) round d a n c i n g , and 4 . )
contra dancing.
T h i s is Part I 1 in a s e r i e s of a r t i c l e s by P a t H e n n e s s y o n
A N I N S I G H T I N T O T H E D E V E L O P M E N T O F R E C R E A T I O N A L D A N C I N G I N THE A R E A
Althouah
Mike
Solomon
enioyed
folk
dancina, he was
a
realist
and
recognized
the
fact
that
international
f o l k d a n c i n g a t t r a c t e d o n l v ra s m a l I
percentage
of t h e p e o p l e i n t e r e s t e d in r e c r e a t i o n a l d a n c i n a ; t h e r e f o r e , h e w a s
l o o k i n g for t h e tool t o f i l l t h i s v o i d .
Mike
found
the a n s w e r
t o h i s q u e s t i n t h e A m e r i c a n f o l k d a n c e s in t h e
D a y t o n F o l k D a n c e C l u b ' s r e p e r t o i r e . H e w a s a l s o a w a r e that t o d a t e t h e D a v t o n
F o l k D a n c e C l u b h a d not t h o r o u g h l y e x p l o r e d t h e p o t e n t i a l of i n t e r n a t i o n a l f o l k
dances.
To
t h i s end M i k e a n d t h e D a v t o n F o l k D a n c e C l u b i n v i t e d H b c h a e l a n d
Mary
Ann
Herman
t o c o n d u c t t h e first f o l k d a n c e w o r k s h o o i n f h e D a v t o n a r e a .
It
was
an
instant
success
and
the D a v t o n F o l k D a n c e C l u b w a s c o m m i t t e d t o
international folk dances.
This
left
Mike
free
t o experiment w i t h h i s n e w idea. and eventually h e
h e l d c l a s s e s i n s q u a r e d a n c e c a l l i n g and r o u n d d a n c e o r o m p t i n g . W h i l e I d o n o t
remember w h o
o r h o w m a n y p a r t i c i p a t e d in t h e c l a s s e s , I d o r e m e m b e r that t h i s
class
p r o d u c e d t h r e e of t h e o u t s t a n d i n g c a l l e r s i n t h e a r e a :
Ceorqe Biersack,
Spence Weidenheft,
and
Dave
McDavitt.
B e s i d e s t e a c h i n q t h e m to c a l l . M i k e
i n s t i l l e d i n t h e m a l o p a l t v t o t h e B u r e a u of R e c r e a t i o n of t h e C i t y of D a v t o n .
a
period
of t i m e . e a c h of t h e m h a d q a t h e r e d a f o l l o w i n q that t h e y
After
buuld
gradually mold
i n t o a n o r g a n i z e d g r o u p t h a t c o u l d f o r m a n u c l e u s for a
square. d a n c e c l u b . W h e n t h i s h a p p e n e d . M i k e o f f e r e d t h e m t h e u s e of r e c r e a t i o n
facilities
a n d s p o n s o r s h i p by t h e B u r e a u of R e c r e a t i o n . . A f e w of the e x i s t i n g
nainliner
square
dance
and
round
dance
clubs
o w e their e x i s t e n c e s to t h e
e f f o r t s of M i k e a n d h i s o r o t e g e s .
With
the help
of h i s p r o t e a e s M i k e h a d i n t r o d u c e d s a u a r e d a n c i n a to t h e
C i t y o f D a y t o n ' s - B u r e a u o f R e c r e a t i o n , but h e d i d n o t a n t i c i o a t e t h e a c c e p t a n c e
o f h i s d r e a m w o u l d o v e r f l o w exis.tinq f a c i l i t i e s a n d c r e a t e a v o i d in t h e a r o w t h
of s q u a r e d a n c i n g in t h e a r e a .
On
the
plus
side
it
m u s t be s a i d that M i k e a n d h i s p r o t e g e s c r e a t e d a
program
that
is
v i a b l e a n d t h e e n v y of o e o p l e o u t s i d e of o u r a r e a w h o d o n o t
enjoy
the
privileges
and
f a c i l i t i e s a v a i l a b l e to u s at t h e M i c h a e l S o l o m o n
Pavilion.
( T o b e cont i n u e d )
8
N A T I O N A L
FOLK
DANCE
COMMITTEE
P u b l i c L a w 9 7 - 1 8 8 , d e s i a n a t i n g the s q u a r e d a n c e a s t h e n a t i o n a l f o l k d a n c e
of
the U . S . A . and a p p r o v e d J u n e 1, 1982. e x p i r e s D e c e m b e r 3 1 . 1983. T o g i v e
t h i s l a w p e r m a n e n c y C o n g r e s s m e n M i n e t a and P a n e t t a i n t r o d u c e d B i l l # 6 9 1 2 , w h i c h
uld b e c o m e e f f e c t i v e J a n u a r y 1 . 1 9 8 4 . T h e b i l l h a s b e e n r e f e r r e d to t h e post
~ r f i c ea n d c i v i l s e r v i c e c o m m i t t e e .
.
e.
FOLK
THE
CORNER
D A N C E
by
JOIIII
Pappas, MVFD
T h i s is P a r t I11 in a s e r i e s of a r t i c l e s bv Pat H e n n e s s y o n
A N I N S I G H T I N T O T H E D E V E L O P M E N T O F R E C R E A T I O N A L D A N C I N G IN T H E AREA
Sometime
in
1955
internal dissention w i t h i n the Dayton Folk Dance Club
r e s u l t e d in t h e l o s s of s p o n s o r s h i p by t h e B u r e a u of R e c r e a i o n .
T h e club then
b e c a m e a n a s s o c i a t e of t h e C e n t r a l Y M C A a n d u s e d t h e r e c r e a t i o n h a l l at S n y d e r
Park
for m a n y years. W h e n t h e Y M C A closed S n y d e r P a r k , t h e D a y t o n Folk D a n c e
C l u b c a m e u n d e r t h e s u p e r v i s i o n of the K e t t e r i n g B u r e a u of R e c r e a t i o n a n d w a s ,
a n d s t i l l is, a s s i g n e d t o t h e R o s e E . M i l l e r R e c r e a t i o n C e n t e r .
Except
f o r ethnic
groups
andlor
groups
dedicated to a single ethnic
culture,
the Dayton
F o l k D a n c e C l u b is o n e o f t h e o l d e s t i n t e r n a t i o n a l f o l k
d a n c e g r o u p s i n t h e s t a t e of O h i o .
With
the
departure
of
the Dayton
Folk
Dance
Club,
t h e B u r e a u of
R e c r e a t i o n h a d t o f i l l t h e g a p i n its d a n c e p r o g r a m .
S o in 1 9 5 6 M i k e selected
Crace Wolff to lead the n e w f o l k dance g r o u p .
From
a m o d e s t s t a r t t h e g r o u p g r e w in n u m b e r s .
In t i m e t h e g r o u p b e c a m e
the Miami Valley Dancers and b e c a m e a leader in international f o l k dancing.
Under
Grace's
l e a d e r s h i p m a n y o f t h e l e a d i n g f o l k - d a n c e t e a c h e r s in t h e
kited
States
and
Europe
conducted
ethnic
workshops
in
D a y t o n and w e r e
instrumental
in
f u l f i l l i n g M i k e ' s d r e a m of e x p a n d i n g t h e i n t e r n a t i o n a l f o l k
d a n c i n g a s p e c t of t h e f o l 5 d a n c e c l u b .
C r a c e c o n t i n u e d t o l e a d t h e g r o u p u n t i l s h e b e c a m e D i r e c t o r of N u r s i n g at
St.
Elizabeth Hospital
a n d f o u n d that h e r n e w j o b r e q u i r e d m o r e of her t i m e
a n d that s h e c o u l d not a d e q u a t e l y h a n d l e b o t h p o s i t i o n s .
With
regret
C r a c e t e n d e r e d her r e s i g n a t i o n and r e l e a s e d her leadership.
Under
her
leadership
the Miami
Valley
Folk
D a n c e r s h a d d e v e l o p e d into a
w e l l - o r g a n i z e d g r o u p ; a n d w h e n s h e l e f t , t h e g r o u p c o n t i n u e d t o u s e her f o r m a t
and m a d e
minor changes to f i t the situation.
O n e of t h e m a i n c h a n g e s - w a s t o
f o r m a p r o g r a m c o m m i t t e e that w o u l d be re'spons'ible for
1.
2.
3.
4.
Teaching
Programming
Securing ethnic dance teachers and
Conducting workshops.
Today
the Miami
Valley
Folk Dancers
h a s f u l f i l l e d M i k e ' s d r e a m of a
well-rounded
international
folk
dance
g r o u p a n d is o n e of t h e largest f o l k
d a n c e g r o u p s in t h e s t a t e of O h i o .
HISTORY OF T H E INTERNATIONAL F O L K FESTIVAL IN D A Y T O N
Very
f e w people
a r e a w a r e of t h e f a c t t h a t t h e D a y t o n F o l k D a n c e C l u b , '
s p e a r h e a d e d by M i k e S o l o m o n a n d M i s s B a r r e t t of t h e D a y t o n Y W C A , s p o n s o r e d t i first
international
folk
festival
in D a y t o n ( 1 9 4 6 ) h e l d in t h e g y m of t,.&
YWCA.
A d m i s s i o n w a s f r e e a n d , d u e to t h e l i m i t e d s e a t i n g f a c i l i t i e s and f i r e
d e p a r t m e n t r e s t r i c t i o n s , o n l y 6 0 0 p e o p l e c o u l d b e a c c o m m o d a t e d for t h e o n e - d a y
dance
f e s t i va I .
Nationalities
in
the
festival
were
Polish, Hungarian,
Lebanese, Latin American, and the Dayton Folk Dance Club.
The
second
international
folk festival,
s p o n s o r e d by t h e D a y t o n C i t y
Bureau
of
Recreation,
inaugurated
the
o p e n i n g o f the P a t t e r s o n Recreation
Center
in N o r t h
Dayton.
A g a i n a d m i s s i o n w a s f r e e , and t h e f a c i l i t i e s w e r e
jammed and s t a n d e e s rimmed t h e g y m .
Croups performing were Polish, Hungarian,
Lithuanian, Lebanese, Italian, L a t i n A m e r i c a n , and the D a y t o n Folk Dance Club.
The
third
international
festival
was
a m o r e ambitious venture a s i t
included
ethnic
foods and
exhibits
similar
in n a t u r e
to
the p r e s e n t
international
f o l k f e s t i v a l a n d w a s h e l d at M e m o r i a l H a l l .
A f e e of S O c e n t s
per p e r s o n w a s c h a r g e d . C r o u p s p e r f o r m i n g w e r e P o l i s h , H u n g a r i a n , L i t h u a n i a n ,
Lebanese,
I t a l i a n , Latin A m e r i c a n , C h e c h o s l o v a k i a n , and t h e D a y t o n Folk D a n c e
Club.
T h e e n t i r e program w a s photographed o n 1 6 m m m o v i e f i l m b y Mjor Robert
Bernier,
and
everyone
enjoyed
the
p r e v i e w of t h e f i l m . M a j o r B e r n i e r w a s
assigned
to Wright
F i e l d d u r i n g WW I 1 a n d w a s o n e of t h e f i r s t i n v e n t o r s t o
deveIop
three
dimensional
movies
that
could
b e v i e w e d w i t h o u t t h e u s e of
special g l a s s e s .
The
f o u r t h a n d last f e s t i v a l e n d e d in di'saster b e c a u s e t h e m a n a g e m e n t of
Memorial
H a i l b o o k e d the i n t e r n a t i o n a l f o l k f e s t i v a l a n d t h e a n t i q u e d e a l e r s '
show on
the
s a m e date.
While
t h e a u d i t o r i u m o n t h e f i r s t f l o o r did n .
present a n y p r o b l e m s , the b a s e m e n t a r e a w a s s h a r e d by b o t h g r o u p s , and neith..g r o u p c o u l d p r e s e n t its o f f e r i n g s a d e q u a t e l y .
The
festival
remained i n limbo until G r a c e WoIff a p p r o a c h e d the Council
on W o r l d
Affairs
and
outlined
the benefits
that
could
be
a c h i e v e d by
sponsoring
an
international
folk
festival: m o n e t a r y , civic leadership, and
public a w a r e n e s s of t h e c o u n c i l ' s p r o q r a m s .
T h e Council accepted sponsorship,
and
the
international
f o l k f e s t i v a l ( t h e W o r I d A ' F a i r ) w a s o f f and r u n n i n g .
T h i s s t a r t e d t h e first m u l t i p l e - d a y f o l k a n d c r a f t s f e s t i v a l i n 1 9 7 4 .
For
one
reason
or
another
the Miami
Valley
Folk
Dancers
did n o t
participate
i n t h e f e s t i v a l a s a c l u b ; h o w e v e r , m a n y of t h e m e m b e r s d a n c e d i n
o n e or m o r e o f t h e e t h n i c g r o u p s .
T h i s p r a c t i c e w a s c o n t i n u e d until the 1902
festival w h e n the club f i l l e d o p e n s p o t s in t h e informal entertainment segment
of
the
festival.
The g r o u p did demonstration dances and promoted audience
participation in the teaching s e g m e n t .
The
Council
o n W o r l d A f f a i r s c o n d u c t e d t h e f e s t i v a l for f o u r y e a r s a n d
then relinquished leaderhsip to the D a y t o n International F e s t i v a l , Inc., w h i c h
organization
has
turned
the
festival
i n t o o n e of t h e m a j o r a t t r a c t i o n s i n
Dayton.
The
g r o u p is to b e c o m m e n d e d f o r i t s e f f o r t s to p r o m o t e e t h n i c p r i d e
in n a t i v e d a n c e s , f o o d s , a n d ~ u t u
lre.
-Pat H e n n e s s e y
R.
1
TEE
FOLK DANCE
CORIE'R
by
J O ~ U pappas, MWD
SOME S E L E C T E D F O L K DANCE T E R M S
-
VII
Grapevine:
Cross right toot over in front of left foot (aount l), s t e p
to
Ieft
on Ieft toot (oount 2), c r o s s right foot behind Ieft foot (oount 3 ) ,
step. to Ieft o n left foot (oount 4 ) .
(Cue: r i g h t , Ieft, right, left; or right
over,
left, right baok, Ieft; aount: I, 2 , 3 , 4 . )
Step may be done either to
t h e Ieft or t o the right.
-
Hora
( I e f t moving):
S t e p to Ieft s i d e o n left foot (count l), step t o
Ieft with
right foot moving behind- Iett foot (aount and), s t e p again to left
on
left foot (oount 2), h o p o n Ieft foot and s w i n g right foot forward (count
and),
hop
on
right foot a n d s w i n g Ieft foot f o r w a r d (oount 3).
(Cue: left,
right, left, hop-swing, hop-swing; o o u n t : 1 and 2 and 3.)
-
Hora
(right moving):
f o o t w o r k and d i r e a t i o n .
Samr
as
left-moving hora exoept w i t h oppostte
Jig: S t e p t o the right o n the right foot and swing the body to the right
(aount
11, h o p
on
the right foot (oount and), step to the Ieft on the l e f t
foot
and
swing
the body to the I e f t (count 2), hop on the Ieft foot (count
and), eto.
(Cue: right, hop, I e f t , ' h o p ; oount: 1 and 2 and.)
As sometimes used in Irish danoing, the promenade step is a
Promenade :
do-step
w i t h a leap on the first oount. For example: leap on t h e left f o o t ,
step with
the
right
foot, s t e p w t t h the left foot, leap on the right f o o t ,
s t e p w t t h the left foot, step w i t h the right foot, eto.
Varsovienne
step:
A n e v e n s t e p in triple m e t e r . Three s t e p s beginning
with
the left foot: step o n left foot, step o n right foot, s t e p o n !eft foot
1,
2, 3).
Place right heel to floor, extended forward without w e i g h t
(oount
(oount
11,
and
hold
(oount 2, 3).
T o repeat begin w i t h right foot.
(Cue:
s t e p , step, s t e p , point, hold; Count: I , 2 , 3 , 1 , 2, 3.).
Varsovienne
s t e p for
a
oouple:
Both b e g i n w i t h left f o o t . With o n e
varsovienne s t e p m a n steps in p l a o e w h i l e lady o r o s s e s in front of man, m a k i n g
a
oomplete
turn
left
to f i n i s h o n Iett s i d e of partner, facing in original
direation, w i t h
position of a r m s n o w reversed. O n eaoh varsovienne step t h e
man
swings
the lady forward and a o r o s s in front of him with the arm which h e
holds
in baok of her, reoeiving her w i t h the o p p o s i t e arm as s h e dances i n t o
p l a o e beside him.
,Tour:
a . A European t e r m for figure.
b. A n Amcrioan t e r m for moving a r o u n d a set.
A oount:
Rhythm:
O n e beat of m u s i o .
T h e beats of a o o e n t s or the musio.
n.
.
.
FOLK
THE
DANCE
C O R N E A
by John Pappas, LMVE'D
-
SOME S E L E C T E D F O L K D A N C E T E R M S
R o u n d d a n c e : A f o l k or s o c i a l d a n c e d o n e b y
this form from the square dance.
-
-VIII
couples.
Used
to distinguish
S q u a r e d a n c e : A n A m e r i c a n f o l k d a n c e in w h i c h t h e r e a r e f o u r c o u p l e s in a
set.
E a c h c o u p l e s t a n d s o n o n e s i d e of a n e i g h t - f o o t s q u a r e , a i l f a c l n q t h e
center.
Couples a r e numbered counterclockwise around the s q u a r e , w r t h c o u p l e
one
at t h e h e a d o f t h e h a l l .
E a c h c o u p l e b e c o m e s a c t i v e in t u r n a n d p e r f o r m s
t h e C i g u r e s d e s i g n a t e d by t h e c a l l e r .
(See running s e t , Part I V . )
r
Quadrille:
This
f o r m of A m e r i c a n f o l k d a n c l n g h a s b e e n c a l l e d a ':forma1
drill
to m u s i c . "
It is d a n c e d w i t h f o u r c o u p l e s i n a s q u a r e s e t b u t n u m b e r e d
differently from
the
square
dance.
C o u p l e s 1 a n d 3 a r e d e s i g n a t e d a s head-.
couples;
couples 2 and 4 are the side couples.
Each couple becomes active in
t , u r n a n d p e r f o r m s t h e f i g u r e s a s i t is g i v e n b y t h e m u s i c - - e a c h f i g u r e h a v i n g
its o w n m u s i c .
T h e t r a d i t i o n a l q u a d r i l l e h a s f i v e p a r t s , but i n o u r d a y t h e s e
h a v e b e e n r e d u c e d b y c o m b i n i n g s e v e r a l of t h e f i q u r e s . T h e q u a d r i l i e s c a m e t o
u s f r o m F r a n c e b y w a y of E n g l a n d .
Contra:
A
d a n c e done in lonqwavs formation.
d a n c e s , coming s o o n in a future a r t i c I e .
S e e i n t r o d u c t i o n to c o n t r a
Plav
Party
g a m e : E a r l y A m e r i c a n f o l k d a n c e a c c o m p a n i e d o n i y by
Instrumental m u s i c w a s added in m o r e recent y e a r s .
Caller: T h e person who calls
the fiqures, p e r f o r m e d
by
sinqxnq.
the dancers.
basic
action
or
movement
,of a
dance
or
a s e c t i o n ~f
,F~aure: A
particular dance.
I n s q u a r e d a n c i n g t h i s is s o m e t i m e s c a l l e d a c h a n g e .
C a l i : T h e v o c a l d i r e c t i o n s f o r t h e f i g u r e s of
a
a dance.
a. P r o m p t c a l l : T h e s i m p l i s t . m i n i m u m c a i l .
b . S i n g i n g c a i l : A c a l l w h i c h is s u n g , h a v i n g f i x e d w o r d s t o a
particular tune.
c . P a t t e r c a l l : A c a l l i n w h i c h t h e c a l l e r i n j e c t s a s t r e a m oi
words
and phases into the directions.
T h e y m a y or m a y not
r h y m e o r h a v e m e a n i n q but a r e i n r h y t h m .
M e a s u r e : a . A bar o f m u s i c s u b d i v i d i n g a t u n e i n t o e q u a l g r o u p s of b e a r s .
b. A
stately
dance
popular
in
England
at t h e t i m e of Q u e e n
Elizabeth.
The
t e r m .is s t i l l u s e d i n E n g l i s h d a n c i n g a n d
American squares.
fl
-
-
-
--
-
-
-
-
THE
FOLK
DANCE
C O R N E R ,
by John Pappas, MVFD
50 YOU W A N T T O T E A C H F O L K D A N C E ?
If
w a y s , but
you
are
serious
about
teaching f o l k dance, study.
h e r e is a technique that I use.
T h e r e are manv
K n o w t h e d a n c e w e l l e n o u q h to .l.ead i t o r c a l l it.
S t u d y d e t a i l e d w r i t t e n i n s t r u c t i o n s . e i t h e r y o u r s or s o m e o n e e l s e ' s .
C o m p a r e written instructions from v a r i o u s sources and s e e h o w o t h e r
people
describe
the
dance.
Glean
from
t h e s e i n s t r u c t ions a n y
background
information
that w o u l d m a k e o t h e r p e o p l e i n t e r e s t e d i n
.the d a n c e .
I n p r i v a t e , practice t h e dance u t i l i z i n g the written i n s t r u c t i o n s .
F i g u r e o u t w h a t c u e s t o u s e for e a c h t y p e of s t e p .
On
a
3 x 5 c a r d w r i t e d o w n the c u e s a n d a m u c h - c o n d e n s e d d e s c r i p t i o n
of e a c h s t e p .
D a n c e t h e d a n c e u s i n q y o u r c u e s to c u e y o u r s e l f .
Pick
a
sympathetic
individual and t e a c h him/her t h e d a n c e even i f
he/she
already k n o w s it.
( H u s b a n d s / w i v e s a r e good s u c k e r s for t h i s
phase. )
Be
critiqued
by
him/her
(if
you
can
s t a n d to b e c r i t i c i z e d by
otherwise,
t h e unspoken reaction should g i v e you c l u e s
anyone) ;
about y o u r performance.
I f a s y m p a t h e t i c i n d i v i d u a l d o e s not e x i s t , u s e a m i r r o r .
If n e e d e d , r e w r i t e y o u r c u e s o n a n o t h e r 3 x 5 c a r d .
T e a c h t h e d a n c e t o t h e i n t e n d e d g r o u p , u s i n q your c u e c a r d .
If
n e e d e d , rewrite your 3 x 5 card u s i n g feedback from t h e g r o u p .
If
a
iot
of
questions
are
asked
a b o u t the s a m e part of t h e d a n c e ,
a d i f f i c u l t part or y o u r i n s t r u c t i o n s l c u e s a r e n o t
either
this
is
understood
very
w e 1 I.
Rethink
this
part of t h e d a n c e . C h a n g e
something <cues/instructions) i f necessary.
If s o m e part of t h e d a n c e w a s d i f f i c u l t for y o u , c h a n c e s a r e i t will
be
difficult
for
other
people.
C o n c e n t r a t e your e f f o r t o n t h i s
part.
it
i s b e t t e r to d e m o n s t r a t e rather t h a n t a l k y o u r w a y
In
general,
A c o m b i n a t i o n of t h e t w o is a u i t e p o w e r f u l .
through a dance.
If
t h e r e a r e p a r t s of t h e d a n c e that r e q u i r e the s t u d e n t s ' b a c k s t o
stop
at
t h a t p o i n t and get i n f r o n t of t h e m s o t h a t t h e y c a n
YOU I
see what
you
are
doing.
Couple d a n c e s are prone to this type of
( I h a v e ~ o t t e nm o r e s t i f f n e c k s t r y i n g t o t u r n a r o u n d t o
pitfall.
s e e w h a t is g o i n g o n that I d i s l i k e d t h e d a n c e for a l o n g t i m e u n t i l
s o m e o n e e l s e taught i t properly.)
I f p o s s i b I e , t h i n k of s o m e w a y t o
teach
the
dance
individually
before
teaching
i t in the correct
format ion.
In
general,
if
you
like
t h e d a n c e , y o u will d o a b e t t e r j o b o f
t e a c h i n g it.
K e e p t h e 3 x 5 c a r d s for f u t u r e use.
Y o u s h o u l d c o n c e r n y o u r s e l f w i t h t h e s t y l e of t h e d a n c e , d e m o n s t r a t e
i t c o r r e c t l y , a n d c o r r e c t any w r o n g s t y l e s a s i m m e d i a t e l y a s y o u s e e
them.
B u t don't b r o w b e a t y o u r s t u d e n t s . W e all m a k e m i s t a k e s .
T h i s a r t i c l e w a s w r i t t e n by
Folk dancing?
be,
an8 what
an
about i t years ago!
a member
of M V F D w h o wishes t o r e m a i n a n o n y m o u s .
I'd n e v e r e v e n h e a r d of i t !
B u t w h a t f u n i t t u r n e d out t o
outlet
f r o m worries and problems!
H o w I w i s h I had known
People
are
there
to
enjoy.
From
a11
w a l k s of l i f e , a l l a g e s , a l l
it
doesn't
matter
to folk d a n c e r s .
They are a breed apart.
natronalities,
They
have
an
a f i n i t y for o n e another.
They always welcome, w i t h incredible
h e l p a n d p a t i e n c e , a n y o n e w h o l i k e s to d a n c e :
There
is
a n a m b i e n c e of g a i t y .
T h i s i s c r e a t e d by t h e e t h n i c m u s i c a n d
dancing
o f s o m e t i m e s h u n d r e d s o f y e a r s of p a r t i c i p a t i o n by p e o p l e s f r o m o t h e r
eras
and
places--peoples
who
found
the s a m e pleasures and relaxation f o l k
dancers today f i n d .
As f o r o t h e r a d v a n t a g e s - - l o v e l y
friendships a r e made.
E x e r c i s e is g o t t e n
in the most d e c e p t i v e way--no struggle--just f u n .
Who needs aerobrcs?
There
is s o m e t h i n g for e v e r y o n e : line d a n c e s d o n e s i n g l y , c o u p l e d a n c e s ,
rast
for
the
y o u n g a n d a g i l e , s l w e r for t h e n o t s o y o u n g a n d n o t s o a g i l e ,
all kinds.
Happy times, happy people!
T h e r e ' s n o t i m e for a n y t h i n g n e g a t i v e .
's a n
escape
from
cares and troubles.
W e a r e just too b u s y h a v i n g g o o d ,
-wnolesome fun.
glad
Good m u s i c , dancing
I found it!
friendly
people--what
else can one ask
for?
And am
I
--------------
Folk
dancing,
that
most
enjoyable
of
dancing,
is o n e o f t h e o l d e s t
e x p r e s s i o n s of e m o t i o n s .
It's a n a t u r a l , i n s t i n c t i v e m o v e m e n t of t h e body f o r
pleasure
and
recreation.
Dancing
h a s a l w a y s b e e n a part of c e l e b r a t i o n s ,
c o u r t i n g , i m p o r t a n t m o m e n t s , a n d r e l i g i o n , g o i n g b a c k to p r i m i t i v e m a n .
This
most
natural
activity
evolved
in
small villages throughout the
world.
In l e i s u r e times h e a r t y peasants, including older people and smaller
children,
a l l j o i n e d in to m a k e t h i s a part of t h e i r s o c i a l l i v e s - - e s p e c i a l l y
in l i e u of m o r e s o p h i s t i c a t e d e n t e r t a i n m e n t t h a t w a s n o t a v a i l a b l e to t h e m .
A11
countries
and
nationalities
have
their
own particular types and
styles
of
music,
dance
steps,
and
patterns
that a r e h a n d e d d o w n through
generations.
English, Irish, and Scottish dancing differ from Balkan dancing;
French,
German, and Scandinavian dancing differ also.
Russia, w i t h vigorous,
fast-paced
dancing
reflects its cold climate.
L i n e d a n c e s a r e d o n e by C r e e k
sailors.
Israeli
dances
r e f l e c t t h e e n e r g y a n d v i b r a n c e of a n e w c o u n t r y .
Turkish
music
and
dancing
has
its
own exotic flavor. T h e Yugoslavs have
varied
s t y l e s of m u s i c a n d d a n c i n g w i t h i n t h e i r r e p u b l i c s .
There's something
to b e said for e v e r y country's f o l k dances.
International
folk
d a n c i n q t a k e s f r o m e a c h of t h e s e t h e m o s t b e a u t i f u l ,
interesting, and exciting.
A s I said earlier, a m I glad I found inttrnational
folk dancing.
BALLET, CHARACTER DANCE, FOLK DANCE
I g u e s s i f y o u h a d t o b l a m e s o m e o n e f o r t h i s a r t i c l e , i t w o u l d h a v e t o P.4
George
Tomov,
a N e w Y o r k t e a c h e r of Y s g o s I a v f o I k d a n c e , a n d T o n i F r a n c i s , ,
local
reacher
of
Israeli
foIk dance.
F o r i t w a s G e o r g e w h o sard that f o l k
d a n c e is t h e o n e a c t i v i t y that the c o m m o n p e r s o n (of w h i c h t h e r e a r e m i l l i o n s )
c a n p a r t i c i p a t e in a n art f o r m .
A n d w h a t h i g h e r art f o r m t h a n b a l l e t ?
And i t
was
T o n i w h o q u o t e d J o s e p h i n e S h w a r t z a s c o m m e n t ~ n gthat f o l k d a n c e is a f o r m
of
character
dance.
( B y t h e w a y , i f a n y of t h e p r i n c i p a l s d o not r e c o g n i z e
their s t a t e m e n t s , b l a m e i t o n the p a s s a g e of t i m e and a n a c t i v e f i l t e r . )
S o I t h o u g h t w h y n o t d e f i n e th-ese t e r m s .
By chance Maroe Darragh suplied
me
w i t h " T h e D a n c e E n c y c l o p e d i a " by A n a t o l e C h u j o y , c o p y r i g h t e d in 1 9 4 9 . T h e
f o l l o w i n g d,efinitions a r e the editor's and h i s contributors'.
A. B a l l e t : 1 . From t h e Italian ballare, to dance.
2. Ballate
were
s o n g s to a c c o m p a n y d a n c i n g i n T u s c a n y of t h e
13th 6 1 4 t h centuries.
3. Classical theatrical dancing.
4. F r o m P e r u g i n i
"A b a l l e t i s a s e r i e s o f s o l o a n d c o n c e r t e d
dances w i t h mimetic a c t i o n s accompanied by m u s i c and s c e n i c
accessories,
all
e x p r e s s i v e of a p o e t i c i d e a or s e r i e s o f
ideas,
or
a
dramatic
story
provided
by
an author or
choreographer."
-
-
" W h e n p e o p l e s p e a k of t h e c h a r B. Character Dance: From Boris Romanoff
a c t e r d a n c e w i t h i n t h e f r a m e w o r k of b a l l a t , t h e y g e n e r a l l y h a v e i n
mind
the
study
of
folk
dances
of
various
nationalities.
A c t u a l l y . . .t h e
study
of c h a r a c t e r d a n c e i s n o t a n d s h o u l d n o t b *
quite
s o s i m p l e . . . .T h e s t u d y o f t h e c h a r a c t e r d a n c e . . . is a c t u a l
t h e s t u d y of a s p e c i a l t e c h n i q u e i n t h e a r t o f b a l l e t , a t e c h n i q u e
w h i c h is a b s e n t i n t h e c l a s s i c d a n c e a n d w h i c h m i g h t b e c a l l e d t h e
technique
of
syncopated
accents.
First of a l l , the s t u d y a n d
practice
of s y n c o p a t e d a c c e n t s f o r c e s to w o r k t h o s e m u s c l e s w h i c h
t a k e n o p a r t w h a t s o e v e r in t h e m o v e m e n t o f t h e c l a s s i c d a n c e .
In
addition,
t h e s t u d y of t h e c h a r a c t e r d a n c e t e c h n i q u e c o m m u n i c a t e s
to the d a n c e r s clarity o f m o v e m e n t , sureness of g e s t u r e s and, m o s t
important, a rhythmic feeling, w h i c h forces the student and d a n c e r
to "liveu in a musical rhythm."
C . F o l k D a n c e : D a n c e c r e a t e d by a p e o p l e w i t h o u t t h e i n f l u e n c e of a n y o n e
choreographer
but built up to e x p r e s s the c h a r a c t e r i s t r c f e e l i n g s
of
a
people,
a c c o r d i n g to t h e p e c u l i a r i t i e s of a r a c i a l t e m p e r ament.
Folk dances include the s q u a r e dance in the USA, the p o l k a
Folk
and
czardas
in
Central
Europe,
the
r u m b a in C u b a , e t c .
dances have been incorporated into ballets.
It
is
only
when
the
choreographer s t e p s in and a r r a n g e s several f o l k
dances
for the stage w i t h costumes, lights, and a story line that d e f ~ n i t i o n s
become h a z y , and very f e w brave souls w o u l d d a r e explain the act as being f o l k
ballet,
character
d a n c e , f o l k dance, or e t h n o l o g i c d a n c e .
Ethnologic dance?
Don't a s k m e , b l a m e i t o n G e o r g e and T o n i .
TEN F U N D A M E N T A L S F O R I R I S H D A N C I N G
a s presented by U n a Kennedy o f D a l k e y , Ireland
1.
Promenade Step
Step
fwd
on
RF
t c t . 1 1 , b r i n g LF u p t o R F t c t . 2 ) , s t e p f w d o n R F
again
(ct. 3 ) .
T h e n s t e p f w d o n L F , b r i n g R F u p t o L F , s t e p LF f w d
again
tcts. 1,2,3, etc.)
T h e p r o m e n a d e s t e p is u s e d t o m o v e f w d a n d
b a c k w h e n m o v i n g in a c i r c l e , e t c .
2. S i d e S t e p ( s e v e n s a n d t h r e e s , r e e l t i m e )
Sevens:
Bring
LF
b e h i n d R F (I), s t e p t o R w i t h R F (2), L F u p to R E
(3),
step
to R
a g a i n ( 4 . > , L F up t o R F (S), s t e p t o R w i t h w i t h R F
( 6 1 , LF up to RF ( 7 ) .
T h i s takes two measure.§.
Threes:
S t a y i n g in t h e s a m e place, bring R F behind L F ( 1 1 , LF beside
R F ( 2 ) , R F b e s i d e L F (3.), L F b e h i n d R F ( 1 1 , R F b e s i d e L F ( 2 1 , L F b a c k
beside
RF ( 3 ) .
T h i s takes two measures.
W h e n g o i n g t o t h e L, start
with R F behind (1).
3. S i d e S t e p
( s e v e n s a n d t h r e e s , jig t i m e )
Start
with
hop
on
LF w i t h RF
raised,
t h e n m o v e to R a s a b o v e .
2
threes,
h o p o n LF and r a i s e R F (I), h o p o n L F a g a i n ,
Instead
of
bring
RF
down
behind
L F (2), hop o n R F a n d tramp 4 t i m e s s t a r t i n g
with
LF.
( W h e n d o i n g t h e jig s i d e s t e p , count hop 2 , 3 , 4 , 5 , 6 , 7 , hop
1, h o p 2 , 'hop 1,2,3,4.)
4. A d v a n c e
and Retire
Using promenade step, m o v e
of 4 m e a s u r e s .
fwd ( 2 threes) and back
(2
threes).
5 . S t a r o r " R h a n d s i n , L h i n d s in"
All
join
RH
in
center
and move around C W using promenade
m e a s . ) , t h e n L H in a n d m o v e b a c k CCW ( 4 m e a s . ) .
Total
step ( 4
6. Jig S t e p
( s o m e t i m e s c a l l e d " r i s e a n d q'rind"
RF
in
front
of L F f o r h o p ( I ) , R F r a i s e d i n f r o n t f o r 2 n d h o p ( 2 ) ,
h o p o n L F a n d b r i n g R F d o w n b e s i d e LF f o r t r a m p o n b a l l o f f t .
Tramp
R,L,R,L, counting 1,2,3,4.
Repeat all of a b o v e .
7. S w i n g
1.
M
crosses
his
hands
a n d h o l d s W ' s R H in h i s R H , L H i n h i s L H ,
hands
held
shoulder
height,
elbows bent.
Couple rotates C W while
moving C C W around room w i t h promenade step.
2.
T o s w i n g a n d s t a y in o n e p l a c e , M t a k e s p a r t n e r ' s R H i n h i s R H , W
holds
M's
elbow
i n h e r L H , M h o l d s W ' s e l b o w in h i s L H .
Rotate CW
w i t h R F in front, propelling w i t h LF, buzz step.
8. D o s - a
Move
9 .
Dos
f w d a n d bwd
in p r o m e n a d e s t e p a r o u n d o p p o s i t e p e r s o n .
To
pass
through
at e n d o f s o m e d a n c e s , c o u p I e s a d v a n c e a n d r e t i r e ,
then
advance
right t h r o u g h , head couple raistng joined hands, other
couple
(or
Line)
passing
underneath
thsir
raised hands, usually
passing L shoulder.
10. Etiquette
a. W h e n s t a r t i n g a d a n c e , W i s a l w a y s o n M's R .
b. W ' s h a n d i s a l w a y s o n t o p .
c . T h e f i g u r e i n f i g u r e d a n c e s is a l w a y s d o n e b y W f i r s t .