MANANG BIDAY Philippine Couple Dance From Ilocano RECORD

MANANG BIDAY Philippine Couple Dance From Ilocano RECORD

MANANG BIDAY
P h i l i p p i n e Couple Dance
From Ilocano
RECORD:
Folk Dancer MH 2022-B
This dance introduced i n the United States by P h i l i p p i n e Dance A u t h o r i t y
Francisca Aquino. Please do not reproduce these d i r e c t i o n s without her permisssion.
These d i r e c t i o n s have been condensed from her book on P h i l i p p i n e Folk Dances
which contains music and more d e t a i l e d d i r e c t i o n s .
MANANG BIDAI i s a dance a f t e r a popular love song i n the I]ocos region. Biday
i s t h e name o f a g i r l w i t h whom a young man i s very much i n love. Manang i s
used f o r addressing an older s i s t e r . I t i s a f a v o r i t e song o f the young boys
and g i r l s who sing the words o f the song a l t e r n a t e l y as they dance.
COUNT:
One, two, three, t o a measure.
FORMATION:
Partners stand about s i x feet apart., f a c i n g each other.
an audience, G i r l i s at Right side o f Boy.
Part 1 :
Partners face each other and do the f o l l o w i n g step. Boy has hands on
h i p s , G i r l holds s k i r t :
When f a c i n g
(a)
Place r i g h t heel forward (2 counts). Bring r i g h t f t back t o place
( l count )
Place l e f t heel forward (2 counts). Bring l e f t foot back t o place f o r
( l count)
2 meas.
(b)
S t a r t i n g w i t h r i g h t f o o t , take two w a l t z steps forward t o meet a t
centre and two waltz steps backward t o proper places. Arms i n
l a t e r a l p o s i t i o n , moving sideward r i g h t and l e f t a l t e r n a t e l y . 4 meas.
(c)
Three step t u r n r i g h t i n place, hands as i n (a)
2 meas.
(d)
Repeat a l l from (a-c) ,
8 meas.
Part 2:
PARTNERS FACE FRONT
(a)
S t a r t i n g w i t h r i g h t f o o t , take two waltz steps forward. Kumitang
Right hand, l e f t hand on waist on f i r s t measure and reverse p o s i t i o n
of hands on second measure
2 meas.
(b)
Do two touch steps i n f r o n t , (Right, L e f t ) w i t h hands as i n f i g u r e
Part l - ( a ) . The touch step i s :
Place Right t o e forward (2 counts). Bring foot t o place, count 1
Place Left t o e forward (2 counts). Bring foot t o place, count 1
2 meas.
(c)
Repeat Part 2-(a) moving backwards t o place
(d)
Three step t u r n r i g h t i n place.
(e)
Repeat a l l o f Part 2 from (a-d)
2 meas.
Hands as i n Figure l - ( a ) . . . 2 meas.
8 meas.
REPEAT DANCE FROM BEGINNING.
Words and music are a v a i l a b l e i n Francisca Aquino's book.
These dance d i r e c t i o n s issued f o r Francisca Aquino by Folk Dance
House from whom the records may also be purchased.
108 West 16 S t r e e t , New York City-11 Watkins 9-0644
10
MA
NAVU
Formation:
DANCE:
MUSIC:
C i r c l e , face c e n t e r ,
a l l j o i n hands.
PART ONE
•
1-2
3-4
5
6
7
8
9-10
11-12
13
14
15
16
17-32
PART
TWO
Count
1-3
4
5-7
8
9-32
R a y a Spivak
J o s e f Spivak
i
R points
R points
R bwd
L closes
R fwd
Hold
L bwd
R fwd
L bwd
R fwd
L closes
Hold
Reverse
fwd
swd
to R
to R
1-16.
Yem. R
1/4 t u r n on R to r i g h t side (face C C W )
3 steps fwd L R L
1/4 t u r n on L to left side (face c e n t e r )
Repeat 1-8 three m o r e t i m e s .
T H I S RECORD I S P A R T OF A S E R I E S
OF F O L K A I N O S Q U A R E DANCE D I S C S
B E A R I N G T H E F O L K DANCER L A B E L
D I R E C T E D BY M I C H A E L HERMAN
THIS
DANCE
FORMATION:
WAS
INTRODUCED
CIRCLE,
NO
IN
ROUMANIAN F O L K DANCE
F O L K DANCER R E C O R D M H 1 1 2 0
THIS
PARTNERS,
COUNTRY
HANDS
BY
JOINED
LARISA
ABOUT
D A N C E R S MOVE TO C E N T R E ONE S T E P FORWARB ON T H E
TOUCH R I G H T FOOT DOWN B E S I D E L E F T FOOT W I T H O U T
S T E P BACK ON R I G H T
FOOT.
TOUCH L E F T FOOT B E S I D E R I G H T WITHOUT W E I G H T ON
LUCACI
SHOULDER
LEFT
FOOT.
W E I G H T ON
IT.
IT.
M«VE SIDEWARDS 3 S T E P S . L R L ( R I G H T BEHIND L E F T )
F A C E TO T H E R I G H T AND T A K E TWO SLOW S T E P S , R , L ,
F A C E C E N T R E A G A I N AND T A K E 3 Q U I C K S T E P S S I D E W A R D S
TO T H E R I G H T ( R L R ) W I T H L E F T G O I N G B E H I N D R I G H T .
R E P E A T DANCE FROM B E G I N N I N G .
LEVEL.
THE MATADOR
Lines facing
1-4
R heel over L f t ; to R side (repeat 2 times i n a l l )
5
R toe i n back of L f t .
6
Step R to R
7
L toe i n back of R f t .
8
Step L to L
9
R Dehind L
10
11 - 12
L close beside R
Stamp 2 times with R f t .
13
Rock backward
14
Step forward on L . f t .
15 - 16
Turn L shoulder ( R , L )
Change places with partner
End facing partner
.
:
MEXICAN
MIXER
(U.S.A.Mexican)
R e c o r d : R.C.A. 4 1 2 8 ; S e l c o 7439; Rhythm 1024
Formation:
Dance:
C o u p l e s i n d o u b l e c i r c l e , t w o hands j o i n e d w i t h
Man's b a c k t o c e n t r e .
D i r e c t i o n s f o r man, l a d y r e v e r s e
partner.
feet.
1 . To man's l e f t , CCW, s t e p l e f t ; r i g h t t o g e t h e r ; s t e p l e f t ;
r i g h t t o g e t h e r ; step l e f t , cross r i g h t i n f r o n t ; step l e f t ;
k i c k r i g h t . (Pedal)
( c a l l step, together, step, together, step, cross, step,
Repeat s t a r t i n g
right.
Move i n CW
kick)
direction.
1 1 . R i g h t h a n d t o p a r t n e r , j o i n l e f t w i t h p e r s o n o n l e f t . (Men
f a c i n g i n , l a d i e s o u t ) Balance f o r w a r d , Balance back.
Right hard h o l d , walk 4 steps changing place w i t h p a r t n e r .
J o i n l e f t hands, b a l a n c e f o r w a r d , b a l a n c e back. L e f t hand
h o l d , w a l k 4 s t e p s i n t o d a n c e p o s i t i o n w i t h new p a r t n e r .
TWELFTH STREET RAG
( A m e r i c a n N o v e l t y Dance)
R e c o r d : C a p i t o l R e c o r d 123
Formation:
May be done as c o u p l e dance o r a n y number s i d e b y s i d e .
1.
H o l d i n g h a n d s w a l k f o r w a r d 4 s t e p s L,R,L,R. P o i n t l e f t t o e f o r w a r d , t h e n t o s i d e , them t a k e 3 s t e p s m o v i n g away f r o m c e n t e r ,
L,R,L. l e f t f o o t g o i n g b e h i n d r i g h t . R e p e a t f r o m b e g i n n i n g
s t a r t i n g o n r i g h t f o o t 4 s t e p s f o r w a r d R,L,R,L. P o i n t r i g h t f o o t
f o r w a r d , then t o s i d e , then t a k e 3 steps moving toward c e n t e r ,
R,L,R - r i g h t g o i n g b e h i n d l e f t f o o t .
2.
Take 7 s t e p s s i d e w a r d s t o c e n t e r , e i t h e r a s a s t e p - t o g e t h e r - s t e p t o g e t h e r o r as a s h u f f l e w i t h r i g h t f o o t g o i n g b e h i n d l e f t o n
1,3,5,7. The r e p e a t m o v i n g away f r o m c e n t e r .
3.
"Charleston".
Step on l e f t f o o t f o r w a r d .
Point r i g h t t o e forward.
Step back on r i g h t f o o t .
P o i n t l e f t t o e b e h i n d you. Step f o r w a r d
on l e f t . P o i n t r i g h t t o e f o r w a r d . Step on r i g h t f o o t . P o i n t l e f t
f o o t back.
E v e r y o t h e r t i m e y o u h a v e a t a g t h a t goes l i k e t h i s : Jump f o r w a r d o n
b o t h f e e t t h r o w i n g hands up i n a i r , jump b a c k w a r d s o n b o t h f e e t a n d
t h r o w hands b a c k . T u r n away f r o m y o u r p a r t n e r 1,2,3, s t e p s a n d c l a p
h a n d s o f p a r t n e r ( b o t h ) on 4 t h c o u n t .
When d o i n g f o r m l i n e o f many
p e o p l e , t u r n t o own r i g h t , 1,2,3, s t e p s c l a p h a n d s o n 4 t h c o u n t ,
( o r t a k e t w o s t e p s - t h e n c l a p own t h i g h s ( 3 ) , own h a n d s ( £ ) ,
p a r t n e r ' s hands ( 4 ) .
(American
couple d a n c e )
^^c<4u^
.,iV jljr
a
R e c o r d : F o l k r a f t 1093x**5A and 1^83x>+5A
^
F o r m a t i o n : Double c i r c l e :
couples f a c i n g line-of-dance (counterc l o c k w i s e ) , woman on p a r t n e r ' s r i g h t .
S t a r t i n g P o s i t i o n : I n s i d e hands j o i n e d . O u t s i d e f o o t f r e e .
Music 3 A
Measure
:
PART I (Music
AA)
1-2
Two STEP-SWINGS s t a r t i n g w i t h o u t s i d e f o o t : s t e p on
o u t s i d e f o o t (count 1 ) , swing i n s i d e f o o t a c r o s s i n
f r o n t of o u t s i d e f o o t (count 2 ) , pause (count 3 ) ,
and REPEAT, r e v e r s i n g f o o t w o r k ( c o u n t s *+-6).
3 - ^
Step on o u t s i d e f o o t ( c o u n t 1 ) , pause (count 2 ) ,
r e l e a s e and c l a p own hands t w i c e ( c o u n t s 3-*0,
pause ( c o u n t s 5 - 6 ) .
5-8
Re o i n i n s i d e hands and REPEAT p a t t e r n of measures
1-H r e v e r s i n g -footwork. F i n i s h f a c i n g p a r t n e r ,
b o t h hands j o i n e d .
9 - 10
S t e p backward, p u l l i n g away from p a r t n e r (count
1),
pause ( c o u n t s 2 - 3 ) , s t e p f o r w a r d , k e e p i n g hands
j o i n e d and e x t e n d i n g arms s i d e w a r d ( c o u n t k ) , pause
(counts 5-6).
11 - 12
13 - 1*+
R e j o i n both hands and s t e p f o r w a r d , e x t e n d i n g arms
s i d e w a r d ( c o u n t 1 ) , pause ( c o u n t s 2 - 3 ) , s t e p b a c k ward, p u l l i n g away from p a r t n e r ( c o u n t * t ) , pause
(counts 5-6).
15
S t e p f o r w a r d , r e l e a s i n g hands and emb a c i n g p a r t n e r
w i t h b o t h arms ( c o u n t 1 ) , pause ( c o u n t 2 ) , c l a p own
hands t w i c e b e h i n d p a r t n e r ' s b a c k ( c o u n t s 3 - * ) ,
pause ( c o u n t s 5 - 6 ) .
- 16
1
PART I I —
17 - 32
W a l t z promenade (Music
BB)
Sixteen waltz steps turning clockwise with partner i n
ballroom p o s i t i o n , progressing counterclockwise.
17Ja67
MONTEGO
Solo Novelty
PART 1
8 counts,
PART 2
Dance
BAY
Record:
L & R records
Bobby Bloom
No. 157
Touch R. t o R. s i d e .
C l o s e R. t o L.
Repeat w i t h l e f t , and once more R.
w i t h f e e t t o g e t h e r , bend both k n e e s t w i c e .
C r o s s R. o v e r L . Touch L. f o o t t o L.
C r o s s L. o v e r R.
S t e p back on R. and L .
( f e e t t o g e t h e r ) t o u c h R. h e e l f l o o r i n f r o n t .
S t e p f o r w a r d on R. t u r n i n g t o f a c e R. and
c l o s e L . t o R.
Repeat dance from t h e b e g i n n i n g ,
R each time.
taking a turn
I n s t r u c t i o n s by - J a c k Geddes
Records
a v a i l a b l e from:
C a n a d i a n F.D.S. Audio V i s u a l
185 S p a d i n a Ave., S u i t e 1,
T o r o n t o 2B, O n t a r i o
i\iii:'<Y<i. So.'ik. m i>'i
r-MtmiZ&m
COUPLE? SIDE 81 3EDE,, a.il fa.cju.g f r o n t ,
GHU ski<.h **k.',xi.e.,
w h n # tts»i .Uft^fe haacls tekthd back d u r i n g a & a £ «
s
PAJj?*
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t * left
wllte t M s yt«ps Jwmp t o s i d e •an b e t b f e e t . ,
Lady t h e n si&ps back
oa l « f i f « c t aiad t^siehe* r i g h t ; ir># V.» f l o o r * Ma» - K i l l s t e p back
OK i-igfat.
sad t'Mca l e f t ts>«, flr» this? step cwiee,
left,
l a d y vu r i g i v t ,
T o m away f t v « p e r t a e ?
J steps* &xtd .a ausap
Msfe* He* do ?.h* f i r s n , &fcep »e«viL«g tiyaardt part*©?*;
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FARTs
3s
AQELITAo Face partner and IBCT© diag&aally forward t o x l g h t
w i t h p o i n t i n g o f r i g h t toe ferw&rdj then backwards and leap
forward R,L,E low poi»t l e f t t o e forward and back Acdmove
diagonally forward t o ovaa l e f t so you f i n i s h i s partner's place?
l a d y % f a c i n g down* s»eri up,
Mwe w i t h l e f t shoulder t o partner u i t h a push step (4 o f them)
and then t u r n t o face partner w i t h a stamp* Proceed t o o r i g i n a l
place w i t h 4 aoro push steps l o f t shoulder t o partner aad stamp,
Hepeat a l l o f A d e l i t a ,
a
a
At t h i s p o i n t yea are separate from p a r t n e r How a l l take a
slew t u r n toward p a r t n e r Then another s i n g l e alow t u r n away
frcm parta©r New do & double t u r n aisigly towards pari&er
and f i n i s h side by sides and j o i n i n s i d e hands',
u
0
0
N-3V stave forward w i t h t h i s steps Step on r i g h t foot am q u i c k l y
beat l e f t , heel and toe en f l o o r i n a s h u f f l e step* M w ® f ^ w a r d
and thea drop hands and E&ke a b i g leep t©raaja 'al e f t * l a d y %
r i g h t s s t i l l using uam footwork, f i n i s h f a c i a g p a r t n e r
?
0
F i n i s h daises by p l a c i n g r i g h t f o o t over l e f t and t u r n i n g
casapleiely aroiaid t o l e f t and bow t o partner.
W
I f I t Hsf JW*
'
- r
. l ^ c c froo^eare; T o r t ^ a l
(Research for $hls dene* wes^done i n PortugalftyMadelynne. GtaeoeJ* -l£lfy
rtU,t|
Becord^
rr
WUfiM
4»23*,*ide I t a w M
:
with elbows*a* about iboulder^level:
$ m**:W
2/4 t i •
Mea*.
1-4
induction
(6*co«nts>
8»arc.biag steps i n the Urge circle.by^couples. CCW
9-11
6 steps i n s s u l l c i r c U CCttf ' Wlttfes^sisIlV c i r c l e ; l U a h dtilturn sharply
. fcoJLj Mi .cute, in.front o f prtnr.}
follow along behind; this
12 • 14
6 steps i n M M small c i r c l e aoving Cd (each dancer turns'sharply to. own
' I ^ o ^ t o ^ ^ i ^ t i o n 9$ the,c<*ciei,. Bnd wi|h «Uon.inside of the
jUrgV c i r c l e , ^facing ^pe ?tw*r;
l^wales step i n place,,,beginning with.L.foot,
t
15 (3/41
tA&lB'rVtSACfttttAM) Ml and B2 dance t o g e t h e r ' t o g e t h e r ;
these
are th« diagonal* i n t f c ^ f f t ..$W be^in on,IL f t .
%
M I n n d T ? 4ot
16 - ,7
lft • 19
M.2 **ati I d o :
1 waits step fwd, twd,.. cntr..
2 waits steps i n place
l ' s r e s waits step fwd. ending I
shoulder almost touching
2 waits steps backvd. to place r e - 1 w a l t # . s ^ e ^ ^ f i | s } . c n j t r $ l . w r s
«ecing steps
waits*#tep
m<&»t% shouts**
r
20 - i%~
2.waits steps to change places;
2 wajti st*ps.Jteptf toT place, r e pass faee-to-face, L ahldr leading tracing steps
22 - 23
2 wilts'st«p* to f i n i s h ; backing
into opposite.place
x
"2 waitjMtsps to change.places; pass
*^c"e 7*0?face,. t' shoulder leading
24-31
Eepeat action of seas. 16 - 23,
returning to original, nl*«as..
Repeat action of aea». 16 - 23,
returning t o original places
32
Step, K, !«, R /counts \d 2>. h t>vt i s . new. free,, to. begin danse..anew.
I«pesjt Jijrts A and B, continuing u n t i l iwsic,pease*..
NEHESKO
RECORDS
FORMATION:
RHYTHM:
F o l k r a f t 1537 x 45
Open c i r c l e o r l i n e . Hands joined and held low.
2/4
Translation*
Heavenly
Part'I
Meas. 1 - 2
3
4
5-8
Facing s l i g h l y and moving r i g h t , two running two steps ( r i r , l r l )
Continuing, two running steps ( r i g h t , l e f t )
Three quick steps ( r i g h t , l e f t , r i g h t ) i n place, t u r n i n g t o
face s l i g h t l y l e f t a t the end
Repeat p a t t e r n o f measures 1 - 4 reversing d i r e c t i o n and
footwork.
Part I I
9-12
Step on R f t forward, step l e f t f o o t i n place )
Step on R f t back, step l e f t f o o t i n place
) repeat
13 - 16 Four pas de basques - i n place and r a t h e r f l a t f o o t e d .
17
Stamp r i g h t f o o t i n place without t a k i n g weight.
SAVILA SE BELA LOZA
(Serbia)
RECORD:
F o l k r a f t 1496 x 45
FORMATION:
Line w i t h leader a t r i g h t .
Hands held down
Part I
Meas. 1 - 1 0 Twenty small running steps t o r i g h t beginning w i t h r i g h t foot
11-20
Twenty small running steps t o l e f t
21-22
Part I I
f a c i n g s l i g h t l y t o r i g h t , one schottische step ( or basic kolo
step) beginning w i t h r i g h t f o o t .
23 - 24 f a c i n g s l i g h t l y t o l e f t , one schottische step ( o r basic k o l o
step) beginning w i t h l e f t f o o t
25 - 32 Repeat p a t t e r n o f measures 2 1 - 2 4 twice ( t h r e e times i n a l l )
Words:
A p r e t t y grapevine entwined i t s e l f along a fence. Todor t r i c k e d
Toda and kissed her three times.
Savila se bela loza vinova)
Uz Tarabu vinova 3X
) 2X
Todor Todi podvalio )
T r i p u t curu p o l j u b i o ) 3*
NEVER ON SUNDAY
Record:
Tikvah 131; United A r t i s t s
234
FORMATION:
Open c i r c l e or l i n e , no p a r t n e r s , hands j o i n e d a t shoulder
height.
PART 1
"MISIRLOU" step.
Step on Right foot, pause, p o i n t l e f t toe forward, pause.
Take 3 steps moving sidewards Right, by p l a c i n g L e f t behind
Right, Right to the Right s i d e , L e f t i n f r o n t of Right.
Without dropping hands face l e f t and walk forward to get
R,L,R. (Note t h a t you swing the Right foot forward to get
i n t o t h i s p a r t of the dance. Now walk backwards 3 s t e p s .
L, R, L.
REPEAT P a r t 1.
PART 11
"MISIRLOU" step with a r e v e r s e .
Step on Right, point l e f t toe forward, take 3 steps
sideward, L,R,L, moving Right. Swing Right foot over l e f t
and take 3 steps walking l e f t (clockwise) R,L,R.
Swing l e f t foot over Right and walk 3 steps counterclockwise
L g R/ L •
Swing Right foot over L e f t and walk 3 steps c l o c k w i s e R,L,R.
Now walk backwards 3 s t e p s , L,R,L.
REPEAT P a r t 11.
PART 111
"MISIRLOU" step with a C r i s s Cross
Step on Right, p o i n t l e f t toe forward, Take 3 steps sideward
L,R,L, moving t o r i g h t . Cross Right foot over l e f t , put
f u l l weight on i t .
Cross L e f t foot over Right, put f u l l weight on i t .
Swing Right foot over l e f t and walk l e f t (clockwise) 3 s t e p s ,
R,L,R. Then back up 3 s t e p s , L,R,L.
REPEAT P a r t
111.
Note t h a t the f i r s t and l a s t p a r t of each step i s always the same.
v a r i a t i o n s only come i n the middle of the s t e p .
Each p a r t of the dance i s done twice, then repeat from the beginning.
hands shoulder height with elbows s l i g h t l y bent.
The
Hold
NEBESKO
RECORDt
FORMATION*
RHYTHM:
Folkraft 1537 x 45
Open c i r c l e or l i n e . Hands Joined and held low.
2/4
Translations
Heavenly
Parti
Meas. 1 - 2
3
4
5-8
Facing slighly and moving right, two running two steps ( r l r , l r l )
Continuing, two running steps (right, l e f t )
Three quick steps (right, l e f t , right) i n place, turning to
face s l i g h t l y l e f t at the end
Repeat pattern of measures 1 - 4
footwork.
reversing direction and
Part I I
9-12
Step on Rft forward, step l e f t foot i n place )
Step on Rft back, step l e f t foot i n place
13 - 16
17
) repeat
Four pas de basques - i n place and rather flatfooted.
Stamp right foot i n place without taking weight.
SAVILA SE HELA LOZA
(Serbia)
RECORD:
Folkraft l h % x 45
FORMATION:
Line with leader at right.
Hands held down
Part I
Meas. 1 - 1 0
Twenty small running steps to right beginning with right foot
11-20
Twenty small running steps to l e f t
21-22
Part I I
facing s l i g h t l y to right, one schottische step ( or basic kolo
step) beginning with right foot.
23 - 24
facing slightly to l e f t , one schottische step ( or basic kolo
step) beginning with l e f t foo£
25 - 32
Repeat pattern of measures 2 1 - 2 4
Words:
twice (three times i n a l l )
A pretty grapevine entwined i t s e l f along a fence. Todor tricked
Toda and kissed her three times.
Savila se bela loza vinova)
Uz Tarabu vinova 3*
)
2X
Todor Todi podvalio )
Triput curu poljubio)
3X
NIKO'S TARANTELLA
ITALY
This dance was taught t o me i n I s r a e l by an I t a l i a n t o u r i s t c a l l e d Niko.
I n order t o d i s t i n g u i s h i t from other Tarantellas t h e dance has since been
called Niko s Tarantella.
y
Record:
Any t a r a n t e l l a recording. The recording used a t t h i s camp i s
"Uchiove T a r a n t e l l a " , Unidisc EX 45268.
Formation:
Couples i n a c i r c l e .
circle.
Face p a r t n e r .
Man has back t o centre o f
FIGURE I : Arms above head.
1-2.
Polka i n place beginning w i t h small leap on R f t t o R side.
Snap f i n g e r s .
3-4.
Repeat 1-2 w i t h L f t . Snap f i n g e r s .
5-8.
Repeat 1-4.
9-16.
R arms around partners w a i s t s , f r e e arms i n a i r . Swing.
17-32.
Repeat Figure I .
FIGURE I I ; Join R hands.
1-8.
Boy does 4 polka steps i n place beginning w i t h L f t , w h i l e leading
the g i r l around from h i s R s i d e , behind him and back t o place.
G i r l does 4 polkas beginning w i t h R f t .
9-12.
Join i n s i d e hands and face CCW. Balance out and i n .
13-16.
G i r l t u r n s under boy s R arm w i t h 4 steps ( r 1 r l ) .
17-32.
Repeat Figure I I .
v
FIGURE I I I : Face p a r t n e r . Boy has back t o centre. Boy begin L f t ; g i r l R f t .
1.
A small leap towards p a r t n e r . Bend forward.
2-4.
Walk L R L, l i f t i n g arms g r a d u a l l y . Clap on 4 t h count.
5-8.
Four l i g h t running steps bkwd. Bring arms down.
9-16.
R shoulder do-si-do.
17-32.
Repeat Figure I I I only L shoulder do-si-do.
FIGUREi IV: S o c i a l dance p o s i t i o n , begin w i t h L f t f o r boy, R f t f o r g i r l .
1-12.
S i x polka steps around moving CCW.
13-16.
G i r l t u r n s t w i c e under boy*s L arm.
17-32.
Repeat Figure IV.
Note:
With t h i s p a r t i c u l a r recording, t h e f o u r t h f i g u r e i s done 3 times on
the t h i r d repeat o f the dance.
Presented by Teme Kernerman a t Ontario Folk Dance Camp 1971.
NUMERO CINCO
Record:
A & M 45 rpm. by Herb Alpert
formation: Couples in ballroom position,
Style:
Soft kneed, Latin American
Introduction:
4 measures (16 counts)
PART 1:
Novelty Dance: Henry Glass
man's back to centre.
Rhumba box step and change places.
Ladies step same as man's but with opposite
feet.
Measure l:Man steps left foot to the left, close right, step left forward
and hold count - 1,2,3 (Lady steps back on count three).
2:Repeat measure one with opposite feet and in opposite
directions,
(e.g. man starts right foot, and steps back on right on count 3).
3.'Holding ladies' right hand in man's left only, step back away
from partner on left foot, (lady steps back on right)olose
right
to left, step left foot forward, dancers are now standing along
side partners right to right. Man places right hand on partner's
waist, lady places left on partner's shoulder. This is the
"Boxcar" position.
4:Step forward on right turning to face partner, step on left
facing
partner, step right beside left and hold. Dancers are now in
ballroom positions.
5 -8:Repeat measures 1 to 4 crossing back to place.
PART 11: Side Step
Measures 9: Still in ballroom position man steps left to the left side and
closes right to left, count, slow, slow.
10: Man steps left to left side, closes right, and steps left to
side, count quick, quick, slow.
11-12: Same count as measures 9 & 10 but starting with right foot,
close (slow) step left to open (slow). Right closes
(quick) left open (quick) step right to close (slow).
13-16: Same as measures 9 to 12.
PART 111:
Jarabe Step
Measures
17-20: Step a little back from partner with man's hands behind back,
ladies ' hands holding skirt. Man starting left foot, lady
opposite, step forward weight on heel, step right in place
weight on toe, step "Left beside right weight on toe. Repeat
starting man's right, and repeat again from beginning of
Part 111. Finishing with three stamps and the spot and hold,
21-24: Repeat measures 17-20.
The above heel, toe, steps are done in even tempo and are there
fore against the music, which has 4 beats to the measure.
Repeat dance from the beginning.
Instructions
by Jack Geddes, Canadian Folk Dance Service
60S King Street West
Toronto 2B,Ontario
RIGHT and LEFT (OIGA VASEHBA)
Estonian Folk Dance
Record FOLK DANCER MH 3007
Part o f the Folk Dance Series
d i r e c t e d by Michael Herman
FORMATION:
SIX COUPLES i n a set although i t can be done w i t h Seven or f o r
t h a t matter any number o f couples t o make i t a mixer. Six i s
best. Lady stands t o r i g h t o f man.
FIGURE 1:
A l l j o i n hands and swinging j o i n e d hands forward and back walk
t o the LEFT 16 steps.
FIGURE 2:
On the f i r s t count the men send the g i r l s vigorously forward t o
the centre o f the c i r c l e where they immediately j o i n hands r a i s e d
at shoulder l e v e l w i t h bent elbows and move t o the l e f t w i t h 16
walking steps. AT THE SAME TIME, the boys j o i n hands on the
outside and IMMEDIATELY walk t o the RIGHT 16 steps.
FIGURE 3'
As the men are doing Figure 2 they should time themselves so
t h a t they s t a r t f i g u r e 3 standing t o the LEFT o f t h e i r o r i g i n a l
partners. NOTE t h a t t h i s i s t r u e only when you have s i x o r seven
couples, otherwise they should j u s t stop t o the LEFT o f any
g i r l , being c a r e f u l not t o have 2 men stop i n the same space?
Figure 3 i s done by the boys (without dropping t h e i r j o i n e d
hands) p l a c i n g t h e i r hands over the g i r l s heads and making a
frontwards basket. I n t h i s basket p o s i t i o n a l l walk t o the Left
16 steps.
7
FIGURE 4:
A l l face partners and do a GRAND RIGHT AND LEFT using 16
walking steps.
REPEAT DANCE FROM THE BEGINNING:
Note t h a t i t w i l l happen a t the end o f the Grand Right and Left
t h a t when you form a c i r c l e f o r a repeat o f the dance there may
be two g i r l s or two men together. Don*t run around the c i r c l e t o
f i n d a correct place as i t w i l l a l l s t r a i g h t e n out i t s e l f
normally when the g i r l s are sent t o the center o f the r i n g f o r
Figure 2. As long as everyone remembers t h a t you s t a r t t h e
Grand Right and Left by the men f a c i n g Right, the g i r l s L e f t .
The Estonian s t y l e Grand Right and Left i s done w i t h each hand
coming down from high w i t h a b i g sweep o f the arm.
Dancers should be encouraged t o sing La, l a , l a , during the dance
t o add t o the fun o f the dance.
Other Estonian dances recorded on the FOLK DANCER l a b e l i n c l u d e :
Virua Waltz
K i g i i d i Kaagidi
Tuljak
Sadala Polka
Vandra Polka
Jamaja Labajalg
Eide Ratas
Raksi Jaak
These d i r e c t i o n s issued by FOLK DANCE HOUSE, 108 West 16 S t r e e t ,
New York City - 11 M a i l address, P.O. Box 201, Flushing L . I . N.Y.
Send f o r brochures, catalogues, etc. Serving the f o l k dance
p u b l i c since 1940. V i s i t us when i n New York at the New York
C i t y address.
OLAHOS
H u n g a r i a n Dance f r o m S o u t h H u n g a r y
T a u g h t by A n d o r Czompo
Music:
Q u a l i t o n LPX 18007
FORMATION:
1
Group o f i n d i v i d u a l s
One b a c k c r o s s CIFRA (QQS) t o t h e R i g h t .
Jump t o t h e R i g h t i n t o 5 t h p o s i t i o n . L e f t f e e t
i n f r o n t , knees s t r a i g h t .
Jump i n t o 5 t h p o s i t i o n , R i g h t f e e t f o r w a r d s
knees b e n t .
Repeat t h e above c o m b i n a t i o n t w o more t i m e s .
One b a c k c r o s s CIFRA t o t h e R i g h t .
Jump w i t h h e e l - c l i c k c l o s e t o L e f t .
Jump w i t h h e e l - c l i c k c l o s e t o t h e R i g h t .
2. Two hop h e e l s t e p RLR (QQS) i n p l a c e .
Do a h o p - h e e l - s t e p - h e e l - s t e p - h e e l - s t e p i n p l a c e
(QQ Q Q Q Q S)
w i t h c l a p s on t h e marked b e a t s .
Two h o p - h e e l - s t e p RLR (QQS) i n p l a c e .
Do a h o p - h e e l - s t e p - h e e l - s t e p - j u m p h e e l c l i c k
(QQQQ,SS).
3. Two b a c k c r o s s CIFRA t o R i g h t and L e f t
6 q u i c k s i d e c r o s s s t e p s w i t h b e n t knees t o t h e
R i g h t w i t h l e f t f o o t c r o s s i n g i n back
Step t o t h e R i g h t w i t h R ( S ) .
Repeat t h e t w o c r o s s CIFRA and f o u r s i d e c r o s s
s t e p w i t h o p p o s i t e f o o t w o r k and d i r e c t i o n
S t e p t o t h e L e f t on t h e L e f t f o o t ( S )
Jump h e e l - c l i c k t o R i g h t .
Repeat t h e dance f r o m t h e b e g i n n i n g .
CIFRA STEP
1.
2.
3.
4.
Step t o R w i t h R f t .
Step b e h i n d R f t w i t h L f t .
Step t o R w i t h R f t .
Hold
OOSKA GOOKAS
(Armenian)
Record:
F o l k r a f t 1530x45 or Rendezvous i n Armenia - Roulette 25230 (LP)
Formation:
Broken C i r c l e , l i t t l e f i n g e r s j o i n e d , shoulder l e v e l
f o r hands. C i r c l e moves t o t h e r i g h t .
Meas. 1-2
Two two-steps s t a r t i n g w i t h R f t . , moving t o t h e R
Meas. 3
Facing centre - step R t o r t . , step L f t . behind R.
Meas. 4
Step R t o r t . , step L near R w i t h no weight
Meas. 5
Step L f t . t o L, step R f t . beside L.
Hands move t o t h e L e f t and t o the r i g h t .
Meas. 6-8
Repeat Meas. 5 three more times - on the l a s t step
(step R f t . beside L)
put no weight on i t .
Begin t h e dance from the beginning.
Note:
Ooska Gookas - t r a n s l a t i o n - Where do you come from?
ORIJENT
PRONUNCIATION - O-ree-yent
RECORD:
DU-TAM 1001 (45 rpm)
This i s one of several variants of Orijent, which o r i g i n a l l y comes from a group
of v i l l a g e s j u s t south of Belgrade, Serbia, Yugoslavia.
FORMATION:
Figure'I
Meas.l
Meas.2
Meas.3-16
FIGURE I I
Meas.l
Meas. 2
Meas.3
Meas.4
FIGURE I I I
Meas.l
Meas.2
Meas.3-4
Meas.5-8
Meas.9-16
Open l i n e or c i r c l e of dancers, no partners, hands joined and held
low. Often, when men dance Orijent i n separate l i n e s , they place
hands on neighbours* nearest shoulders.
Place L toe on ground i n front of Rft ( c t . l ) , moving R, s h i f t
weight on L f t i n front of Rft (ct.2)
Step onto Rft i n front of L f t , having brought i t across i n a
s l i g h t " s l i c i n g * movement ( t . l ) ; step onto L f t behind Rft
(ct.&); step onto R f t beside L f t ( c t . 2 ) .
Repeat movements of Meas. 1-2 seven more times, for a t o t a l of eight.
With a goodly stretch of L leg step out to side with L f t f t ( c t . l ) j
step Rft across i n front of L f t ( c t . 2 ) . (during t h i s measure dancer
i s bent forward from waist).
Step diagonally forward/right with L f t , straightening body ( c t . l ) j
pause (ct.2) ( r t leg comes up, bent knee, turned i n toward l e f t .
Step straight back on Rft behind L f t ("as i f on a tightrope") c t . l ;
Step straight back on L f t behind R f t i n same style ( c t . 2 ) .
Step back ("on tightrope") with Rft behind L f t again ( c t . l ) :
Stretch L leg to l e f t with a shaking movement of L f t . (ct.2;.
Step s l i g h t l y forward on b a l l of L f t , keeping feet close, no
weight on Rft, turning heels to L ( c t . l ) ; same with Rft, turning
heels to R (ct.2)
Step L-R-L i n the same style as the steps i n Meas. 1, continuing to
move forward
Same as Meas. 1-2, continuing forward toward centre
Same as Meas. 1-4, but backwards, returning to place.
Repeat a l l of Meas. 1-8 once more.
Presented by Olga Sandolowich - The College of Education - Summer School 1970.
OSLO WALTZ
Scotch-English
RECORD;
Folk Dancer MH-3016
T h i s old-time dance i s s a i d to be o f Scotch-English o r i g i n , s e t to a
Norwegian f o l k melody, although some describe i t a s an American dance o f the
l a s t century.
Formation: Couples with hands joined i n a s i n g l e c i r c l e , f a c i n g c e n t r e .
Lady on her p a r t n e r ' s r i g h t .
P a r t One. (MUSIC A)
MEAS. 1-2. A l l do a waltz balance forward (leading with man's l e f t foot
and lady's r i g h t ) toward the center, and back, with the other foot.
MEAS. 3-4. Man r e l e a s e s h i s p a r t n e r ' s hand, but holds the r i g h t hand o f
the lady on h i s l e f t . She c r o s s e s i n f r o n t o f him with a r i g h t - f a c e t u r n , i n
two waltz steps ( s i x steps) and ends on h i s r i g h t s i d e , f a c i n g c e n t e r .
MEAS. 5-8. and MEAS. 1-8. (Repeated). Action of MEAS. 1-4 i s repeated
three more times, so each lady h a s passed t o the r i g h t four times.
P a r t Two.
(MUSIC A)
MEAS. 1-2. Each man j o i n s both hands with the lady now on h i s r i g h t , h i s
new p a r t n e r . They do a step-swing balance i n waltz rhythm toward the center
(man stepping on l e f t foot, swinging r i g h t over, and lady with opposite footwork)
and then do the same a c t i o n away from the c e n t e r .
MEAS. 3-4. R e l e a s i n g hands, they do a complete turn away from each other i n
s i x s t e p s , man t u r n i n g l e f t and lady r i g h t , and moving toward the c e n t e r .
MEAS. 5-8. Facing and j o i n i n g hands again, they repeat a c t i o n o f MEAS. 1-8
i n opposite d i r e c t i o n , doing waltz step-swing away from the c e n t e r , toward the
center, and turning i n d i v i d u a l l y away from c e n t e r .
P a r t Three.
(MUSIC B)
MEAS. 1-4. J o i n i n g both hands again, couples take two step-draws toward
the c e n t e r (not t a k i n g the weight on the following foot on the second s t e p draw) and two step-draws away from the c e n t e r . They maneuver s l i g h t l y so the
man has h i s back t o the c e n t e r on the l a s t step-draw.
MEAS. 5-8. I n c l o s e d dance p o s i t i o n , couples do four w a l t z s t e p s , t u r n i n g
clockwise, and moving around the c i r c l e counter-clockwise.