DOCSLIB.ORG

Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI DOCUMENT RESUME ED 429 050 SP 038 379 AUTHOR Weikart, Phyllis S. TITLE Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI. ISBN ISBN-1-57379-008-7 PUB DATE 1997-00-00 NOTE 674p.; Accompanying recorded music not available from EDRS. AVAILABLE FROM High/Scope Press, High/Scope Educational Research Foundation, 600 North River Street, Ypsilanti, MI 48198-2898; Tel: 313-485-2000; Fax: 313-485-0704. PUB TYPE Books (010)-- Guides - Non-Classroom (055) EDRS PRICE EDRS Price MF04 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Cultural Activities; Cultural Education; *Dance Education; Elementary Secondary Education; *Folk Culture; Music Education IDENTIFIERS *Folk Dance ABSTRACT This book is intended for all folk dancers and teachers of folk dance who wish to have a library of beginning and intermediatefolk dance. Rhythmic box notations And teaching suggestionsaccompany all of the beginning and intermediate folk dances in the book. Many choreographieshave been added to give beginning dancers more experience with basicdance movements. Along with each dance title is the pronunciation and translation of the dance title, the country of origin, and the "Rhythmically Moving"or "Changing Directions" recording on which the selectioncan be found. The dance descriptions in this book provide a quick recall of dances and suggested teaching strategies for those who wish to expand their repertoire of dances. The eight chapters include: (1) "Beginning and Intermediate Folk Dance: An Educational Experience"; (2) "Introducing Folk Dance to Beginners"; (3) "Introducing Even and Uneven Folk Dance Steps";(4) "Intermediate Folk Dance Steps"; (5) "Folk Dance--The Delivery System"; (6) "Folk Dance Descriptions"; (7) "Beginning Folk Dances"; and (8)"Intermediate Folk Dances." Six appendixes conclude the volume. (SM) ******************************************************************************** Reproductions supplied by EDRS are the best thatcan be made from the original document. ******************************************************************************** ID 11 IS -) PERMISSION TO REPRODUCE AND U S DEPARTMENT OF EDUCATION DISSEMINATE THIS MATERIAL IN MICROFICHE, Office of Educational Research and Improvement AND IN ELECTRONIC MEDIA FOR ERIC EDUCATIONAL RESOURCES INFORMATION COLLECTION SUBSCRIBERS ONLY, CENTER (ERIC) HAS BEEN GRANTED BY IBIThis document has been reproducedas received from the person or organization originating it L.:Ia../ lor 0 Minor changes have been made to improve reproduction quality Points of view or opinions stated in this TO THE EDUCATIONAL RESOURCES document do not necessarily represent C 2A INFORMATION CENTER (ERIC) official OERI position or policy 1. it II 0 i -1 .:.' BEST CO Y AV ILABLE Teaching Folk Dance Related Movement and 'Music Materials Foundations in Elementary Education: Movement Foundations in Elementary Education: Music Cultures and Styling in Folk Dance Round the Circle: Key Experiences in Movement for Children Movement Plus Music: Activities for Children Ages 3 to 7, Second Edition Movement Plus Rhymes, Songs & Singing Games, Second Edition Movement in Steady Beat Rhythmically Moving 1-9 (records, cassettes, CDs) Guide to Rhythmically Moving 1 Guide to Rhythmically Moving 2 Guide to Rhythmically Moving 3 Changing Directions 1-6 (records, cassettes, CDs) Rhythmically Walking (cassettes) Beginning Folk Dances Illustrated 1-6 (videos) Teaching Folk Dance (video) Avai la Me from High/Scope Press 600 North River Street, Ypsilanti, Michigan 48198-2898 ORDERS: phone (800)40-PRESS, fax (800)442-4FAX 4 TechiriFoLk Corice Successful Steps aamisiow...%hommo...".1111%,..... Phyllis S. Weikart OrrHIGH/SCOP rEl a division of High/Scope Educational Research Foundation Published by HIGH/SCOPE® PRESS A division of High/Scope® Educational Research Foundation 600 North River Street Ypsilanti, MI 48198-2898 (313)485-2000, FAX (313)485-0704 Editor: Marcia LaBrenz Cover design and layout: Metaphor Design Interior design and layout: Metaphor Design and Linda Eckel Copyright © 1997 by the High/Scope Educational Research Foundation. All rights reserved. Except as permitted under the Copyright Act of 1976, no part of this book may be reproduced or distributed in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage-or-retrieval system, without prior written permission from the publisher. High/Scope is a registered trademark and service mark of the High/Scope Educational Research Foundation. Library of Congress Cataloging-in-Publication Data Weikart, Phyllis S., 1931 Teaching folk dance : successful steps / Phyllis S. Weikart. p.cm. Includes index. ISBN 1-57379-008-7 1. Folk dancingStudy and teaching.I. Title. GV1589.W471997 796.31'071dc21 96-48038 CIP Printed in the United States of America 109876 5 43 2 1 Dedicated To my friends and family Contents Preface xi CHAPTER 1 Beginning and Intermediate Folk Dance: An Educational Experience 3 Historical Background of Folk Dance 3 Folk Dance in the United States4 Teaching Folk Dance to Today's Students4 International Folk Dance as an Educational Experience 5 Beginning Folk Dance7 Intermediate Folk Dance8 Recordings for the Dances9 How to Use This Book9 CHAPTER2 Introducing Folk Dance to Beginners 11 Guidelines for Selecting Music and Organized Movement and Dance Sequences for Beginners12 Building Success With the First Movement and Dance Sequences13 Introducing Beginning Folk Dances and Steps by Level of Difficulty16 Dance Sequences by Level of Difficulty17 Introducing Beginners to Level I Dances20 Introducing Beginners to Level II Dances21 Introducing Beginners to Level III Dances22 Summary24 CHAPTER 3 Introducing Even and Uneven Folk Dance Steps 27 Introducing Beginners to Even Folk Dance Steps27 CHERKESSIYA Step27 GRAPEVINE Step29 GRAPEVINE PAITERN Step31 STEP HOP 32 SCHOTTISCHE Step33 Introducing Beginners to Uneven Folk Dance Steps35 THREE36 TWO-STEP 37 YEMENITE SteP39 POLKA Step41 Summary 42 CHAPTER 4 Intermediate Folk Dance Steps 45 The SINGLE CSARDAS and the DOUBLE CSARDAS45 OPEN RIDA and the CLOSED RIDA 48 DOUBLE CHERKESSIYA 49 HARMONICA Step50 WALTZ Step52 REVERSE THREE Step53 STEP HOP/STEP54 HOP/STEP STEP55 KOLO Step56 DRME Step57 Summary 58 CHAPTER 5 Folk DanceThe Delivery System 59 The Teaching Model60 Getting Started61 Teaching the First Few Folk Dances66 Simplifying and Modifying Folk Dances67 General Strategies for Teaching Folk Dance68 Specific Strategies for Teaching Folk Dance73 Teaching Dances in Uncommon Meter78 Strategies for Varying Presentations79 Chair Dancing: An Inclusion and Modification Technique81 Learning More About Teaching Folk Dance81 % ter NArrIve,, Contents 9 THIS PAGE INTENTIONALLY LEFT BLANK Preface Ihe many opportunities I have had over the years to share my love for internation- Tal folk dance with students of all ages have led to some of the most memorable events in my teaching career. To watch the faces of elementary-aged students as they become successful with folk dance; to observe middle school and high school students as they change from being critical and uncomfortable with dance to being successful and eager to learn more; to work with college-aged students and students of senior citizen age, and to have some of those individuals become successful with dance for the first time in their livesthese have all provided me with many exciting teaching memories. This book is written for all of the folk dancers and teachers of folk dance who wish to have a library of beginning and intermediate folk dance. This exciting educa- tional form of dance should never be lost. Folk dance is the only form of dance that provides true integrated learning across the curriculum. With the strong base in move- ment and music that international folk dance provides, students can become more suc- cessful in understanding concepts in other areas, such as physical education (including fitness), music, art, math, science, language and literacy, social studies, history, current events, and foreign languages. Teaching Folk Dance: Successful Steps consolidates and expands on the material presented in my two previous folk dance books, Teaching Movement & Dance: A Sequential Approach and Teaching Movement & Dance: Intermediate Folk Dance. This new volume includes many new features. For example, rhythmic box notations and teaching suggestions accompany all of the beginning and intermediate folk dances in this book, and many new choreographies have been added to give beginning dancers more experience with basic dance movements. In addition, along with each dance title is the following information: the pronunciation and translation of the dance title, the country of origin, and the Rhythmically Moving or Changing Directions recording on which the selection can be found. Many related folk dance materials are also available from the High/Scope Press. For example, many of the beginning dances in this book are demonstrated on the video series, Beginning Folk Dances Illustrated 1-6. A companion book, Cultures and Styling in Folk Dance by Sanna Longdeti and myself, serves as a much-needed resource for both teachers and students of folk dance, providing detailed information on the cultural background and stylingof the various folk dances. The guides to the Rhythmically Moving recordings, which provide information about the music, are a further aid. These guides include information about the tempo, number of repetitions of the melody, form of the
Load more

Recommended publications
  • A Short Course in International Folk Dance, Harry Khamis, 1994
    Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ...............................
    [Show full text]
  • Polka Sax Man More Salute to Steel 3 from the TPN Archives Donnie Wavra July 2006: 40Th National Polka by Gary E
    Texas Polka News - March 2016 Volume 28 | Isssue 2 INSIDE Texas Polka News THIS ISSUE 2 Bohemian Princess Diary Theresa Cernoch Parker IPA fundraiser was mega success! Welcome new advertiser Janak's Country Market. Our first Spring/ Summer Fest Guide 3 Editor’s Log Gary E. McKee Polka Sax Man More Salute to Steel 3 From the TPN Archives Donnie Wavra July 2006: 40th National Polka By Gary E. McKee Festival Story on Page 4 4-5 Featured Story Polka Sax Man 6-7 Czech Folk Songs Program; Ode to the Songwriter 8-9 Steel Story Continued 10 Festival & Dance Notes 12-15 Dances, Festivals, Events, Live Music 16-17 News PoLK of A Report, Mike's Texas Polkas Update, Czech Heritage Tours Special Trip, Alex Says #Pep It Up 18-19 IPA Fundraiser Photos 20 In Memoriam 21 More Event Photos! 22-23 More Festival & Dance Notes 24 Polka Smiles Sponsored by Hruska's Spring/SummerLook for the Fest 1st Annual Guide Page 2 Texas Polka News - March 2016 polkabeat.com Polka On Store to order Bohemian Princess yours today!) Texas Polka News Staff Earline Okruhlik and Michael Diary Visoski also helped with set up, Theresa Cernoch Parker, Publisher checked people in, and did whatever Gary E. McKee, Editor/Photo Journalist was asked of them. Valina Polka was Jeff Brosch, Artist/Graphic Designer Contributors: effervescent as always helping decorate the tables and serving as a great hostess Julie Ardery Mark Hiebert Alec Seegers Louise Barcak Julie Matus Will Seegers leading people to their tables. Vernell Bill Bishop Earline Berger Okruhlik Karen Williams Foyt, the Entertainment Chairperson Lauren Haase John Roberts at Lodge 88, helped with ticket sales.
    [Show full text]
  • Coupe Mondiale 5-10 September 2017 Teatro “La Nuova Fenice” OSIMO
    th 70Coupe Mondiale 5-10 September 2017 Teatro “La Nuova Fenice” OSIMO Confédération Internationale des Accordéonistes (CIA) www.coupemondiale2017.org CREATE CON LE NOSTRE MANI Pubblicita_02_A5_Verticale_Massimo_Pigini_29_08_2017.indd 1 29/08/2017 13:20:04 It is a great honor for me and for the city of Osimo to host the 70th edition of the Coupe Mondiale International Accordion Competitions. I strongly believe in the music as a tool for education and the development of interpersonal relationships. This event is a very important moment for our entire community. The accordion, born in the nearby Castelfidardo, represents our cultural roots, our history and our future. I want to welcome all the musicians who have come here from all over the world and I wish that they will realize their dreams and have a brilliant artistic career. Osimo is rich in history, an history of about 3,000 Simone years that left us a precious legacy: artifacts and Pugnaloni archaeological sites, artworks and buildings of Mayor of Osimo important and noble patrons. I want to thank the Artistic Director Mirco Patarini and all the people who worked hard to organize the event. Enjoy the music, enjoy the city and I wish for the guests an unforgettable stay here in Osimo. I remind everyone the important appointment with the 42th edition of PIF Castelfidardo, from 10 to 17 September 2017. The Mayor of Osimo Simone Pugnaloni - Osimo 2017 Coupe Mondiale th 70 3 Dear Delegates, Jury Members, Musicians, Competitors and Accordion Enthusiasts. I want to warmly welcome you all to Osimo for the 70th Coupe Mondiale hosted in 2017 by Italian Accordion Culture (IAC) under the auspicies of the Confédération Internationale des Accordéonistes (CIA) – IMC – UNESCO.
    [Show full text]
  • Južnoslovenski Filolog
    ЈУЖНОСЛОВЕНСКИ ФИЛОЛОГ ПОВРЕМЕНИ СПИС ЗА СЛОВЕНСКУ ФИЛОЛОГИЈУ И ЛИНГВИСТИКУ УРЕЂУЈЕ А. БЕЛИЋ УЗ СТАЛНУ САРАДЊУ г. г. А. МЕЈЕ-А, проф. Collège de France, A. CTОЈИЋЕВИЋА, проф. Унив. у Љубљани, К. ЊИЧА, проф. Унив. у Кракову, Љ. СТОЈAНОВИЋА, акад. у Београду, М. РЕШЕТАРА, проф. Унив. у Загребу, О. ХУЈЕРА, проф. Унив. у Прагу, Р. НАХТИГАЛА, проф. Унив. у Љубљани, СТ. ИBШИЋА, проф. Унив. у Загребу, СТ. М. КУЉВАКИНА, проф. Унив. у Београду, ФР. ИЛЕШИЋА, проф. Унив. у Загребу, ФР. РАМОВША, проф. Унив. у Љубљани и Х. БAРИЋА, проф. Унив. у Београду. КЊИГА III. ШТАМПАЊЕ ОВЕ КЊИГЕ ПОТПОМОГНУТО ЈЕ ИЗ ЗАДУЖБИНА СРП. КР, АКАДЕМИЈЕ: арх. НИЋИФОРА ДУЧИЋА и Д-ра. ЉУБ. РАДИВОЈЕВИЋА. БЕОГРАД, 1922–1923. : г САДРЖАЈ ШЋЕ КЊИГЕ. -о-до-ко Расправе. стpд М. Решетар: Završetak -u u gen. sing. muških imenica u slovenskom jeziku . 1–6 Лbуб. Стојановић: Реченичне конструкције без verbum-a finitum-a . 7–10 Dr. Franjo Fancev : О avtorstvu i postanju rječnika „Lexicon latinum . Zagrabiae 1742“ . 11–25 Г. Ил њи н скi W : Књ зтимологiи имени chrbrvatЋ „Хорватњ“ . 36—30 А. Белић: О промени ст. слов. кли „фиi“ . 31–34 Dr. Nikola Majnarić: Jedna zanimljiva pojava u ravnogorskom narječju . 35–40 П. К. Булат: Из живота речи . 41–47 Др. Ст. Куљбаки н: Акценатска питања . 48—70 Прилози. 1. Ivan Koštial: Stsl. zajeсњ . 71—72 2. P. Skok: Iz srpskohrvatske toponomastike . 72—77 3. В. Зрнић: Неколико ситних прилога . 78 4. А. Белић: Двојица, неколицина и слична обра зовања . 79—81 5. Ђуро Шкарић: Јужнословенска ријечца „ве“ 81—83 6. Dr. Fr. Ilešić: Slovenske „etimologije“ .
    [Show full text]
  • Types of Dance Styles
    Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together.
    [Show full text]
  • Northern Junket, Vol. 6, No. 11
    \ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly.
    [Show full text]
  • SYRTAKI Greek PRONUNCIATION
    SYRTAKI Greek PRONUNCIATION: seer-TAH-kee TRANSLATION: Little dragging dance SOURCE: Dick Oakes learned this dance in the Greek community of Los Angeles. Athan Karras, a prominent Greek dance researcher, also has taught Syrtaki to folk dancers in the United States, as have many other teachers of Greek dance. BACKGROUND: The Syrtaki, or Sirtaki, was the name given to the combination of various Hasapika (or Hassapika) dances, both in style and the variation of tempo, after its popularization in the motion picture Alexis Zorbas (titled Zorba the Greek in America). The Syrtaki is danced mainly in the taverns of Greece with dances such as the Zeybekiko (Zeimbekiko), the Tsiftetelli, and the Karsilamas. It is a combination of either a slow hasapiko and fast hasapiko, or a slow hasapiko, hasaposerviko, and fast hasapiko. It is typical for the musicians to "wake things up" after a slow or heavy (vari or argo) hasapiko with a medium and / or fast Hasapiko. The name "Syrtaki" is a misnomer in that it is derived from the most common Greek dance "Syrtos" and this name is a recent invention. These "butcher dances" spread throughout the Balkans and the Near East and all across the Aegean islands, and entertained a great popularity. The origins of the dance are traced to Byzantium, but the Argo Hasapiko is an evolved idiom by Aegean fisherman and their languid lifestyle. The name "Syrtaki" is now embedded as a dance form (meaning "little Syrtos," though it is totally unlike any Syrto dance), but its international fame has made it a hallmark of Greek dancing.
    [Show full text]
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • Baint an Fheir (Haymaker 'S Jig) (Ireland)
    FOLK DANCE FEDERATION OF CALIFORNIA RESEARCH COMMITTEE December, 1961 Vera Jones and Wilma Andersen BAINT AN FHEIR (HAYMAKER 'S JIG) (IRELAND) Baint An Fheir (Bwint Un Air), which is best done with 5 couples, was taught by Una and Sean O'Farrell, at Uni­ versity of the Pacific Folk Dance Camp, Stockton, Cal'ifomia. MUSIC: Record: "Come To The Ceili", Top Rank Records of America, "Jigs", Side 2, Band 5. Also "My Ireland", Capitol T 10028, Side 2, Band 1, or any good jig. FORMATION: Longways formation of .5 cpls. M stand in one line, with hands joined, facing their ptrs who are in a similar line. M L shoulder is twd music. STEPS AND Basic Three's (Promenade) for jig: hop L (ct 6), step on R (ct 1,2), step on L (ct 3), step on R STYLING: (ct 4, 5). Next step would start with hop on R and use opp ft. This step may be done in place, moving in any direction or turning either R or L. ct: 6 1, 2 3 4, ') 6/8 ./" .; .t- ..; hop step step step L R L R Jig Step : hop L, at the same time touching R toe on floor slightly in front of L (ct 1,2,3); hop on L again, raising R in front of L leg (ct 4,5); hop on L again, bringing R back (ct 6) to step R, L, R, L (ct 1,2,3,4, hold 5,6). ct: 1,2,3 4,5 6 1 2 3 4 6/8 ..I.
    [Show full text]
  • Tom Roby SHORT TUESDAY LIST (Preliminary) 1 May 1996
    Tom Roby SHORT TUESDAY LIST (Preliminary) 1 May 1996 EASY NOT SO EASY INTERMEDIATE HARD COUPLE Core Core Core Core Easy Abdala Adjon az Isten Ajde Jano Biˇcak Albanian #1 Ciganˇcica Ajde Lepa Maro Ali Pa¸sa Ca la Balt˘a Brˆıul de la F˘ag˘ara¸s Gamal Polska Alunelul Bardezuh Mer Ciganski Orijent Brˆıul pe Opt Gamal Schottis Bavno Oro Divˇcibarsko Kolo Buˇcimiˇs Karapjet An Dro Makazice/Bela Rada Cekurjankinoˇ Horo Kevi Cs´ard´as Arap Draganovo Belasiˇcko Oro DrmeˇsizZdenˇcina Cetvornoˇ Sopskoˇ H. Kujawiak Bufˇcansko Dedo Mile Dedo Lepa Anka Kolo Vodi ˇ Fatiˇse Kolo Cimpoi Cereˇsna Devojˇce2 Gencsi Verbunk Marin-Congo ´ Hora from Oltenia Cuperlika Durdevica Hora Spoitorilor Gergebunarsko Norwegian Polka Devetorka Dospatsko Kasapsko Oro Godeˇcki Caˇˇ cak R˘uˇcenica po 3 Eleno Mome Gerakina Katja Jove Maloj Mome Slangpolska Ersko Kolo Hora Fetelor ˇ Stabberinglender ˇ Kulska Sira Kulsko Horo Guhnega Horehronsk´y Card´aˇs Numero Vossarull Mure¸sanca Waltz G¨uzelleme Janino Novo Zagorsko Ovˇcepolsko Oro Karamfil Ol´ahos Pandalaˇs Hanter Dro Katuˇse Mome Hora Mare Ovˇcepolska Potrˇculka Plevensko Dajˇcovo Medium Kjustendilska R˘uˇc. Pajduˇsko (3,2,1,4) R˘uka Hora Pe Gheat¸˘a Lefkaditikos Aino Kchume Pajduˇsko, Jambolsko Ripna Maca Ana Lugojana Ivanica Mariˇcensko Pravo H. Preskaˇcanka Topansko Oro Jovano, Jovanke Moja Diridika B´ek´esi P´aros Radomirsko Horo Trei P˘aze¸ste dl GM ˆInvˆırtita [Yves’s] Kalamatianos Ooska Gookas Rustemul Trile¸se¸sti Orijent ˆInvˆırtita de la Sibiu Kendime Sedi Donka ˆ Koftos Orta Anadolu Sej Sej Bop Invˆırtita din Luna T. Osmica Sepastia Bar Uncore Hambo Kostursko Oro Pinosavka Lipa Ma Mar´yca Kritikos Syrtos Sestorkaˇ Ali, Ali Povrateno Alunelul Schiop Michael’s Cs´ard´as Kukunjeˇs´ce Prekid Kolo Sevdalino Maloj Mome Pr´ıdi, Jan´ık Sˆırba pe Loc Avrameanca Legnala Dana Ratevka Dansul Fetelor Rezijankas Lesnoto Sadilo Mome S¸obolanul Siamse Beirte Tropanka iz Dobrudˇza Daronee Maˆıtre de Maison Sandansko Dobrichka Tropanka Slangpolska fr.
    [Show full text]
  • Virtual Dance Room Session # 65 Playlist Friday, June 18, 2021 - 7:30Pm - 11:00Pm-Ish CDT Page #1
    Virtual Dance Room Session # 65 Playlist Friday, June 18, 2021 - 7:30pm - 11:00pm-ish CDT Page #1 Play Last Set Origin Session Set Ord Dances Played Date Play Seq Ethnicity Status 6/18 50 0 Set 050 - Repertoire Workshop Set - Paul Co Paul Collins 6/18 50 1 1 Akh Naro Naro Armenian/Modern paul/Teach 6/18 6/11 50 2 2 Karakachansko Horo Bulgarian paul/Teach 6/18 6/11 50 3 3 Hackig's Tamzara Armenian paul/review 6/18 6/11 50 4 4 Zonaradikos #1 Evros/Generic (Economou) Greek/Thrace 6/18 6/11 50 5 5 Esmer (Dyarbakir in Eastern Turkey) (Ozkok)Turkish paul/review 6/18 100 0 Set 100 - Program & Requests - 1 6/18 5/7 100 1 1 Godecki Cacak Serbian/East paul/lead 6/18 6/11 100 2 2 Sardana (Bella Franca) Spanish/Catalonian paul/lead 6/18 2/12 100 3 3 Drmes Iz Zdencine Croatian paul/lead 6/18 1/8 100 4 4 Adana (Atanas) Macedonian Paul/Nakas 6/18 5/21 100 5 5 Aidym Central Asia 6/18 6/4 100 6 6 Sandansko Horo Bulgarian/Pirin 6/18 6/11 100 7 7 Indijski Cocek Serbian/Roma 6/18 6/4 100 8 8 Rukavice Croatian/Slavonian 6/18 6/11 100 9 9 Gorani Armenian Theresa 6/18 4/23 100 10 10 Joc de Fete Romanian diane/lead 6/18 2/19 100 11 11 Cimpoi Romanian Paul 6/18 5/21 100 12 12 Swing Dance USA/Swing Diane/Barbara/Paul 6/18 100 13 Announcement Set 1 Karen Tutkowski 6/18 5/21 100 14 13 Passu Torrau (Celest) Italian/Sardinian Paul/George 6/18 4/23 100 15 14 Haroa Haktana Israeli Leigh/Patti 6/18 4/9 100 16 15 Electric Slide USA/Line Paul 6/18 5/28 100 17 16 Popovicanka Serbian Paul 6/18 2/12 100 18 17 Karapyet Russian Paul/Catherine 6/18 200 0 Set 200 - Guest Host
    [Show full text]
  • Europeanfolkdanc006971mbp.Pdf
    CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life.
    [Show full text]