~------

Fall Folk Dance Camp

. Wlteeling, West Virginia

Aug. 30-Sept. 2, 1996

Camp Russel, Oglebay

---- Instructors --· .. , -. Steve Kotansky Stew Shacklette FALL FOLK DANCE CAMP 1996 Roster Camp Russel Wheeling, West Virginia Oglebay Park Aug. 30-Sept. 1, 1996

INSTRUCTORS Steve Kotansky, 383 Kings Highway, Valley Cottage, NY 10989 Stew Shacklette, 460 Long Needle Rd., Brandenburg, KY 40104

OGLEBAY INSTITUTE FOLK DANCE COMMITTEE

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

OGLEBAY INSTITUTE STAFF Stifel Fine Arts Center 1330 National Road Wheeling, WV 26003 Phone (304) 242-7700 Kate Crosbie, Director Phil Maxwell, Craft Specialist Rose M. Zende, Secretary June Watson, Typist

VIDEOTAPING

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

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette OGLEBAY INSTITUTE FOLK DANCE MEMORIAL SCHOlARSHIP FUND

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

CAMPERS- Fall1996

Adams, Mary Beth 10902 Sedge moor Circle, Carmel, IN 46032 Baasel, Arlen & William, 63 Mulligan Rd., Athens, OH 45701 Bailey, May Lea, 2859 West SR 37 Delware, OH 43015 Beighley, Nancy 409 Jaronte Dr. Youngstown, OH 44512 Bogart, Karen & Elliot, 1027 Riva Ridge Dr. ·Great Falls, WV 22066 Brinkman, Marguerite, 3865 St. Paris Park, Springfield, OH 45504 Butler, Monica, 1699 Church Street, Indiana, PA 15701 * Caruso, Henry & Dorothy 7295 Grant Blvd. Middleburgh Hts., OH 44130 Crooks, Carol 2390 Canterbury Rd., Columbus, OH 43221 * Falor, Edwin 1968 Willoway Ct., Columbus, OH 43220 Fassnacht, Pollyann, 885 Florida Ave. Akron, OH 44314* Ferbache, Debbie, Caleb, & Jerusha, 58221 Maumee Rd. Bethesda, OH 43719* Fluke, Mary, 243 2nd St. SW, Carrollton, OH 44615 Gausvik, Ron & Julie 870 Middle Dr., Indianapolis, IN 46201 Graham, Robert 5082 Cheltenham Blvd. Lyndhurst, OH 44124 Gray, Florence & Bob 13 King Court, Orchard Park, NY 14127 Hofstetter, Annette, 2525 Brainard Rd. Cleveland, OH 44124 Hollish, Frank & Connie, 439 Morningview Ave. Akron, OH 44305 Khamis, Harry, 535 Greene Tree Pl. Fairborn, OH 45324 Kloss, Ethel, 114 Yz W. Main St. Barnesville, OH 43713* Levine, Rosemary 1255 New Hampshire, Washington, DC 20007 Long, Sonia 4011 Brandychase Way #291 Cincinnati, OH 45245 Mordecai, Mike & Elizabeth Nordian, 571 S. Braddock Ave. Pittsburgh, PA 15221 Reynolds, Virginia, 1699 Church St. Indiana, PA 15701 Robinson, Ann 1910 Conifer Court, Winter Park, FL 32792 Rothenberg, Irv & Martha 2420 Buckhurst Dr. Beechwood, OH 44122 Schockey, Fred & Juanita, 14533 Maidstone Rd. Orlando, FL 32526 Spears, Karen 10180 Halsey Road, Grand Blanc, MI 48439 Sproul, Margaret 439 Granville Square, Worthington, OH 43085 Stempfly, Pat 4830 Stony Creek Rd., Urbana, OH 43078

Troll, Bill, 50190 S. Rustic Dr. #71B9 St. Clairsville, OH 43950* Warner, LeVerne Anthony, Box 498, Conneaut, OH 44030-0498 Wertheim, David, 2730 Wisconsin Ave., Washington, DC 20007 Williams, Kay 900 Maple Ave., Terre Haute, IN 47804 Wood, Terry & Kathy, 215 Rosebriar Dr., Glenshaw, PA 15116

List of campers current as of August 26, 1996 *Attending camp on a scholarship

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Oglebay Institute Folk Dance Camp Schedule August 3 0 through September 2, 1996

Friday

6:00 - 8:00 p.m. Registration 8:00 - 9:00 Introduction - Mixers 9:00 - 11:00 Dance Party , Introduction of Instructors 11:00 - 11:30 Snack 11:30 - 12:00 Request Dancing

Saturday

8:00 - 8:30 a.m. Breakfast Served 9:00 - 10:25 Instruction Period Stew Shacklette 10:25 - 10:35 Break 10:35 - 12:00 Instruction Period Steve Kotansky 12:30 - 1:00 p.m. Lunch Served 1:30 - 2:55 Instruction Period Steve Kotansky 2:55 - 3:05 Break 3:05 - 4:30 Instruction Period Stew Shacklette 6:00 - 6:30 Dinner Served 8:00 - 11:00 Evening Party & Review 11:00 - 11:30 Snack Served 11:30 - ') After Party, Request Dancing

Sunday

8:00 - 8:30 a.m. Breakfast Served 9:00 9:30 Morning Worship , 9:30 - 10:40 Instruction Period Steve Kotansky 10:40 - 10:50 Break 10:50 - 12:00 Instruction Period Stew Shacklette 12:30 - 1:00 p.m. Lunch Served 1:30 - 2:50 Instruction Period Stew Shacklette 2:50 - 3:10 Break 3:10 - 4:30 Instruction Period Steve Kotansky 6:00 - 6:30 Hor d'Oeuvres & Social Time 6:30 - 7:00 Dinner Served 8:00 - 11:00 Evening Party &Review 11:00 - 11:30 Snack Served 11:30 - ? After Party, Request Dancing

Monday

8:00 - 8:30 a.m. Breakfast Served 9:00 - 10:25 Instruction Period Stew Shacklette 10:25 - 10:35 Break 10:35 - 12:00 Instruction Period Steve Kotansky 12:00 - 12:30 Lunch Served, Camp Concludes

As a courtesy to others, please refrain from smoking in the dance/dining hall.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette TABLE OF CONTENTS

Presented by Steve Kotanksy Samba Bitolska Gajda Skopski Cocek Tsamikos Kleftikos Women's Tsamiko Hoina Graovsko Horo Gankino Horo Petrunino Horo Valle J amana Ketri Ketri Glavinisko Horo Ciganytanc

Presented by Stew Shacklette Stray Cat Chattahoochee Manitou Be My Valentine The Belles of Auburn The Brown Eyed Maid Dutchess County Line Cha Cha Louie Louie Wandering Waltz Contra T.A.G. The Market Lass Old Folks Quadrille Semone's Waltz Achy Breaky Heart Balance The Star Hey, Hey Contra Polka Dot Lazy Lake

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Samba (Brazil)

Stephen Kotansky choreographed these steps for children from basic Samba steps learned from Joao Silva.

Pronunciation: SAHM-bah

Music: Any Samba music 2/4 meter

Formation: Individual dancers facing fwd.

Pattern

1 l(lck R leg fwd ( ct 1); hook R ft behind L knee ( ct 2) 2 Leaving L heel on the floor, step back on R. bending R knee (ct l); step fwd on L (ct 2). 3-8 Repeat meas 1-2 three times

ll. SIDE TO SIDE

1 Step on R toR (ct l); step on Lacross in front of R (ct 2). 2 Step on R to R (ct I); touch L toe to L, clapping both hands (ct 2). 3-4 Repeat meas l-2 with opp ftwk and direction. 5-8 Repeat meas 1-4.

III. WINDMILL

l-2 With three steps, R, L~ R (leaving Lin place), tum CW, traveling toR (cts 1. 2, 1); bend R knee, lifting L heel (ct 2). Beginning with R arm up toR side, L arm down to L side, with step on R, R arm comes down, L arm up. With step on L. L arm comes down, R arm up. Arms windmill around with tum. 3-4 Repeat meas 1-2 with opp ftwk and direction. 5-8 Repeat meas 1-4.

IV. FORWARD AND BACK

With R ft in front of L, rise on balls of both ft. wt primarily on R, hands palms together in front of chest (ct 1); step on L to L, leaving R in place. wt primarily on L, both knees bent. hands moving down to sides. palms back (ct 2). 2 Repeat moos 1 with opp ftwk. 3-4 Repeat meas 1-2. ,· ... -(',...."'"'--+ 5 With R ft ~f L.lisii.on balls of both ft. wt primarily on R. hands palms together in front of face (ct l ; step~ L to L, leaving R in place, wt primarily on L, both knees bent, hands mo~ down to sides, palms back (ct 2). 6 Repeat meas 5 with opp ftwk. 7-8 Repeat meas 5-6

Repeat dance from beginning until music ends.

Presented by Steve Kotansky

FOLK DANCECA~1P- 1994 Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Skopski cocek (Macedonia)

learned . . from Gypsies in Skopje, Macedonia. • s"'-.~c-l-f:: ·. \-1,c.'-'~e\ G.'~,·b"'-Y'] Pronunciation: SKOHP-skee CHOH-chehk

Cassette: Balkan Feast 214 meter

Formation: Line of dancers with hands joined in V -pos.

Pattern

INTRODUCTION Start at the beginning of any phrase.

PATTERN

Facing R of ctr and moving in LOD. step fwd R, L (cts 1.2). 2 Step fwd on R (ct l); step on f1 behind L moving slightly t_wd outside of circle (ct &); step fwd · L R on p_ (ct 2). . 3 Step fwd on L with slight dipping motion (knee bent) (ct l ): step fwd R. L (cts &.2). 4 Turning to face ctr. step on R to R (ct l ); bounce on R as L does small kick fwd (ct 2). 5 Facing L of ctr and moving in RLOD, step fwd L. R (cts l.2). · 6 Turning to face ctr, step on L to L (ct 1); bounce on Las R kicks fwd (ct 2). 7 Repeat meas 6 with opp ftwk. 8 Repeat meas 6.

- Repeat dance from the beginning.

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Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Bitolska Gajda 1. Facing R of CTR and moving in LOD. step FWD Ccts 1.2). 2. Step FWD on R Cct 1). Step LFT behind RFT(ct2). Step RFT FWD Cct ). 3. Step LFT FWD (ct 1). Step RFT FWD Cct 2). Step LFT FWD Cct ). 4. Turning to face CTR. step RFT toR Cct 1). Bounce on RFT as LFT does small kick FWD Cct 2). 5. Facing slightly L of CTR. step LFT to L Cct 1). cross and step RFT in front of LFT Cct 2). 6. Facing CTR on backing up slightly, step LFT back Cct 1). Step RFT beside LFT Cct 2). step LFT beside RFT Cct ). 7. Repeat action of Meas 4. 8. Reverse action of Meas 4.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Tsamikos Kleftikos The Sarakatsani or Karakazani are Greek speaking former nomads who roamed ~th their hers throughout the Southern Balkan pennisula. This variation of the Tsamiko is danced by men and has a 7 meas. structure. It is also referred to as Kleftikos associating it to the Klefti or Kleftiko briganels or "freedom fighters" of North Western Greece during the later Ottoman period. Source: Sarakatsani Dancers from Drama-Kavala region. Recording: ANy good quicker tempo Tsamiko. Formation: Men in a semi-circle. Warm position. Music 3/4 or 6/8

1. Facing slightly R of center. step R fwd Cct 1): slide step lft to rft Cct ). Step rft fwd Cct 2): cross and step left in front of rft Cct 3). 2. Repeat action of Meas 1.

3. Still moving fwd. hop on lft Cct 1); turning to face center. step rft toR Cct 2), hop on rft and lift lft up slightly behind R leg Cct 3). 4. Reverse action of Meas 1 Cto left).

5. Turning to face center, step lft to L ~th accent Cct 1). Brush or swing-kick rft fwd and toR Cct 2); Leap onto rft toR Cct 3). 6. Repeat action of Meas 5. 7. Step lft in place with accent Cct 1); Hold Cct 2): hop on lft and raise rdt up in front of L knee Cct 3). Variations 1. With arms up, turn CW on time with basic step Meas 1. 2. Repeat turning action of Meas 1. Turn to L CCCW). 4. Reverse turning action of Meas 1 above. S~ ng slaps.

5. Stamp lft to Land lift rft up high in back Cct 1); kick-swing rft fwd Cct 2); Leap onto rft in place and bring 1ft up and fwd (scissor-kick) and slap lft with R hand. Cct 3) 6. Repeat action of Meas 5. Variations 3. Squat deep into both knees Cct 1-2): hop on rft in place and raise lft up in place Cct 3). 4. Beginning to turn L CCCW) step lft fwd Cct 1): continuing to turn L, hop on lft Cct 2) completing turn, step rft in place Cct 3). 5-6 Repeat action of swing slap variation. Presented by Stephen Kotansky

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Wanen's Tsamiko

Formation: Women in a circle. ~w" hold. weight on rft. Music: 6/4 1. Facing slightly R of center, hop on rft on lift lft slightly behind Cct 1), step lft fiNd Cct 2): turning tpo face center. step rft toR side Cct 3) turning slightly to face L, step lft across and behind rft Cct 4): turning to face slightly R. step rft nwd Cct 5), step l ft fiNd Cct 6 ) . 2. Step rft fiNd Cct 1): step lft fwd and swing arms fwd and down Cct 2): turning to face center. step rft toR and bring arms up to "W" position Cct 3): Hop on rft in place Cct 4): turning to face L of center hop on rft again in place Cct 5). Step lft fwd to L Cct 6). 3. Step rft in front of L fwd Cct 1) turn to face center. step lft to L side Cct 2) hop on lft in place bring rft in front low Cct 3). Brush toe of rft across and in front of lft Cct 4). Low loose kick rft fwd and slightly toR Cct 5). Step rft beside lft Cct 6). 4. Hop on rft in place Cct 1). Step lft in place Cct 2). Hop on lft in place Cct 3). Repeat action of cts. 4-6 but turn to face slightly R of center on Ct. 6.

Variations ~th Turn 1. Turn CW once on cts. 5.6 of Meas 1. Finishing turn with ct. 1 of Meas 2. Arms up in "W" position. 2. Turn twice CW on cts. 5.6 of Meas 1 continuing to turn on cts. 1.2.3 of Meas 2.

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Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette 79 Hoina (Moldvai--Csang6, Rumania)

The "Moldvai-Csang6" people are a Hungarian-speaking group living on the eastern slopes of the Carpathian Mountains in Rumania. Ethnographically, they are divided into three groups: the Szekely, the Northern, and the Southern Moldvai Csang6s. Their geographic boundaries are more or less set up by a triangle consisting of the Rumanian towns of Adjud (south). Moine~ti (west), and Roman (north), with Bacau in the center.

Their dance culture can be looked at in layers including archaic couple dances (Lapos Magyaros, Serenymagyaros) and may dances more akin to their Rumanian-speaking neighbors; often using the Rumanian nomenclature (6ves-Briul, Kezes, Korogyaszk~ Drumul Dracului. DeDoi, Hoina, etc.)

While investigating the name "Hoina," I turned to Dick Crurn who found a possible cognate in the Rumanian shepherd's game, "Oina" which interestingly is derived from the Turkish "Oyen"--dance or game. Another possibility comes from the Rumanian "Hoinar"-wanderer, vagabond, or, according to one friend, hobo. This dance has certain characteristics common to German dances.

The source for the dance was Zoltan Farkas, Ildiko Toth.

Pronunciation: HOY -nah

Cassette: Kotansky Camp Tape - I 995 214 meter

Formation: Couples in a circle, facing center, varsouvienne position: M to L of w_ with his R hand joined with her R over her R shldr; M L hand holds W' s L in front of his chest.

Pattern

BASIC

Part A 1 Both starting with R, step fwd to ctr on R (ct 1); step fwd on L (ct 2). 2 Step fwd on R (ct 1); stamp L ft beside R (no wt) (ct 2). 3-4 Backing out, repeat meas 1-2 with opp ftwk and direction. 5-16 Repeat meas 1-4 three times ( 4 times in all), except, W takes wt onto R ft on the last ct of meas 16.

Part B M: Step on R toR side (ct l ); close L toR (no wt) (ct 2), arms begin to shift to other side. W: Step on L to L (ct l); closeR to L (no wt) (ct 2). 2 M: Step on R toR (ct l); stamp L beside R (no wt) (ct 2). W: Step on L to L (ct l); stamp R beside L (no wt) (ct 2). -, During this step the varsouvienne pos is reversed and cpls may acknowledge one another. 3-4 Repeat meas 1-2 with opp ftwk and direction. 5-16 Repeat meas 1-4 three times.

FOLK DANCE CAMP- 1995 Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette 'JN~fkc ~c (&lp region, Bulgaria)

The first part of this dance is the 10 meas Graovsko horo, which is akin to the K yustendilska Racenica in its basic form. Although the basic form is 10 meas, variations range from 8 meas to 14 meas. The steps below are based on steps that Steve Kotansky learned in 1976 from a dance group in Pernik.

FORMATION: Short lines with belt hold, leader at R end of line.

METER: 2/4

BASIC (GRAOVSKO) Measure Count Description measure 1 1 Facing slightly L of ctr and moving bkwd - with ft tog bounce on both ft & bounce on R as L lifts slightly bkwd 2 bend R slightly as L steps bkwd sharply with definite knee bend.

measure2 all Repeat meas 1.

measure3 1 Sopka: Facing R of ctr and moving in LOD - step R fwd & step L in front of R 2 step R fwd.

measure4 1 Step L behind R & step Rfwd 2 step Lin front of R (ct 2). NOTE: Meas 3-4 = 6 step grapevine.

measureS 1 Facing ctr- jump onto both ft slightly toR 2 lift L fwd then pump downward across R (leg straight).

measure6 1 Touch L to Land bounce on both ft & bounce on Lin place 2 step R across L with accent (definite knee bend).

, measure7 Repeat meas 6, but step R behind L (ct 2). (tch L to L & bnc, bnc L, R behind) measure 8 1 Jump onto both ft tog slightly to L 2 hop on L as R lifts fwd sharply (R is fwd and flexed). measure 9 1 Bounce on L as ball of R ft touches fwd & bounce on L as R knee lifts sharply 2 step Rfwd. measure 10 1 Bounce on R as L touches slightly to L & bounce on R as L lifts fwd slightly 2 step R fwd. measure 11-30 a 11 Repeat meas 1-10, twice more (3 in all).

VARIATION! Measure Count Description measure 1 1 Facing ctr - touch R to R and bounce on both ft & bounce on R in place 2 step L across R with accent (knees bent).

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Graousko, continued

(VARIATION 1) measure2 all Repeat meas 1.

measure3 1 Turning to face slightly R of ctr- jump fwd onto both ft (ft tog) 2 leap fwd on R as L lifts bkwd (ct 2). NOTE: Optiqn- syncopate with a "ker­ plunk" then "leap" movoment (R,L,R - kerplunk-leap).

measure4 1 Bending R knee, step L across R (long, low step) 2 hop on L moving in LOD.

measure 5-7 a II Repeat meas 5-7 of basic. Gump on both, pump Lx.R; L to L w /bnc, bnc L, RxL; L to L w /bnc, bnc L, RxL).

measureS 1,2 Step Lto L-swayL

measure9 1, 2 Step R diag R bkwd - sway R

measure 10 1, 2 Step L diag L bkw4- sway L

measure 11 a 11 Repeat meas 1-10, twice more (3 in all).

VARIATION 2 (U MEASURES) Measure Count Description measure 1-2 a 11 Repeat meas 1-2 of Var I (R to R w /bnc, bnc R, Lx.R; repeat).

measure 3-4 a II Repeat meas 3-4 of Basic (sopka). (R fwd, LxR, R to R; L behind, R to R, LxR).

measure 5 1 Jump on both ft (ft tog) 2 hop on R as L knee lifts sharply in front of R- body turns slightly twd.. R

rneasure 6 1 Leap L to L (twists hips to L) as R knee lifts across L 2 repeat ct 1 with opp ftwk.

measure 7 a 11 Repeat meas 6. (5 knee lifts in all).

measure 8 1 Touch L to Land bounce-twice on both ft 2 bounce on-~ as L lifts sharply behind R knee - face slightly L of ctr.

measure 9 a 11 Repeat meas 8.

- measure 10-11 a 11 Repeat meas 8-10 of Basic, (jump on both, hop L & lift R knee, bnc on L & tch R fwd, bnc L & raiseR kn~, R fwd; bnc R & tch L to L, bnc R lift L up, R fwd).

measure 13-24 a 11 Repeat meas 1-12 again.

Presented by Stephen Kotansky

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette /

C.ANKINO IIORO Bulqar1a

Thts ts a North Qulgartan vers1on of the popular Gankino Horo 1n 11/16 meter. As learned by Steve Kotansky from Georgi Kinski tn 1<)86.

Pronunc1at1on: GAHN - kee- noh Record: Any good Gank1.no Horo or Kopanica

Posttlon: Open circle 'Wlth "!,;" hand position :-!us1c: l 1 I 1 6 Dancer s counts: l 2 3

.;· J 4 • Q Q s

H~as n:-~ ~ 1 c Fac1ng slightly }{ of center. step R ft ('wid (ct 1 ) . Step L ft [vd (ct. 2). Step R ft fvd (ct. J). Hop or "c. u kc e., (raise & lover heel) on R ft (ct " ) Step L ft fvd (ct. 5 ).

2 Turning to face center, step R ft to R and begin to lover hands (ct 1). Step L ft across and behind R ft. arms continue do'Wnvard (ct 2). Step R _f t to R. ;Jrms extended dovn pos. (ct. J). Close L ft to R and bounce t'WO t1mes. arms are brought back to "'W" pos (ct. 4.5).

3 Reverse ft._,k & arm._,k & direction of meas. 2

Strl~ Ln Sidr.

Fac1ng ctr. step R ft to }{ (ct l ). Step L ft.I.Jchind R ft (ct 2). Step R ft to R and lift L knee (vd & up

~tth accent (ct J). Step L ft to L (ct 4). Step i\ ft bes1.de L ft (ct. 5).

2 ~evcrsc ft._,k & direction of meas I o

1\nstc

l J Repeat bas1c v1thout arm movement.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky 2-/ Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette 18

v a n I( 1 n o II o r o < con t . >

Mea.s F n r v :1 r d F. II ;1 c k

FacinK ctr. step R ft fwd (ct l ). SLep L fL [vd (ct 2). Str1kc R ft against L heel (ct J). Hold (cts 4.5).

2 Step-run R ft fvd (ct 1 ). Step··run L ft fvd (ct 2). ''do-DAD .. step R ft. then 1mmediat.ely step L ft bes1dc R ft (cts J & .1nri). Step R ft (vd (ct 4). Step L ft beside R ft (ct 5).

3 Step R ft back (ct 1 ) • Step L ft back (ct 2) • Step R ft back (ct J). llop on R ft and lift L knee up & forvard (ct 4 ) • Step L ft back (ct 5).

Repeat action of me as 3

Presented by Stephen Kotansky

Dance Sequence

Bas 1 c .....•••••••• 4 X ., . Side to Side ...... 4 X Basic ...... 4 X Fwd & Back ...... 2 X

Presented by Stephen Kotansky at Mendocino Folklore Ca~p 1991

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette PETRUNIKO HQRO .., . . . (Sop Reg1on, Bulgar1a) Presented by Steve Kotansky ., .,_t:.ra.rLU:ao 11aro (.,_t:ra•• 4~) 1• .a dA.ot:» Lroa t:boa 11'-t:.nl or .op r.g!on oL allg.arJ..a. It:'• ~ .. U/~&, l• t:r!cky llM LIUt:. n. 'nlr!AtiClAolf ~lew .Loclode t.M bluia ~.tor~~ and u .a ...a:-. ~ax ~~c~ .tara le&rDeod .troa a.a IUUit«xr qroap !COli ParnLt 1.4 U7' by n- ~- Recording: camp tape or any good Petrunino Horo. Formation: Short line with belt hold. Music: 13/16 J' r r .p .r r. Dancers Beat: l. 2 3 4 .5. *"\/ • S+ Q Q Q S or same step S+ S+ Q S t .f f f r r. '~ '/ Measure:

Basic

1. Facing slight R of center, hop of Land hook R up and in front of L knee (1); slight leap onto R toR (2); small leap onto L in front of R (3); small leap onto R toR (4); small leap onto Lin front of R (5).

2. Twizzle (with ball of L on ground, twist L heel to R) on L and step R back (1); Leap L to L (2); cross and step R behind L (3); leap L to L (4); cross and step R behind L (5).

3. Facing center, moving slightly fwd to center, jump onto both feet in place (1); cukce on Land pump R down & fwd (2); step fA\ • R slightly fwd (3); cucke on Rand pump L dqwn and fwd \ -c I '

step L fwd (5). y *Note - the path leads more to R but inscribes a xriangle .·, -k - -~ Choreographed Form:

Variation I.

1-2 Repeat action of 1 in basic 2 times 3-4 Repeat action of 2-3 of basic

Variation II.

1-3 Repeat action of 1-3 of basic 4 Repeat action of 3 in place

Variation III.

1. Facing center and moving fwd to center, &u6ke on L and brush ball of R beside Land back (1); Lift on L bring R fwd (2); step R fwd across and in front of L (3); Lift on R (4); step L fwd and in front of R (5).

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky '7Cf Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Petrunino Horo (cont.)

2. Repeat 1.

3. Twisting to face slightly R of center, leap sharply onto R in place nd bring L knee up sharply, L outer thigh and buttocks face center (1); reverse (2) hold (3); repeat ct. 1 (4); repeat ct. 2 (5).

4. Repeat 3.

5. Brush ball of R fwd across L (leg straight) and turn to face L of center (1); Lift on Lin place (2); still facing L of center, step R in place (3); step Lin place (4); step R in place nd begin to turn upper_body ,to faceR of center (5).

6.. Reverse 5.

7-8 Repeat measures 2-3 of basic.

*Variations can be changed at_ leader's discretion. A sequence will be set at class.

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Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette 70 Valle Jarnana (Albania)

Vaile is the Albanian word corresponding to the Serbian Kolo or Macedonian Oro. Shota is another popular name for this particular dance. This dance belongs to the Pravo family of dances. I've based it on variations learned from ethnic Albanians in_ former Jugoslavi~ Germany, and the midwest U.S.A. Also, I've learned variations from Janet Reineck. Jamana is the refrain of this popular song.

Pronunciation: V AHL-leh JAHR-nah-nah

Cassette: Kotansky Camp Tape- 1995 214 meter

Formation: Open circle, leader at R, hands in W -pos.

Pattern

BASIC

Facing ctr, step on R toR (ct l); step on L crossing behind R (ct 2). 2 Step on R toR (ct 1); touch L ft beside R ft (ct 2). 3 Step fwd on L twd ctr (ct 1); touch R ft beside L (ct 2). Note: Meas 2-3 may be danced as soft "Pas de Basque"-like steps barely distinguishable from the step-touches ( cts 1, &, 2).

VARIATION-danced during instrumental breaks

Coming out of Basic, on ct & before ct 1, rise onto ball of R ft. Step on L (actually land on it) in front of R with slightly bent knees (ct 1); step onto ball of R ft (ct &); step or iand on Lin front of R (knees slightly bent) (ct 2).,.. 2 Step on R to R (ct 1); step on ball of L ft behind R (ct &); step on... -~ in place (ct 2). Note: This is actually a soft Pas· de Basque (cts 1. &, 2). 3 Repeat meas 2 with opp ftwk. Presented by Steve Kotansky

Song (Tosk Albanian women's song, performed on Radio Tirane-transcribed and translated by Jane Sugarman)

II As me jep nj'er' uje moj balluk' e prere./1 Won't you bring me some water, you with the cut bangs? II Me se te te jape trendafi1 me ere? II With what shall I bring it, fragrant rose? Refrain: II . Jarnan~ jamane jamana moj te keqene .. /1 ( ... may I take all your misfortunes upon me!)

II 0 me doren tende moj balluk' e prere./1 Oh, with you hands, you with the cut bangs. II Dora m'u ndodh zene trendafil me ere.// But my hand is occupi~ fragrant rose. Refrain

II Me se t'u ndodh zene moj balluk' e prere? II With what is it occupi~ you with the cut bangs? II Me unazen tende, trendafil me ere. II With the ring that you gave me, fragrant flower. Refrain

FOLK DANCE CAMP- _~:"~-, Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette '

Dances of the Task Albanians living in the Prespa and Bi tala Regions

I first observed these dances in 1972 with Bob Liebman in the

village of Krani (Prespa). There we filmed villagers dancing Devollice, I Nesho, Berace,, and Grckoto" at a wedding, and returned to record Men and Women's diaphonic singing. Many of the dancers and inhabitants

actually lived in the Chicago area, and the lead dancer ironically had a

diner in Streator, Illinois; the birthplace of my father and most of my

paternal relatives. In 1986, I returned to Ohrid to Video tape and record

"Sazet i Ohrid", a popular musical group/wedding band with the Prespa Tosk

Albanians. More recently, I've had the chance to observe Jane Sugarman

and Evan Fraenkel's films of the Tosk Albanians in Toronto and London,

Ontario, Canada. They still dance Berace (2 measure form), Nesho I

(4 and 6 measure forms), Devollice,. I and a basic Sta Dhio (2 measure

form), named after the song. They also do a few other dances which mo~t

likely are newer to their repetoire, such as Shota, Sitno, "Zikino

and Radikalsko. Jane Sugarman informed me that it,_is only more .. recently, after World War I, that the Prespare dance to instrumental

music. Ea·rlier the dances, including Devollice, were done to songs I sung by the dancers.

The Prespare villages in Macedonia include Krani, Arvati,

Nakolec (home of the Begs), Asamati, Grncari, Gorna i Dolna, Bela Crkva,

Resen, Sopotsko, Kozjak, and others. Other concentrations of Prespare

are Chicago, Detroit, London and Toronto, Ontario,and Melbourne,

Australia.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Ketri Ketri is a contemporary Gypsy song sung in Romani, the Gypsy language, by Kalyi Jag, a popular Gypsy ensemble living in Hungary. The dance steps are based on a slow meek, sheriance, kuprlika type dance more popular in urban areas of the southern Balkans, i.e., Macedonia, South Serbia. As with the dance Rumelaj, I have taken some aesthetic license with the dance.

FORMATION: Open circle, leader at R, little fingers joined in W-position.

METER: 2/4

BASIC Measure Count Description measure 1 1 Facing ctr and backing up, lift on L & step back on R 2 lift on R & step back on L. measure2 1 Lift on L & step slightly back on R 2 step on L beside R & step on R beside L. measure3 1 Lift on R & step on L across in front of R 2 step on R toR & step on L across and in front of R.

TURN During meas 1, turn slowly toR. Do not rush as you can use cts in meas 2 to finish. y •

NOTE: The hips sway slightly in the direction of the foot with the weight.

Presented by Stephen Kotansky

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette GLAVINISKOv HORO (Western Thrace, Bulgaria) Presented by Steve Kotansky

GLAVINI~KO HOR:O, a.Iso k.nolorn tJ.S GLAVIlfiSE.A E.OPARICA., belongs to the •E.rivo• (croolced) Horo rllJI.ily or dances vhicb includes tbe E.opllll4IlicajGI!Inkino type or dances. This dance is attributed to the village Glavinlca in tbe Pazard.iH: area or Western 1'brace. otber dances ~· this region include L.ulba Lulba, E.olcl&, Sedl Donica, Buci.Ic, etc. !'be scyle o:t dancing is closer to tbe qulclc and light­ styled sop dancing than to tbe slover-bel!l.vier Eastern Tbr11cian style. lfy sources :tor this dance are Pro:tessor stefan Vagla.rov and Georgi E.lnslc1. Tbe arrangell!eJlt is Ill' own. Recording: Camp tape or any Kopanica of choice Formation: Short lines with a belt hold. Music: 11/16 Jt.r J:' .[l ./' Dancer's Beat: 1 2 .l 4 5 Q Q s Q Q Measure I. Travel

1. Facing R of center, step R fwd (Ct. 1), step L fwd (Ct. 2); step R fwd, bending knees slightly and leaving L in place (Ct. 3), "~ukge" (Lift & lower R heel) bring L fwd (Ct. 4); step L fwd (Ct. 5). II. Right, Left, Forward, Back 1. Facing center: Step R toR (ct. 1); close L toR (Ct. 2); step R toR (Ct. 3); close L to R (Ct. 4); hold or slight bounce on both feet (Ct. 5).

2. Reverse action of measure 1. 3. Step R fwd to center (1); Step L fwd (2); step R fwd (3); close L toR (Ct. 4); Hold (5).

4. Reverse measure 1.

III. R. Side Stamp, L side Scissors

1. Facing center, step R toR (1); step L toR crossing b~hind R (2); step r toR (3); Lift on R bringing L up with reverse bicycle peddling motion (4); strike L heel fwd (5).

2. Step L to L (1); step R to L crossing behind L (2); step L to L drawing it back sharply and kicking R low fwd (3); draw R back kicking L low fwd (4); drawL back kicking R low fwd {5) *(Cts 3-5 are scissor-like steps). IV. Scissors and prance

1. Draw R back kicking L low fwd (7); drawL back kicking R low fwd (2) (1&2 are scissors); Jump onto both feet (R fwd) in place (3); Leap onto R toR (4); cross and step L behind R(S).

2. Step R toR (1); step L toR crossing behind R (2); draw R back kicking L low fwd (3); DrawL back kicking R low fwd (4); draw R back kicking L low fwd (5) (scissors).

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette 3. Turning upper body to face slightly left, step L to L with knee-bending accent and raiseR knee up sharply (1), moving to L step ball of R across and in front of L (2); step L to Las in ct. 1 of measure 3 (3) Step ball of R across and on front of L (4); step L to L knee bent (5).

V. Scissors and Stamp

1. Repeat Measure 1 of IV.

2. Step R toR (1) Step L toR crossing behind R (2); strikeR heel slightly fwd (3); leap onto R beside L (4); strike L heel slightly fwd (5).

3. Leap onto L beside R (1); strikeR heel slightly fwd (2); tap ball of R slightly back (3); hop on Lin place and bring R up and fwd (4); brush ball of R from fwd to back (5).

VI. Scissor and Hook and stamps

1. Moving fwd slightly to center, scissor-step R back ( 1) scissor-step L back (2); Lift on Land hook R low and in front of L shin (3); step R fwd (4) step L fwd (5).

.; J 2. Touch R (more on ball of foot) in front of L (1); Cukce on L bringing R back (2); step R back (3); lift on R bringing L back (4), Step L back (5).

3. Lift on Lin place (1); leap on toR slightly toR (2); strike L heel beside R toe (3); Leap onto L to L (4);-"strike R heel beside L toe (5).

VII. Reel Step

1-2. Repeat Measure 1-2 of VI.

3. Lift on L and bring R back (1); step R to L side but close behind L (weight is on both feet, knees touching} (2); in this position, chug back, straightening both legs (3); hop on L bring R leg (knee extended) straight fwd (4); Slap full R fwd (5).

VIII. Transition back to I.

1-3. Repeat Measure 1-3 of VII (Reel step)

4. Lift on L raising extended R slightly (1); slap full R fwd (2); Jump onto both feet (r fwd) with knees bent (3); hop on R in place bring L fwd (4); step L across and in front of R (5).

*Variations can be done according to leader's indication. A sequence will be set during class.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette © Folk Dance Federation of California. Inc. February 1995 Dance Research Committee: Carol \Venzel, Bill Wenzel Ciganytanc Szatmar County, Hungary

Ciganyranc (fSEE-gahn-tahnts), or Gypsy Dance, is danced solo or with couples scattered randomly around the dance area. Traditionally the dance i~ never ~ced in a formation. Me~·s _solos are_ intend~ ~o show vinuosity. \Y.. omen often play games by attempong to crrcl~ partner. The many vanaoons and unproV1saoons are mostly different for men and women. The dance descnbed here was choreographed by Steve Kotansky for recreational dancing and presented by him at S tock:ton Camp, '94. His detailed description of motifs and other variations are given in that syllabus.

Cassette: Kotansky Camp Cassette- I Should Have Danced All Nigh~ Side N3, N4; 4/4 meter or any good Ciganytanc.

Formation: For recreational dancing Steve taught this with inclividuals facing center in a circle, but it may be danced in couples with partners facing, and dancers may change partners. Arms are forward about chest ievel, moving freely. Fingers snap.

Steps: Bounce: Lifting on ball of supporting ft, raise heel ahead of the beat and lower on the beat

Styling: The feeling is lively and bouncy, not rigid. The foot touching forward may twist with toe ou~ heel in; hips may twist slightly to face touching foot. lv1easures 4/4 meter PATTERN

I~YfRODUCIJON, At the discretion of dancers. Steve waited four measures.-· I. PillENO (Rest)

1 Facing ctr, touch R toe (or heel) fwd (ct 1); step on R beside L (ct- 2); touch L toe (or heel) fwd (ct 3); step on L beside R (ct 4).

2-4 Repeat meas 1 three more times (total o~ eight touch-steps).

II. SETALO (Walk)

1 Facing err, touch R toe (or heel) fwd (ct 1); turning to face slightly R of ctt, step on R in LOD (ct 2); step on Lacross in front of R (ct 3); turning to face ctt, step on R toR (ct 4).

2 Repeat meas 1 with opp ftwk and direction.

3-4 Repeat meas 1-2.

III. HEEL TWISTS

1 \\lith wt on L f~ and ball of R ft touching slightly fwd, bounce on Land twist both heels to L (ct 1); bounce on Land twist both heels toR (ct &); step on R beside L (ct 2); repeat cts 1, &, 2 with opp ftwk and direction (cts 3, &, 4).

2-4 Repeat meas 1 three times (total of eight heel twists).

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Ciganytanc, pg2

IV. FORWARD AND BACK WITH CLICK AND JWISTS

1 Facing ctr, move fwd with accented steps R9 L, R (cts 1, &,2); click L ft toR ft (ct 3); shifting wt to L ft, twist heels to L (ct 4).

2 Step bkwd on R, twisting L heel toR (ct 1); step bkwd on L, twisting R heel to L (ct 2); repeat cts 1, 2 (cts 3, 4).

3-8 Repeat meas 1-2 three times (total of four times).

V. STEP-TAP

1 Step on R in place (ct 1); tap L heel next toR, no wt (ct &); step on Lin place (ct 2); tap R heel next to L, no wt (ct &); step on R heel toR (ct 3); step on L behind R (ct &); step on R toR (ct 4); tap L heel next toR,. no wt (ct &).

2 Repeat meas 1 with opp ftwk and direction.

3-4 Repeat meas 1-2.

VI. CIRCLING (for women and men)

1 Step on R heel toR (ct 1); step on L behind R (ct &); step on R toR (c~ 2); tap L heel beside R ft, no wt (ct &); step on L heel to L (ct 3); step on R behind L (ct &); step on L to L (ct 4); ~p R heel beside L ft, no wt (ct &). Note: Steps are small, as dancer turns smoothly 1/4 tum CVY.

2-4 Repeat meas 1 three more times, completing one full CV'l nun.

VII. OPTIONAL SLAPPING PA TfERN FOR MEN (May replace CIRCLING after one complete sequence.)

1 Fall onto R (ct 1); click L ft toR, no wt (ct &); fall onto L (ct 2);'~lick R ft to L (ct &); jump onto both ft, slightly apart (ct 3); click heels together in air (ct &); separate ft in air and land on both ft together (ct 4).

2 Jump onto both ft, R crossed in front ofL (ct 1); on balls of both ft, tum once CCW (cts 2-4).

3 Step on Lin place (ct 1); moving twd ctr, bend fwd to slap R calf with R hand (ct &); step on ball of R ft in place (ct ah); step Dn L:next toR (ct 2); slap R calf with R hand (ct &); repeat cts 1-2 with opp ftwk and slaps (cts 3-4).

4 Step on Lin place (ct 1); slap R calf with R hand (ct &); ·step on R next to L (ct 2); slap L calf with L hand (ct &); step on L next toR (ct 3); straightening up, slap L thigh with L hand (ct &); slap R calf with R hand (ct 4).

SEQUENCE: Dance Pattern as written until the music ends.

/

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette STRAY CAT Type: Country Western Line Dance Formation: No partners all satrt facing front, right wall progression, four walls. By: As taught by, Ron Nelson, Mike Jetzer and Dick and Chris Haas. Music: Any good medium to fast country tune.

Counts 1 8 HEEL, CLOSE, HEEL CLOSE; HEEL, CLOSE, HEEL CLOSE; Touch the R heel forward, close R to L and Take weight, touch the L heel forward and close the L to the R; REPEAT counts 1-4 9 - 16 HEEL, HEEL, TOE, TOE; HEEL, TOE, HEEL, TOE; Touch the R heel fwd twice, touch the R toe back twice; touch the R heel fwd, touch the R toe back, touch the R heel fwd and touch the R toe back; 17 - 24 TOUCH HEEL, TOE DOWN, HEEL, TOE DOWN; HEEL, TOE DOWN, HEEL, TOE DOWN; This is a struting step touch the heel of the R foot, then slap the Toe down, taking two counts for each step. do four of these steps; total of eight counts 25 - 32 CROSS, BACK, SIDE FWD; CROSS, BACK, SIDE, FWD; Cross the R over the L, step back on the L, step to the R side on the R and step fwd on the L; total of four counts. This four count step is repeated while making a 1/4 R face turn to face the R wall. CHATTAHOOCHEE Type: Country Western line dance Formation: No partners all face front to start, four wall, right wall progression. By: Unknown Music:"Chattahoochee" By Alan Jackson Counts 1 8 HEEL, HOOK, HEEL, CLOSE; SWIVEL OUT, IN, OUT, IN; Touch the L heel fwd, hook the L heel in front of the R le9, touch the L heel fwd, close the L foot to the R; Sw1vel both heels to the L, back to center, to the L, back to the Center; 9 - 16 HEEL~ HOOK, HEEL, CLOSE; SWIVEL OUT, IN, OUT, IN; Re~eat counts 1-8 starting with the R foot and do the sw1vels to the R. 17 - 24 SIDE, HOOK/SLAP, SIDE, HOOK/SLAP; SIDE BEHIND SIDE TURN 1{4, STOMP; Step to the R on the R and hook the L foot behind the R while slapping the L with the R hand; Step to the L on the L and Hook the R behind the L and slap the R with the L hand; step to the right on the R step behind the R on the L and step to the R side as you turn 1/4 to the R and stomp the L beside the R. 25 - 28 BACK, BACK, BACK, STOMP; Step back on the L,R, L and stomp the R beside the L and take weight on the R, START OVER

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette ~ MANITOU (Two Step) An old d.ance from Arizona and._ the., Southwest. Record: LS 3303 Music: "Manitou" r ....i Formation: Circle of cpls in closed dance_position, M facing wall, W facing COH. ....r Footwork: Opposite throughout, start M's L, W's R. [ I ..t 1- 4 HEEL TOE; HEEL TOE; SLIDE, SLIDE; SLIDE, SLIDE; Move· in LOD. 5- 8 HEEL TOE; HEEL TOE; SLIDE, SLIDE; SLIDE, SLIDE; Move in RLOD. 9-16 TURNING TWO-STEPS FOR 8 MEASURES.

Note: An "alternate" during measures 9-16 is to dance forward in semi-closed dance position_for 2 meas.; then turn for 2 , meas., etc. Also, after learning the pattern, it is NOT necessary to remain in the circle; traditionally, the dancers moved "anywhere in the hall" during this dance! Another "old" variation during meas .. 9-16 is to turn for 2 meas., H t~·."i.:ls under lead hands ~s M mcves with he· during .2. me~s. and repeat.

-90-

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette BE MY VALENTINE

BY: Ted Sannella Type: Comtemporary Contra - Formation: Becket formation, couple facing couple, partners side by side. Od couple wait at foot for first available couple. Music: Any lively jig - 1 - 8 Opposite gents allemande left, right to partner and balance 9 -16 All swing partner 17-24 Circle left once around - 25-32 Right hands across, gents loop 33-40 Ladies chain 41-48 Chain back, end with an extra 1/4 turn so that the mens• line is facing up, ladies line facing down 49-56 Promenade up and down, turn as a couple 57-64 Promenade back, pass the couple you danced with -

THE BELLES OF AUBURN By: Roger Knox -Formation: Longways, duple, improper Music: Suggested-"Maple Leaf Jig" - 1 - 8 Actives sashay down center with next below 9 -16 Sashay back to place 17-32 Balance and swing-end the swing with the lady on the right - facing down set in line of four. 33-40 Down center four in line, turn as a couple 41-48 Come back to place 49-56 Ladies chain

57-64 Chain back , .

THE BROWN EYED MAID By: Glen Nickerson Formation: Longways,· duple, proper Music "Mistwold" farm and Wilderness, F and W,F74-FW-5 1- 8· With the two below star ri9ht 9 -16 Left hand star, end in a l1ne facing down, active couple in center. 17-24 Four in line down center, actives turn as couple. 25-32 Come back to place and cast off 33-40 Ladies chain 41-48 Chain back - 49-56 Left hand star 57-64 Active, cross over whil;e casting up and out and down (l/2 of a figure eight) -

104 - L .... Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky i Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette l

------···· -----··· ---~------~ DUTCHESS Type: American Line Dance, four wall. Formation: No Partners, all face front Music: any medium speed music 1 4 FORWARD, BACK, FORWARD, BACK; With weight on L foot touch the R toe forward, back forward, and back; 5 8 STAMP,STAR FRONT, SIDE, BACK; Stamp the R foot next to the L and star with the L by touching the L toe to the front, to the side, and to the back; 9 - 12 STAMP, STAR FRONT, SIDE, BACK; Repeat action of measures 3-4 stamping the L foot and star with the R foot. 13 - 16 SIDE, TOUCH, SIDE, TOUCH; Step to the R on the R, touch the L toe behind the R step to the L on the L and touch the R toe behind the L; ' 17 - 20 SIDE, BEHIND, TURN, STAMP; Step to the R on the R, step behind the R on the L, turn 1/4 to the R as you step to the R on the R, stamp the L next to the R and take weight; START OVER

COUNTY LINE. CHA CHA

TYPE: COUNTRY WESTE~N FORMATION: NO PARTNERS MUSIC: ANY CHA CfiA TYPE MUSIC BY:

MEASURES 1-4 ROCK FORWARD, BACK, CHA,CHA,CHA; ROCK BACK, FOR\VARD, CHA CHA CHA, AS YOU TURN l/2 TO TilE LEFT; Step fwd on the L, rock back on the R, do a shuffie/cha,cha,cha step bad~\vards on the R and rock fwd on the Land turn to the L as you do the cha,cha,cha. End facing the back of the hall. 5 - 6 ROCK BACK, FOR\VARD, CHA CHA CHA AS YOU TURII l/2 TO TilE RIGHT; Step back on the L, rock forward on the R, do a cha cha cha as you turn l/2 to the R 7 - 8 ROCK BACK, FOR\VARD CIIA CIIA CIIA, LUNGE TURN, LUNGE TURN; Step back on the R, rock forward on the Land do a cha cha cha as you turn 1/4 to the I left; step forward on the L, pivot l/2 to the R as you recover on the R, step fof\vard on the L , pivot I /2 to the R as you step forward on the R, to end facing I /4 L fron1 starting position.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette LOUIE LOUIE Novelty Line Dance Music: Funky Kingston Island Records 9330 Sd A Bd 5 Formation: Lines, all dancers facing music As Presented by Bea Montross at KDI 1994 1 4 STEP, CLOSE, STEP, HOLD; STEP, CLOSE, STEP, HOLD; Step fwd on the R close the L to the R, step fwd on the R, and hold count 4; step fwd on the L, close the R to the L, step fwd on the L, hold count 4; 5 8 SIDE, STEP, CLOSE, HOLD; SIDE, STEP, CLOSE, HOLD; Step to the R side on the R, rock back to the L on the L, close the R to the L, and hold count 4; step to the L on the L, rock back to the R on the R, and close the L to the R, hold count 4; 9 - 12 REPEAT MEASURES 1-4 MOVING BACKWARDS; 13 - 16 REPEAT MEASURES S-8 ENDING WITH WEIGHT ON THE L; 17 - 18 STEP FWD, INPLACE, STEP BACK, IN PLACE, STEP AND TURN 1/2 Step fwd on the R, rock back on the L in place, step back on the R, rock fwd on the L in place; step fwd on the R and turn to the R 1/2 turn touch the L next to the R; these four steps are in double tine, use only 2 counts and the step and pivot takes 2 counts. 19 - 20 REPEAT MEASURES 17-20 STARTING WITH THE LEFT, AND TURN TO THE L; 21 - 24 TOUCH, CROSS, TOUCH, CROSS; TOUCH, CROSS, TOUCH, CROSS AS YOU TURN 1/4 R. Touch the R toe to the R side, cross the R over the L, and touch the L to the L side, cross the L over the R, touch the R toe to the R side, cross the R over the L and touch the L to the L side, cross the L over the R as you turn 1/4 to the R; end facing a new direction.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette IJANDERING IJALTZ CONTRA

Type: Scottish waltz contra Formation: Proper, d~;.>le By: Barry Houle of Er.gland Music: LP 11 None So Pt·~tty 11 on Cabbage Records, Tune "IJandering \Jaltz" Measures(two waltz steps per measure) 1 - 2 #1 man and #2 lady go fwd and back, then Turn right 1/2 3 - 4 #2 man and #1 lady go fwd and back, then turn right 1/2 5 - 6 REPEAT measures 1 & 2, return to places 7 - 8 REPEAT measures 3 & 4, return to places 9 - 12 ACTIVES-Step to center and take closed position and take two canters steps down the center, then turn partner 1/2 (NOTE: both lady and gent will end on partners side) Actives now cast up the outside to head of set still on partners side to end in# 1 position with four waltz steos.

9 - 12 INACTIVES-Cast up the outside four waltz steps to end in #1 position, then step to the center to a closed position and do two canter steps dmm the center, then turn partner 1/2 to end in partners plccc, all dancers are now crossed over. 13- 16 All join hands and circle left 1/2 in four waltz steps, then dance two waltz steps to the center, then in two waltz steps turn single to the right in a flair.

T.A.G. Type: Am~rican Traditional Contra Formation: Proper four couple set.#l couple active Music: Any 4 X 64 I use "Twelve Reel" By: Roger Whynot

1 8 Active couple down center, turn alone 9 - 16 Come back and cast off and fortn two stars 17 - 24 Men form left hand star, ladies right hand star 25 - 32 Change the stars, with lady passing in front of partner 33 - 40 Change back to original stars 41 - 48 #1 gent pic~ up partner and come up center 49 - 56 Cast off to foot and form an arch 57 - 64 Rest come under to form lines

THE MARKET LASS Type: American Tr~ditional Formation: Proper Triple Minor, 1,4,7 active Music: Glenn Towlt on F & W Record By: Researched.by Ralph Page

1 8 Actives cast down outside below two 9 16 Cross over and come up one place to a line 17 - 24 In your lines go fwd and back 25 - 32 Actives turn right 3/4 round (make new lines .cross) 33 40 Forward and back •41 48 Actives turn right 3/4 round (back to origina. lines) 49 - 56 Top two right and left (boy, boy, girl, girl) 57 - 64 Right and left back

PRESENTED BY STEW SHACKLETTE AT MAINEWOODS CAM? 1996

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette OLD FOLKS QUADRILLE

Type:: American : ·ive ?igure Quadrillre Formation: Four coufles in a Square By:. David Vinsk:., fl ~st presented at the 1994 K~ntucky Dance Institute. Music: Arrangern(!nt cE Stephn Foster tunes compiled by David Vinski

Firs·c Figure-"O:.d Fe lks Home" coun·ts 1 4 Acknowlecge Partner 1 4 Acknowlecge Corner 1 8 Turn Correr by the left 1 - 32 ~rand Chc:in, right and left 9-rand (half way round bow to partners and continue with r1ght and left grand) 1 - 16 Prornr~nadE partners once around 1 8 Men ~;tar left once around while ladies turn out away from partner :· n a small circle and return to home place to meet par~ ner. 1 8 Turn par~ .ners by the right once around

second Figure-"''h Bc,ys, carry Me Home" (From student Lancers) counts '1 - 16 eire .e r .. ght once around 1 - 16 Prom~~nadf! once around (When reaching horne places couple. #1 will whenl to the left 3/4 to end facing out at home, #4 and ,!2 w.. ll wheel in behind #1 and # 3 will fall in behi ·1d s,) that all are facing #1 position in columns. NOTE it dosen't matter as to which couple, #2 or_#4 , th;tt falls in behind #1 first or second";- just as lo:1g as the side couples are in the center between th·~ head couples. 1 8 Line:; baLance fwd and ·back and slide to the right as a coup.:_e · . 1 8 Line:; b.1lance fwd and back and s·lide to left to place 1 -·16 Cast off, meet ~artner at #3 position and come up the cent,!r a .1d end 1n lines facing partners 1 - 16 All ;)o-s 1-do partners, and two hand turn partners to plac·!s ( Jriginal Square)

ThiJ:d Figure-=el :.y E ty" Rights and lefts Counts 1 8 Ackn)wlejge corner and partner 1 8 Turn partner right full around 1 8 Head couples right and left thru 1 8 Side couples right and left thru 1- 8 Head; right and left back 1 8 Side> right and left back 1 - 16 Head3 tc the right with ri9ht and left thru, and back l~ - 16 Head> tc the left with a r1ght and left thru, and back

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Fourth Figure- 11 Faire\/ell My Lilly Dear" ·Counts 1 8 Head ladies c~ain across 1 8 Side ladies chain across 1 8 Head ladies c~ain across 1 8 Side ladies chain across 1 - 16 All four ladies chain across, as men proml!nac.e 1/2 meet partner and turn her by the left 1 . - 16 Four ladies chain back as men promenade tt) hc1me to turn partner by the left

Fifth Fiqure- "Plantation Jig" Grand square Counts 1 - 32 Sides face Grand Square, and reverse 1 - 32 Weave the ring 1 - 32 Sides face Grand Square, and reverse

"Old Folks- Reprise" Counts 1 8 Acknowledye t~ Partner, and Corner 1 8 Turn corner by the left 1 - 32 Grand Chain, right and left grand 1/2 \Ja} ar~-und bow to partners and :ontinue right and left grar d !r.' :et partner at home 1 - 16 Promenade full around 1 16 Men star left full around as ladies turn rigLt, away ··froJn the set in eight counts to end at home tt, zne, :t the gents· and turn 'by the right about 1/2 as the g\:nts put the ladies in the center back to back to end facing their partner and bow to end the dance. ~·

SEMONE'S WALTZ Type: American Waltz Contra Formation: Improper duple minor, 1,3,5 etc. active.

Music: Snow In Summer, Jimmy Shand 9 Capitol LP "My ~coyland" By: Stew Shacklette, Brandenburg, KY

1 4 All waltz forward, back, and cross over by 1ight 5 8 Actives cast down below one, inactive slide up two. g·- 12 All ·forward and back, cross over by the riglt 13- 16 Actives cast up in four, inactives slide dovn in two 17 - 20 Active3 slide down two waltzes and turn 1/2 (This Ls danced in butterfly position) 21 - 24 Active~ slide up two waltzes and turn 1/2 25 - 28 With couple below circle 1/2 way(4 Waltzes) 29 - 32 All pass thru(two waltzes) all turn alone tc right Nato: in S-8 and 13-16 the men will be turning right, ladies turning left for the cast off.

PRESENTED BY STEW SHACKLETTE AT MAINEWOODS CAM!' 1996

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette ACHY BREAKY HEART Type: America1 line dance Formation: Si1gle, no partners Music: "Achy 3reaky Heart" Billy Ray Cyrus Measures 1 2 SI)E, BEHIND, SIDE, TOUCH; st~p to the R on the R, step behind the R on the L, st~p to the R on the R, touch L to R; 3 4 HI? ROCK FWD,BACK, FWD, HOLD; st~p slightly fwd on L and rock your hips Fwd to L, ba:k toR, fwd to the L, hold one count: 5 6 TCJCH, TOUCH, TOUCH, STEP; Teich the R toe to the R side as you turn 1/4 to th~ L~ touch the R toe to the R side as you turn 1/~, touch the R toe to the R side as you turn 1/4, st~p in place on the R;Total 3/4 turn. 7 8 BA~K, BACK, HITCH, CLOSE; st~p back on the L, back on the R, hitch the L knee u~ as you turn 1/4 L, close L to the R; 9 - 10 B~CK, BACK, BACK, TOUCH; Step back on the R,L,R and touch the L to the R; 11 - 12 HIP ROCK FWD, BACK, FWD, HOLD; Step slightly fwd on the L and rock the L hip fwd, R hip back, L hip fwd, hold one count: 13 - 16 S7EP, STOMP, STEP, STOMP; siDE, BEHIND, SIDE, CLOSE AFD CLAP AT SAME TIME; Step fwd on the R turning 1/4 to the R, stomp the L tc the R, turn 1/2 to the L and step on the L, stomp the R beside the L; Step to the Ron the R, step behind the R on the L, step to the R on the R, cjose the L to the Rand take weight as you clap ycur hands;

BALANCE THE STAR

Type: American, from the Appalachia area Forrr~tion: Improper Duple, can be adapted to a circle, couples couples. By: Unknown Music: Beaumont Rag, played By the Maclain family

A1 1 - 4 Balance in, out, in, out in a right hand star; 5 - 8 Turn the star A2 1 - 4 Left hand star and balance, in, out, in, out; 5 - 8 Turn the star B1 1 - 4 Do-sa-do opposite 5 - 8 Take opposite and hook promenade (hook promenade is a 3/4 turn to left to end in original places with the opposite lady) 82 1 - 4 Do-sa-do opposite(who is original partner) 5 - 8 Take opposite lady(Original partner) and hook promenade and move on to th~ next.

::'~;~SENTEI BY STEW SHACKLETTE AT MAINEWOODS CAMP 1996

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette HEY tHEY CONTRA Type: American Contra Formation: Improper, Duple minor, 1,3,5 active Music: "Debbie•s Jig" LP Maritime Dance Party By:Jerry Halt

1 8 With the one below turn right 1 and 1/4(lady in middle bk tc 9 - 16 do-sa-do 17 - 24 Hey for four 25 - 32 (continue) 33 - 40 Swing same lady 41 - 48 Half promenade 49 - 56 Right and left thru 57 - 64 Left hand star

POLKA DOT Type: Scottish set dance for five persons Formation: One person standing at each place in the square, one person in the center facing #1 position Music: Any 5X32 Reel or Jig By:

• 8 Center person and the #1 and #3 do a hey for three(R shoulders) 9 · 16 Continue, as the center person comes in to the center veer to left to face the person in #2 position. 17 · 24 Hey for three with #2 and #4 (start left shoulders) 25 · 32 Continue hey end facing #1 position. 33 - 40 Balance right and left then turn by the right one quarter 41 · 48 #1 person move to #2 and balance and turn by right one quarter 49 - 56 #2 person lead to #3 and balance and turn by right one quarter 57 · 54 #3 person move to #4 and balance and turn by right one quarter Note. Repeat the dance four more times. ~ ·

(6) LAZY LAKE Type: American contra April 96 Formation: Proper, triple, #1,4,7,etc. active. Music: Prince William, F & W records F&W-3 By: Stew Sha.cklette

1 8 Active cross over cast down one place 9 - 16 All go fwd and back 17 - 24 Actives turn by right 3/4 round, make lines across 25 - 32 Forward and back, lines across hall 33 - 40 Turn contra corners 41 - 48 " 49 - 56 Turn partner by right 1/2 to original line 57 - 64 Every body go fwd and back.

PRESENTED BY STEW SHACKLETTE AT MAINEWOODS CAMP 199t)

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette ZAGHORISIOS (Epirus) The Zaghori region of Epirus is an area northwest of the town of Yannina, on the .west slopes of the Pindus mou'ntain-·range. During Ottoman times the Zaghori was given special semi-autonomous privileges a~d its inhabitants, both Greek and Vlach, developed a mixed economy based on~migrant traders, muleteers and animal husbandry. Formation: open circle with W arm hold. Meter: 5/4 (1,1,1,2) Meas. 1: Facing ctr, wt on R, swing L ft low fwd(1); lift L slightly back & up from thigh (2); step L sl fwd or diag fwd R (3); bring R ft up & hook it behind L calf (M only), or L ankle (Wand M)(4). Meas. 2: Turning to face sl R of ctr,·step fwd R (1); step Lin front of R (2); step fwd R (3); step Lin front of R (4). Meas. 3: Turning to face ctr, swing R up in front of L leg (1); swing R around and behind L leg (2); step onto R (3); J ift L ft up or touch i t s 1 fwd ( 4 ) . Meas. 4: Step to Lon L (l); step·R behind L (2); step to Lon L {3); closeR to L ( 4}. Variations in Meas. 3: 1) on ct 4 swing L ft behind & next to R leg 2) on count 1 swing R around and step on R in front of L; rock back onto L (2); swing R around and step on it just behind L, facing ctr (3); lift Land swing it behind & next toR leg (4).

11 TSAKISTOS" Usually musicians will play a "break" (tsakisma) between the Zaghorisios (or any other slow dance) and the "yirisma" (=turning), which is usually the sta dhyo. Although this music resembles the Tsamiko, it is danced differently: Facing ctr, step toR on R (1); swing Lacross in front of R (2); leap back onto L, swinging Rout straight-legged to the L (3). OR jump onto R, swinging Lout in front of L straight-legged (1); small leap onto L ft (&); sma·11 leap back onto R (2);. leap back onto L, swinging R o~t in front of L (3).

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette DANCIN' SHOES by Ronnie HcDowell

Circle Formation

LARGE Steps to Right R.- L. Together - R. - Touch L.

Small Steps to Left L.- R. Together - L. - Touch R.

Single Touches R. Touch L. L. Touch R.

Do Your Own Thing For 4 Counts R. L. R. L.

Turn to Right R. L. R. Touch L & Clap

Turn to Left L. R. L. Touch R & Clap

In To The Middle (OR Forward) R. L. R. Kick L and yell WHOO with Hands Up Back Out (Or Away) L. R. L. Touch R.

REPEAT FROM BEGINNING

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette TOPANSKO ORO Macedonia

Also known as Topaansko Oro, this daflce derives it's name from Topansko pole or Topaana, a sector of -Skopje, Macedonia~ which was populated by gypsies, until the 1963 earthquake. This dance belongs to the broader family of "Krsteno" (crossing) dances, popular throughout Povardarie, the Vardar river basin, along with such dances as: Lensko Krsteno, Postupano, Cu~uk, and Devoj~e devoj~e. to mention just a few .. Topansko oro, as are many of the dances in this family, is danced over a five-measure phrase. Although the dance is often played and danced by gypsies, I personally would categorize it as Macedonian rather they "Gypsy."

Stephen Kotansky first learned Topansko oro from Pece Atanasovski in 1978 and later saw it danced by musicians in his orchestra. Stephen also conferred with Atanas Kolarovski who was familiar with an almost identical form.

TRANSLATION: Topansko pole or Topaana was a sector populated by Gypsies in an area of Skopje. Macedonia

PRONUNCIATION: TOH-pahn-skoh OHR-oh

MUSIC: Record: Jugoton (LP) LSY-61392, side 1/2

FORMATION: Short lines in a modified "W" pes.

STEPS: ~uk~e: The raising and lowering of the heel on one musical beat (bounce).

RHYTHM: 12/16 counted: 1-2 3-4 5-6 7-8-9 10-11-12 Dancers cts w i 11 be described in a 4/4 meter as this dance can be highly syncopated.

METER: 12/16 (4/4) PATTERN

·Meas. ·cts ~

INTRODUCTION: Leader begins with the start of any musical phrase.

FIG I: 1 Facing diag R of ctr and moving in LOD - ~uke5e (or hop) on L in place as R knee lifts ( f t: M high, w low) in front of L. 2 Step R fwd in LOD. 3-4 Repeat me as 1-2 with opp ftwk (bnc R, L fwd).

2 Turning to face ctr - ~uk~e (or hop) on L as R lifts in front of L. 2 Leap R in place. as L knee lifts sharply in front of R ( f t: M high, w 1 ow)' and hold in this pes. 3-4 At the end of ct 3, L begins to swing out and around (CCW) to a pas just below R knee.

Balkan Folk Traditions 2nd Rnnual Festival, San Francisco, CB October, 1991 Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette TOPANSKO. page 2 of 3

3 Facing ctr - ~uke5e (or hop) on R. L is still behind R knee. 2 Step L to L. 3 Step R across L. 4 Step L back in place.

4-5 Repeat meas 2-3 (it is not necessary to turn and face ctr).

Repeat dance from beg and according to "energy level" tempo, etc., add hops instead of ~ukce's and begin to syncopate the steps slightly.

VARIATION: Note: As the music speeds up or the "energy level" rises, the dance becomes more dynamic with the dancers adding turns and even squats at wi 11. Also, a new more intricate and complicated variation of the basic is introduced. This variation is often highly syncopated; therefore I am noting a skeletal form.

When the leader changes to the Variations, the hands lower to "V" pos during the 1 ast 2 cts of meas 5. In class they changed when the music changed to a minor key, but the leader may change at will. However, the teacher never went back to the Basic pattern.

1 Facing R of ctr- ~uk~e (hop)) on Las R lifts in front of L. Note: This initial cukce or hop is only done the first time as a transition from the former "basic" into the variation. All following repeats of the variation begin with a leap L fwd in LOD (ct 1). 2 Step R fwd in LOD uh Step on ball of L ft beside R toe. 3 Step R slightly fwd and beside L. Step cue: Cts uh-3 can be called a "ker-PLUNK". 4 Step L fwd in LOD. Step cue: Hop L, R fwd, ker-PLUNK, L fwd.

2 uh Step on ball of R ft beside L toe. 1 Small step L fwd in LOD. Step cue: Cts uh-1 can be called a "ker-PLUNK". 2-3 Step R-L fwd in LOD 4 Still facing R of ctr- step R back to place. Step cue: Ker-PLUNK, RL fwd, R bk Note: The hop becomes a leap onto L in repeats of the variation.

3 1 Hop on R, bringing L up and around in back of R- thereby turning to face slightly L of ctr. 2 Step L slightly behind R. 3 Step R in place-. uh Step on ball of L beside R. 4 Step R fwd slightly. Step cue: Cts uh-4 can be called a "ker-PLUNK".

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Balkan Folk Traditions 2nd Hnnual Festival. San Franciscn r.R nrtnhcr 1 ca4 TOPANSKO ORO, page 3 of 3

4 1 Turn.ing to face slightly R ofZctr - leap on L in place as R moves up and around in back of L. 2-4 Repeat! meas 3 cts 2-4! with opp ftwk (R behind, L in pl, RL w/ker-PLUNK)

5 1-4 Repeat meas 4, with opp ftwk. (leap R in pl, L behind, R in pl, LR w/ker-PLUNK) Cues for meas 3-5: Beg w/wt on R, hop-step-step-ker­ PLUNK. Leap-step-step-ker-PLUNK. Leap-step-st~p-ker­ PLUNK.

ADDITIONAL VARIATION: Meas 3-5 Add a hop just before ct 2 in each meas.

Do a solo turn to R during meas 3 or 5.

Turn to R during meas 4.

In all cases the turn in initiated on ct 1 of meas. Turn only when inspired to do so!

Repeat from the beginning of the variation, not forgetting, of course, to begin by leaping onto the L (meas 1, ct 1).

Macedonians once put it this way: "There is a beginning and an end to each dance phrase. How you get there is your own problem ... Enjoy.

Presented by Stephen Kotansky

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Balkan Folk Traditions 2nd Hnnual Festival, San Francisco, CH October, 199'1 cv1ach, Thes!'r~iru~_Greecel Presented by Steve Kotansky 1 f1-.e.-e. a ot'\' '\. .l !".AJI.ti::o as d.arx::ed 1:Ty Vlach (,_ hrab&takil:o&') liv:i.Dg ill tbe •ortbern ~alY. ._, ar Gr , ' 'I Recording: Camp Tape Formation: Line or open circle with "W" hold. Music: 3/4 J .) J ~'t"QY\ d .A Dancer's Beats ~ 2 3 Measure

1. Facing very slightly R of center, step L across and in front of R (1); hold (2); step R toR (3).

2-3. Repeat 1. 4. Turning to face Center, step L back (1); step R back and toR (2); step L fwd and across in front of R (3). 5. Bounce on L and strike R heel (knee extended in front without touching it to the ground. (1); bounce again on L bringing R around and to back (2); step R back (3).

6. Touch or Lift L to L (1); hold (2); Step Lacross and in front of R (3); step R (on ball) quickly toR (like a catch step) (&).

V-l.Y'"S;o t\ is -fn,,.... -+~ ~ v~ \ \o.j<... c>f ?t~l i kG\5 f-e.'r\o ·, ., l

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette -- SHIFERS T ANTS ~ (SAILOR'S DANCE)

Shifers tants is a circle dance popular among Jews from the east Romanian region of Bessarabia (present-day Moldova) and the neighboring areas of southern Ukraine. It is almost identical to the Romanian dance boiereasca. This version of shifers tants comes from Prof. Ron WixrrLan, a specialist in the cultural geography of the former Soviet Union at the University of Oregon, who remembers it from his family, originally from the south Bessarabian town of Akkerman. Interestingly, master Jewish clarinetist Dave Tarras recorded a tune Shifra tantzt ('Shifra's dancing') in the 1940s, which is a most appropriate tune for shifers tants. The proximity of Bessarabia and southern Ukraine to the Black Sea, as well as the presence of major navigable rivers like the Dniester, Prut and Danube, may explain the dance's name.

Music: any moderate-tempo 2/4 Jewish tune will do, but the more RomanianiMoldavian sounding ones are best, as are the many Jewish tunes which are also part of the Greek hasaposerviko repertoire. Many Jewish 78, recordings waxed in the US jr( the 1910s-50s were also marketed to Greeks. il;, 1 .);-::;~ . · yo 1(\ J );o/Jnn~ Y. ~r·L FORMATION: Dancers form an open circle,~ nands at waist heigh~ Krms can be over or under those of your neighbor; this may have to be negotiated on a case-by-case basis. Counseling is available by appointment.

STEP: With a relaxed walking step, step towards center of circle with L-touch, out with R-touch (measures 1 and 2), and then travel into the center diagonally (like cutting a piece pie) with L-R-L-touch (measures 3 and 4). Next reverse the above, stepping out with a R-touch, in with a L-touch, and then backing out of the center on the opposite diagonal with a R-L-R-touch. The initial L-touch, R-touch (meas. 1 and 2) are done practically in place, traveling ·ever-so-slightly to the right.

As you travel in tO\.\"ards the center, hands and arms link up more tightly, opening up again as you back up and spread out. After dancing in an open circle for a while, leader leads the line inside the circle and gradually winds up into a spiral.

Step variation: As your enthusiasm rises to white-hot frenzy, try adding stamps while traveling in to the center: L-touch, R-touch, L-stamp-R-stamp-L­ touch, etc. (it's harder and less customary to do it on the way out).

Presented by Michael Alpert, University of Toronto, November 1992

I~ Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette SIRBA

Sirba (Rom: STrba ) is a traditional Romanian dance genre in circle, line or couple formation, which combines brisk running and hopping steps in short phrases. Common throughout the entire Romanian area, it is also known throughout much of the Carpathian region among co-territorial and adjacent peoples including Jews, Ukrainians, Hungarians, and even Polish g6rale, or highlanders of the Tatra/Beskid mountain regions in southern Poland [Dabrowska 1979: 235-237]. 1 Among Yiddish­ speaking Jews, use of the term sirba to describe the dance appears confined to the Romanian/Moldavian language area and the immediately adjacent Ukrainian­ speaking areas of Bukovina and southwestern Podolia2, although the dance movements themselves seem to be common among Jews from throughout a much wider area of the Ukraine.

Musically, Romanian sirbas are characterized by a high degree of 6/8 triplet phrasing in the melody, played against a brisk rhythn1ic background in 2/4 time. Since at least the turn of the century, however, there has been an increasing tendency throughout the Romanian cultural area for the rhythmic accompaniment to adopt the 6/8 phrasing of the meiody.3 Most Jewish interpretations of sirba tunes, on the other hand, do not favor a 6/8 figure in the rhythm. Although this may have changed among Bessarabian/ Moldavian Jews after the 1920s, the large numbers of Jews who emigrated from Eastern Europe to North America prior to that time probably brought with them the older, 2/4 conceptualization of sirba rhythm. Thus, pre-World War I European recordings of klezmer music, and U.S. recordings from any era, as well as the tradition as transmitted among musicians in the U.S., almost exclusively feature sirba tunes with 2/4 accompaniment.

I learned various portions of this dance from Or. Yoyne Gottesman and the late Leon Schwartz, both born and raised in the Bukovina region on the present Soviet­ Romanian border, from Klara Graboys, originally from Keshenev, Moldavia and now basking in the relative tranquility of Santa Cruz, California (Sirba•s Upl), and from Sure and Shame Tservil, recently of the Moldavian/Moldovan SSR, presently of the Bronx, nebekh. An£ -1~-~r"n n1c Jvtp~JS'I~ .rlev / FORMATION: Circle, hands shoulder height, or on shoulders.

BASIC STEP: A-hop, L-hop, R-L-R-hop; L~hopr A-hop, L-R .. L-hop. Hops should be subtie!

TRAVELING: Facing slightly right (in line of direction), travel around circle to R.

SWIVEL: As in Hora ; A-hop, L-hop, A-L-A-swivel backwards, L-hop, A-hop, L-A-L­ swivel forwards, etc.

1 Dabrowska, Grazyna, W Kr9gu Polskich Tanc6w Ludowych, Torun, 1979. 2 Unfortunately, I have no information as to the use of the term sirba by Jews from the area of the present­ day Transcarpathian Region of the Ukraine. 3 See Miller, Miamon, M.A. thesis, UCLA 1986

Oglebay Institute Fall Folk Dance Camp (~ Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette HORA

~. The term hora describes an indigenous Romanian dance and musical genre of great diversity. It comprises brisk tunes in 2/4 time as.well as medium-tempo tunes in triple meter. Triple meter horas, the primary form of the the genre among East European Jews, are typical of the northeastern Romanian area. This dance and musical form is also common among Ukrainians of the Bukovina region.

Among Yiddish-speaking Jews, hera is also known as /ondre or landre,1 zhok, krumer tants [crooked dance, cf. Bulg. krivo horo ], et al. American-Jewish professional musicians often refer to it as •slow hera. •

Jews from Moldavia and Bukovina generally perform hora as a closed or open circle dance with occasional couple figures, in keeping with co-territorial non-Jewish practice. Jews from adjacent areas of the Ukraine probably acquired the circle­ formation hora through contact with Romanian Jews and refer to it by such names as rumeyner freylekhs [Romanian Jewish dance] or the generic name vulekhl [Wallachian, i.e. Romanian]. They sometimes dance an improvised solo dance to hora tunes as well. In a much wider area of Eastern Europe, horas and related melodies in treble meter were frequently used as processional tunes at Jewish weddings and other celebrations. These often went by the name gasn-nign or gas-nign [Street-tune, i.e processional]. Examples on currently available reissue recordings are Firn di mekhutonim aheym [Escorting The In-laws Back Home]), rendered by clarinetist Naftule Brandwine in a 1920s recording, reissued on Klezmer Music 1910-1942, Global Village Music C 10?/ Folkways FSS 34021, and Der Gasn Nign, a 1923 recording by xylophonist Jacob Hoffman with Harry Kandel's Orchestra, reissued on Jakie Jazz 'em Up, Global Village C 101.

For the musicoloqically inclined: the East European Jewish hera has been variously notated in 3/8, 3/4, and 6/8 time. It is rhythmically and choreographically distinct both from the lively Israeli dance in duple meter bearing the same designation, and from the contemporary hora popular in Orthodox and Hasidic communities in the U.S. and. Israel, which employs the syncopated 4/4 rhythm of Greek/Turkish tsiftetelilcifteteli and Arab binti baladi. The accentuation on beats 1 and 3 of the 3/8 measure, as well as the rhythmic pattern ·1 ... and-3-and, 1... and-3-and" are characteristic of the East European Jewish hera, differentiating it rhythmically from the waltz and other treble-meter European dance tunes. Metric ambiguity is often apparent in the performance of both Jewish and non-Jewish horas, especially those from Moldavia and Bukovina. Some renditions seem to hover between treble and duple time, while others tend more towards a 5/8 or 10/16 rhythm suggestive of Bulgarian paidushkoto .

FORMATION: A circle, hands shoulder

BASIC STEP: A-L-A-and, L-R-L-and. . . (Long-short-long-and)

1 From Romanian 0/eandra, a dance and musical genre. The Soviet Jewish ethnomusicologist M.A. Beregovski notates several tunes 0/yandra /Londre in Evreiskaya Narodnaya lnstrumental'naya Muzyka, Moscow, 1987. The terms londre, /andre or o/yandre in reference to this particular dance and musical form seem to be widespread only among·Jews from Bessarabia and the extreme southwestern Ukraine, including the city of Odessa, although I have heard it used by Jews from as far away as Warsaw.

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette 2

TRAVELING: Basic step, done facing slightly r:ight"' along line of direction. . . IN PLACE: Facing center, do basic step side to side in place.

SWIVEL: As in traveling step, except that at the conclusion of one complete dance •unit• (R-L-R-and, L-R-L-and) all swivel backwards (to right) on .. arut" to perform the next •unit" backwards in line of direction, swiveling again forwards on L foot on "ru:u;t," etc.

INTO CENTER: All travel into center with ·R-L-R-and, L-R-L-and, R-L-R-and, Stamp­ Stamp-Stamp-and.• Return backwards with same pattern.

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Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 fa Stew Shacklette This version of a bulgs.r was learned froa I sue "Tsunye" Re iaer, who was born in the shtetl Krosne

Bulgar appears to have been popular aaong Roaanian and south Ukrainian Jews precisely during the the ti11e of large acale East European Jewish iaaigration to the A•ericas (1881-1924). The preponder~nce of klez•er ausicians fro• this region who acheived pro~i~ence in the U.S. at that tiae aay account for the large segaent o!·the ~erican k1e%aer ausic repertoire that bears the ns•e bulgar. Thus, aoat later Jewish iaaigrants to the U.S. are not natively faailiar with the tera, whereas aany second-generation Aaerican-Jewish wedding ausicians refer to the entire old-tiae East European Jewish dance repertoire as "the bulgars."

Both na.~~e and dance appear to be related to the Moldavian-Besaara.bian line dances bulgaresti or bulgareasca. There ia auch speculation as to the relationship of bulgar, aa a ausical and dance genre, to "Bulgarian." Possible connections are a sizable ethnic Bulgarian population in Bessarabia and the Odessa region froa the aid-19th century, aa well u the apparent sustained contact with northern Bulgaria on the part of Moldavian Gypsy ttusiciana, who were an i•portant source of the repertoire and at7le that we uaociate with klezaer ausic today.

A bit of context: Taunye Reiaer, who died in July, 1989, atil1 youthful at 90+ ,-e!!,!-!!:; ~~ ~ q!-.inte!!!!~!2tial fol.buleDtsb - an extraordinary treuure­ cb.est of Jewish folklore and folkways. A aarvelous singer of Yiddish, Ukrainian and iuaaian songs in the traditional unacco•panied style, he was also considered the finest folk reciter of the works of Sbolea Aleichea in the U.S. He wa.a a true bon viva.ot and carouser to the end - with a song, story or quip never far froa his lips, he iaparted a great deal of yidishka~ and heart to all who knew hia. Foraation: 2 couples, facing each other, woaan on aan'a right. Figure 1: Couples fora a circle, holding banda at waist level, and circle - left 14 steps/beats starting with L foot, then end circling with a quick 1-2-3 (L-R-L) on counts 15 and 16 aa all turn to face right and return to R with 14 steps + 1-2-3. Repeat circling, L and a, but end final circling R by going a full 16 steps without the 1-2-3. Couples should end facing each

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette BULGAR (cont'd)

other, dropping hands with corner and' assuaing shoulder-hold position ("Zorba the Greek") with partner.

Figure 2: Facing opposite couple (forward), each couple moves 8 steps to its own R etarting with R foot, using grapevine step (R, L behind; R, L behind; etc.), as if on parallel tracx with opposite couple (but aoving in opposite direction). Return 8 steps L with step variation (R cross in front, L; R cross in front, L; etc) until couples face each·other again. Don't overshoot on return: couples should diverge, then return home directly opposite each other. Repeat entire figure.

Figure 3: Men "lead out" (firn aroys), aoving towards each other with R-L-R­ acknowledge ( 4 counts). (Acknowledge = a. short nick of the head or bow, accoapanied by a flex of both knees or sta:ap~ Passing R shoulders, aen continue across to opp. woaan with 4 steps, then turn R elbows with her for 8 steps. Men return hoae exactly as they crossed -- with R-L-R-acknowledge, etc. -- and turn partner w/ R elbow 8 steps.

Figure 4:- Couples proaenade counterclockwise around circle 2X, using 16 steps per revolution. As you pass hoae, aaintaining, of course, that sense of constant notion for which Yiddish dancing is fuous, woaen can turn ~lockwiae under aan'a right hand (oysdreyen ~ikb), aa they can again upon returning hoae at end of figure.

Dance then begins &gain froa top. In Figure 3, woaen cross this tiae instead of aen, passing L shoulders. Men and woaen alternate thus thruughout the entire dance, which is repeated ad lib.

GIT AKHTUNG! Reaeaber that traditionally-- or at least the way aostyi.dlek.h dance -- the dance phrase doesn't have to follow the ausical phrase; the iaportant thing is that you follow the steady 1-2 beat of the ausic. It's quintessentially pre-industrial, yet deconstructiviat ••• On the other hand, taking a post-aodern, yet cheerfully neo-conservat1ve approach, it,s always nice when your figures and 110vea correspond at leut occuionally to the diaensions of the· auaic, so that you're not ju•t pe~forainc dance-like exercises while auaic happens to be playing in the saae rooa. Thus, once you know the dance, you don't hAve to pay slavish attention to the nuaber of steps indicated here, but can let the spirit ao•e JOU and then catch up or aark a little tiae to get back in step with the auaic.

Music: Per the previous paragraph, 10u can uae any aoderate-teapo bulgar or freyiek.bs in 2/4 tiae, but good ones to use are K&a~~en t2 or Naftule's Freylekh as played by Naftule Brandwine. Just ask rour auaicians to play any 3-part tune in the sequence ~ i! you want dance and auaic to aatch. Zo1 zayn 11i t •IIZl! AA- 8 gc., o-r- Al.Bc/J ~

Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette Oglebay Institute Fall Folk Dance Camp Wheeling, West Virginia, Aug 30-Sept 2, 1996 Instructors: Steve Kotansky Stew Shacklette

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Oglebay Institute Fall Folk Dance Camp Instructors: Steve Kotansky Wheeling, West Virginia, Aug 30-Sept 2, 1996 Stew Shacklette