OGLEBAY INSTITUTE 49t~ ~nnual,; 0 leba.»- s»rin olJil)ana,~ WM ~,We5l Vtritttia 111a~26-2,9, 1989

.. • ~l InstrucWre • JoJQ; J3o~w ~l~bur~ LBob rHoweU · SPRING FOLK CAMP Roster Camp Russel Wheeling, West Virginia Oglebay Park May 26 - 29, 1989 INSTRUCTORS TOM BOZIGIAN, 6555 La Mirada Ave., #24, Los Angeles, CA 90038 MICHAEL GINSBURG, 2 - 12 Siaman Ave. , #138, New York City, NY 10034 BOB HOWELL, 20141 Concordia Drive, Euclid, OH 44117 CAMP STAFF AND COMMITTEE: Herman, Bill, Chairman & Camp Program Director, 12 Pearl Avenue, Wheeling, WV 26003 Carnahan, Lloyd and Shirley, Co-Chairman, Stone Church Rd. , Wheeling, WV 26003 Chiazza, Rose, 330 Springdale Avenue, Wheeling, WV 26003 Cline, Elizabeth, 1025 Indiana Street, Martins Ferry, OH 43935 Conrad, Helen, Middle Wheeling Creek, Triadelphia, WV 26059 Denham, James, 66479 Kirkwood Hgts. Rd . , Bellaire, OH 43906 Forshey, Ann and Paul, 28 Poplar Avenue, Wheeling, WV 26003 Nolan, Mrs . Edward J., 10 Locust Avenue, Wheeling, WV 26003 Schaughency, Scott and Michelle, 8 Christy Lynn Dr., Moundsville, WV 26041 Sheppard, Ray, 28 Kennedy Avenue, Bridgeport, OH 43912 Tocash, Mary, 327 Main Street, Tiltonsville, OH 43963 Tomlinson, Bob and Kathy, 71628 Treadway, Rd . , Martins Ferry, OH 43935 Uhlich, Floyd, 116 Harding Avenue, Wheeling, WV 26003 OGLEBAY INSTITUTE STAFF: Stifel Fine Arts Center, 1330 National Road, Wheeling, WV 26003 Phone: 304-242-7700 John W. Ellis, Director, Creative Arts Department Phil Maxwell, Craft Specialist Doris W. Long, Secretary June Watson, Typist JANE FARWELL AND AL SCHWINABART SCHOLARSHIP RECIPIENTS:* Brazelton, Bev, 5980 Seymour Lake Rd., Oxford, MI 48051 Fassnacht, Pollyann M., 654 Wooster Road, W, Barberton, OH 44203 Jabour, Jane, Rt 1, Box 248, Shipman, VA 22971 Marcellus, Paula, 10 Halstead Ave . , Wheel i ng, WV 26003 Reid, Kathleen, 2349 East Brooks Rd., Freeland, MI 48623 Thomas, Jenny, 920-I Cherry Lane Apts . , East Lansing, MI 48024 CAMPERS: Burns, Ralph L., 1049 Harmon Avenue C-59, Columbus, OH 43223 Carpenter, Bart & Kate, 3031 N. Second Street, Harrisburg, PA 17110 Caruso, Hank & Dorothy, 7245 Grant Blvd . , Middleburg Heights, OH 44130 Conrad, Helen B., Route 1, Box 116, Triadelphia, WV 26059 Crooks, Carol, 2390 Canterbury Road, Columbus, OH 43221 Cutler, Jack, 3725 Windom Place, NW, Washington, DC 20016 Fluke, Mary M., 243 Second Street SW, Carrollton, OH 44615 Gass, Charles & Henri, 247 Richard Road, Columbus, OH 43214 Geyer, Gaye, 9 Leatherwood Lane, Wheeling, WV 26003 ** Gross, Dorothy, 619 W. Tenth Street, Erie, PA 16502

Ko..:t·k

1989 Oglebay Institute Spring Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell Hollish, Frank & Connie, 439 Morningview Avenue, Akron, OH 44305 Horvath, Louise & Edward, 5770 Portage Street NW, N. Canton. OH 44720 Hurt, Lois, 617 Hampton Ave., Pittsburgh, PA 15221 ** Hyll, Leslie, 4811 Arcadia Blvd., Dayton, OH 45420 Hyll, Louis, 2151 Meriline Avenue, Dayton, OH 45420 Kelley, Billie Jo, 126\ Jim's Run Rd., McMechen, WV 26040 ** Kelley, Mary, 126\ Jim's Run Rd . , McMechen, WV 26040 ** Khamis, Harry J., 535 Greene Tree Place, Fairborn, OH 45324 Leahy, Christopher, 2350 Greenstreet St., Harrisburg, PA 17110 Meess, Diane, 446 W-Tenth Street, Erie, PA 16502 Merritt, Bruce & June, 3315 Evergreen Drive, Murrysville, PA 15668 Mordecai, Mike, 5401 Library Road, Bethel Park, PA 15102 Noroian, Elizabeth, 5401 Library Road, Bethel Park, PA 15102 Patton, Bill, 2709 Indian Run, Flatwoods, KY 41139 ** Richey, Viviene M., 324 W. Mohawk Drive, Malvern, OH 44644 Riedl, Joe & Mary, 506 Beech Row Drive, Norton, OH 44203 Roberts, Meade & Natalie, 310 North Wilson Avenue, Morehead, KY 40351 Rothenberg, Irv & Marina, 2420 Buckhurst Drive, Beachwood, OH 44122 Schockey, Juanita, 14533 Maidstone Road, .Orlando, FL 32826 Shatin, Beth, P.O. Box 5054, Charlottesville, VA 22905 Spears, Karen, 142 Minnetonka, Oxford, MI 48051 ** Stammerman, Judy, 2350 Greenstreet St., Harrisburg, PA 17110 Thirey, Earl & Claire, 4789 Summerside Road, Cincinnati, OH 45244 Vydra, Richard & Antoinette, 1178 Onodago Avenue, Akron, OH 44305 List of campers current as of May 23, 1989.

* JANE FARWELL AND AL SCHWINABART SCHOLARSHIPS The JANE FARWELL SCHOLARSHIP FUND was created in 1981 and the AL SCHWINABART SCHOLARSHIP FUND was created in 1982 through the generosity of Rus Acton and provides full scholar­ ships to deserving students for each Folk Dance Camp. Contributions for the maintenance of these scholarship funds are greatly appreciated and are all tax deductible. Donations to the JANE FARWELL or AL SCHWINABART SCHOLARSHIP FUND should be made payable to Oglebay Institute.

** Attending camp on working scholarship .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell TABLE OF CONTENTS

Dances presented by TOM BROZIGIAN Page 1 History of Armenia and the Armenians 2 Abbreviations and Pronunciation Guide 3 Armenian Turn 3 -Pompooreeg 5 Khumkhuma 5 Jo Jon 6 Koc ha ree 7 Misirlou 9 Sepo 10 Sev Acherov Aghcheek 12 Jeitili 13 Hayrer 00 Mamoogner 13 Lorge 14 Hey Vala 14 Ka roun 15 Loorke 16 Daronee Yerker Yev Barer (Azgagrakan) 19 Moosh 20 Sasoon 20 Lal van 21 Sherokhee

Dances presented by MICHAEL GINSBURG Page 22 Prek id 22 Pajdusko 23 Djurdjevica 24 Cije E Ona Mome 24 Skopski Cocek 25 Devetorka 25 Gankino or Sitna Kopani ca 25 Vlajna 26 Zensko Pusteno 27 Sandans ko Horo 27 Bunjevacko Momacko Kolo 28 Neda Voda Nalivala

Dances presented by BOB HOWELL Page 30 The Basic Movements of 31 Locomotion 31 Friendly Circle 31 Bad, Bad Leroy Brown 32 Slovenian 32 Crazy Eights

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell Dances presented by BOB HOWELL (Continued) Page 33 Do-Ci-Di zzy (Revised) 33 Shootout 33 Salty Dog Rag Circle 34 Hi Neighbor 34 Grand Sashay Mixer 35 Hyll 's Mixer 36 Lancashire 36 Razzl e Dazzle 36 Country Mixer 37 Tunnel Thru 37 The Grand Square 38 New Missouri 38 Arkansas Traveler 38 Hayride 38 Cincinnati Waltz Quadrille (Gibson House Waltz) 39 Proper Quadrille 39 Grand Square Six Quadrille 40 Listen to the Mocking Bird 40 Scones and Tea 40 Marching to Pretoria 41 Carry Under the Arbor 41 Rutgerts Promenade 41 Decko's Delight 42 Golden Waltz Contra 42 The Duke of Kent's Waltz Contra 42 The Reel McQuaides 43 Lighted Sconce

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 1. ARMENIA AND THE ARMENIANS

The Armenians are descendants of a branch of the Indo-Europeans and described by the ancient Greek historian Herodotus as being related to the Phrygians, who entered Asia Minor from . The various ancient peoples, mainly Urartians, who originally inhabited what is generally referred to as the Armenian plateau, one of the world's oldest centers of civilization (today eastern , the southern and extending partly into , , and Syria) were gradually destroyed during the 6th and 5th centuries B.C. under the blows, among others, of Scythian, Assyrian, and Median armies. The Armenians established themselves and founded their new state. They call themselves Haee and their country Haeeastan, the roots of which are derived from their folk here Ha eek, ~~The is a member of the Indo-European family of languages but stands apart from the various branches. The people are traditionally Monophysite Christians and belong to the Armenian Apostolic church . There are small percentages of Catholics and Protestants. Armenia was the world 1 s first Christian state accepting Christianity in 301 A.O. The alphabet was created by Mesrob Mashtots in the early 5th century A.O. The Greek alphabet was, in part, an influence. Modern-day Soviet Armenia is part of ancient Armenia. Occupying a landlocked area just south of the great mountain range of the Caucasus, between the Caspian and Black Seas, Armenia is the smallest of the 15 republics making up the Soviet Union which it joined in 1920. It is the home of almost 3 million people of which Armenians constitute over 90 percent. Minorities consist mainly of Russians, Turks, and Kurds. The Republic is extremely mountainous with an area of over 11,500 square miles , It is a land of extinct volcanoes chopped by ridges, deep gorges and valleys. Its average altitude is 5,900 feet above sea level. Because of its deep inland position, the climate is extremely varied. Armenia is not generously endowed by nature but irrigation, especially in the lower altitudes, has brought about a rich abundance of various fruits and vegetables. The higher elevations are extremely rich in minerals, Historically, Armenia was consistently subjugated through wars by surrounding major powers of which the Persians, Byzantines, Arabs, and Turks are the most important to list. However, the Armenians developed territorial leadership through dynasties and principalities. Each invasion or conquest of Armenia and each migration into the land has left not only a genetic and biological imprint but also a linguistic, cultural, and religious stamp on the people of the region. The result appears to be an extremely rich and varied cultural expression and attitude of the Armenian people, as brought out in their songs and dances. Contributions to the world by Armenians in the fields of literature, architecture, art, music, medicine, science, among others, are vast, At the end of the XV century the invasion of Armenia by the Ottoman Turks began. Several centuries of wars between the Ottomans and others all but crippled the Armenian people. Turkey dominated Armenia into the latter part of the 19th century. Religious, economical, historical, political, etc. differences created hardships for the Armenian nation. Inspired by other members of the Ottoman Empire winning their independence, revolutionary activity among the Armenians developed. Unfortunately, their dreams for an independent Armenia were met with death and massacre at the hands of the Ottoman Turks. From the latter 19th century to 1915, almost 2 million Armenians lost their lives. The result of these killings was a dispersion by the hundred thousands in every direction -- north to Russia, east to Asia, south to the Arab countries and west to Europe and the Americas.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 2.

ABBREVIATIONS USED IN THIS BOOKLET

approx approximately L 1eft beg begin or beginning LOO line of direction bk back M man, men bwd or bkwd backward meas measure ccw counterclockwise opp opposite cpl couple orig original ct or cts count pl place ctr center pos position cw clockwise ptr partner di a g diagonal R right dir direction RLOD reverse 1 i ne of f1 floor direction ft feet or foot sdwd or swd sideward ftwk footwork twd toward fwd or frwd forward w woman, women H hand wt weight

PRONUNCIATION GUIDE AS UTILIZED IN THIS BOOKLET

a = ~11 ( AG~ R) oo = gook (POMPOOREEG) e = ~ver ( Ml DAX) u = h~t (G~NEEGA) ee or i = ~ven (TEEN) gh = r (french) (DZAGH) o = ~ver (KQCHAREE) kh = loch (_~) NOTE: In the Eastern Armenian dialect, T's, K's, P's, J's and Ts's are sometimes unaspirated. ) ~ ~.s. ,t.

ANCIENT WESTERN ANATOLYAN ARMEN I A

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 3.

ARMENIAN TURN

SOURCE: This dance, along with "Seeroon Aghcheek, 11 is a popular "turning" (body makes a 360° revolution in either or both directions) among Armenian-American youth. At any particular Armenian function, one can discover this dance danced to any number of melodies performed by the live orchestra. Learned and danced by Tom Bozigian during the late 50 1 s at various Armenian gatherings in California. RECORD: "Tom Bozigian Presents Songs and Dances of the Armenian People" Volume II, GT 4001, FORMATION: Mixed line dance with little fingers grasped at above shoulder height and away from chest and dancers facing center with leader at R, MUSIC: 2/4 PATTERN MEASURE 1-2 Turning to face diag Rand moving R, do two two-steps (see the dance "Heeng 00 Meg" for a description and discussion of Armenian two-steps) (cts. l-and-2) (cts. l-and-2), 3 Turning to face ctr, step R to R, as hands begin to lower (ct 1); step L behind R, as lowering of hands to side completed to behind body (ct 2), 4-5 With three walking-pivoting steps, beginning R (each 1/3 revolution and moving R), execute 360° turn of the body-CW (cts 1-2) (ct 1); facing ctr with wt on Rand L touching fl, to L, clap hands at chest level to R side (ct 2). NOTE: Upon turning, dancers release little finger hold and men raise their hands to beginning height position beyond shoulder width while women raise hands above head at shoulder width and turn their hands at wrist inwards towards each other to execute 360° turn. 6-7 Repeat meas 4-5 in opp direction, rotation, and ftwk, (cts 1-2) (cts 1-2).

TAMZARA-POMPOOREEG SOURCE: This is a medley consisting of two of the most popular dances done by the Armenian people both in Soviet Armenia and in the Armenian Diaspora. The versions of these two dances were brought by Western (Anatolyan) Armenians to the U. S. during the last decade of the 19th century and early part of the 20th century. Several other versions exist from the various folk regions of both Eastern and Western Armenia, having been taken there by travelers and having evolved into other variations . Tom Bozigian danced these two variations as a child in Fresno, Calif. RECORD: "Tom Bozigian Presents Songs and Dances of the Armenian People" Volume II, GT 4001, FORMATION: Mixed line dance with leader at Rend and dancers grasping little fingers of adjoining dancers at shoulder height. This is called "W" position. MUSIC: 9/8 for Tamzara; 2/4 - 6/8 for Pompooreeg PATTERN MEASURE Tamza ra ( n .IJ i-:J J-rJ ) 1 Facing ctr throughout, step bkwd on R (cts 1-2); slight hop R in pl as L knee raises in front of R leg, L ft ahead of R shin (cts 3-4); step slightly frwd on Las R lifts slightly off fl behind (cts 5-6); repeat action of cts 1-2 (cts 7-8); hop slightly on Ras L ft kicks a little frwd still above fl (ct 9). 1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 4.

TAMZARA -POMPOOREEG (Cont i nued) MEASURE 2 Repeat action of meas 1, cts 1-2, but wi th opp ftwk (cts 1-2); repeat acti on of meas l , cts 3-4 , but with opp ftwk (cts 3- 4); step R to Ras L remains on fl to L (cts 5- 6); step L beh i nd R (cts 7-8); slight hop on Las R ft ra1ses sl i ghtl y off fl (ct 9) . 3 Moving twd ctr, step ahead on Ras hands (l i ttle f i ngers rema i ning grasped) are lowered to si des (cts 1- 2) ; hop on R i n pl as L knee raises i n front and L heel l i fts beh i nd to ins i de of calf (cts 3-4); step ahead on Las hands are ra i sed to ori g pos; stamp R, no wt, twi ce bes i de L (cts 7-8); hold (ct 9) . 4 Step bk on Ras arms are lowered to si des (cts 1-2); hop R i n pl (cts 3-4); step frwd on Las hands are ra i sed to ori g pos (cts 5-6); stamp R, no wt twice bes i de Las hands clap tw i ce at chest level (cts 7-8); hold (ct 9) . NOTE: In Armen i an l i ne dances where the l i ttle fingers are grasped wi th adjoining dance rs and where there are no de fi nite vertical, horizontal, sideward, or rotati ng arm movements desc ri bed, there sti ll exists slight arm punctua­ t i ons or bobbings as gu i ded by the r hythm and speed of the music . POMPOOREEG (2/4) 1 Chang i ng to hands on shoulders of adjo i ni ng dancers, arms strai ght and dancers conti nu i ng to face ctr throughout, step R sdwd to R (ct l); step L beh i nd R (ct 2). 2 Step R to R (ct l); hop R i n pl as L knee raised i n front of Rand L heel i s l i fted to inside of R ca l f (ct 2) . 3 Touch ball of L i n front of fl, leg strai ght, as R makes small hop in pl (ct 1); small leap L bes i de Ras R knee raises i n front of Land R heel l i fts sha r ply to i ns i de of L calf (ct 2) .

4 Touch bal l of R, strai ght leg 9 on fl ahead of Las L makes sl i ght hop (ct l); touch ball of R~ strai ght leg, to di ag LOO as L makes another sl i ght hop (ct 2) . 5 Stamp R, no wt, bes i de L (ct l); hold (ct 2) . POMPOREEG (va riati on, changing to 6;8) 1 Cont i nui'ng to face ctr throughout, hop on L sdwd to R as R knee ra i ses in front and R heel ·l i fts sharply off fl (ct l); leap R to Ras L heel lifts sharply off fl (cts 2- 3); leap L across R as R heel 1 i sts sharply to inside of L calf, knee in front (cts 4-6) . 2 Leap R to R as ball of L touches fl bes i de R (cts 1-3); hop R i n pl as L heel l ifts to ins i de of R CAl f , knee i n front (cts 4-6) . 3 Hop R ,n p1 as bal1 of L, strai ght leg, touches fl i n front (cts 1-3); leap L bes i de Ras R knee ra i ses i n front of Land R heel lifts sharply to i ns i de of L calf (cts 4-6) . 4 Hop L i n pl as ball of R, strai ght leg, touches on fl ahead of L (cts 1-3); hop L i n pl as R, strai ght leg, i s extended to diag LOO above fl (cts 4-6) . 5 Leap to both ft in pl, ft together i n sl i ght pl i e (ct l); ho l d (cts 2-6) . OPTIONAL VARIATION : (fi rst meas 6/8) Leap to both ft to R (ft and knees together) (ct l); leap R in pl as L kicks frwd above fl (cts 2-3); leap L across Ras R heel lifts behind (cts 4- 6) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 5.

KHUMKHUMA Armen ian-Kurdi sh SOURCE: The name i s taken i n part from the title of another folk melody . The dance was learned by Tom Boz i gian in the early 60's from Jimmy Haboian of Detro i t, Mich. Mr. Habo i an learned the dance in his youth from the Kurd i sh minority of that ci ty , The dance i s now extremely popular throughout the vari ous Armen i an commun i t ies of the U.S.

RECORD: "Tom Boz i gian Presents Songs and Dances of the Armenian Peopl e 11 Volume II, GT 4001. FORMATION: Mixed line dance wi th dancers si de by si de, fac i ng center, their elbows with hands clasped and f i ngers interlocked and leader at right. NOTE: Arms can also be straight. MUSIC: 2/4 PA TT ERN MEASURE 1 Facing slightly diag and mov i ng LOO , do two-step, starti ng on R (cts 1,&,2); Lin front and across R (ct&) . 2 Step Lacross R wi th pl i e (ct l ) ; step R ahead (ct 2); once again swing L in front and across R (ct&) , 3 Repeat meas 2, ct 1 (ct l); bounce tw ice on Las R heel lifts behind at calf level ( ct 2,&) . 4 Step R ahead (ct 1); close L, no wt , to R, pivoting to face ctr (ct 2). 5 Moving bkwd, step Las R toes turn out ahead about 45° (pivoting on R heel, no wt) (ct 1); continui ng bkwd, repeat opp movement of meas 5, ct 1 (ct 2). 6-8 Repeat meas 5, cts 1,2 three more t imes except on meas 8, ct 2, touch ball of R bes i de L.

JO JON SOURCE : This dance was origi na l ly taught by Tom Bozig ian throughout the U.S. during the early 1970 1 s and was learned from Zhora Makar ian, director of the California Folklori c Ensemble . Mr . Makarian di d the dance as a ch i ld in his native region of Speetak, situated in the northern part of the Armenian SSR. The dance was originall y taught under the t i tle of Zhora , and in Armenia, it is pe rformed as a man ~s dance . MUSIC: 2/4 PAT TERN MEASURE PART I 1 Facing ctr, leap R in pl as L knee ra i ses at wa i st level in front (ct 1); step L (wt on ba ll of ft) ahead of Ras R lifts slightly off fl (ct&); step R i n pl as L knee raises i n front (ct 2) . This step is called "pas de Basque . 11 2 Repeat "pas de BasqueiO step on meas 1, but with opp ftwk (cts l ,&,2 ), 3-6 Repeat meas 1-2 two mo re t i mes lets l,&,2 t i mes four) . 7 Moving frwd, leap R to R of ctr with sl i ght plie as L heel lifts off fl behind (ct 1); leap L to Land sl i ghtl y frwd and i n slight plie as R heel 1 i fts off fl (ct 2) . 8 Step bkwd on Ras L knee rai ses sl ightly up (ct 1); leap bkwd on Las R knee raises in front at waist l evel and R ft (extended) ahead of L shin (ct 2). 9-12 ~epeat. 11 pas de Basque" step of Pa r t I, meas 1 and 2, two mare times (cts l,&,2 times four) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 60 JO JON (Contin ued) Part I I 1 Extend R ahead (leg straight and ft extended) above fl and swing to po i nt diag LOO (ct&) ; leap R to Ras L kicks ahead (leg straight and ft extended) above fl and swing to point di ag LOO across R (ct 1); leap L to R, across R ft, as R heel lifts off fl behind L (ct 2); hop on L off fl to slightly Ras R extends to diag LOO (leg straight and ft flexed) (ct &) o 2 Land i ng on Lin pl , knee flexed, bend bottom half of extended R leg across L (R ft flexed and above fl wh i le R knee points to di ag LOO (ct 1); repeat meas 2 of Part II , ct & (ct&); repeat meas 2 of Part II, ct 1, but with bottom half of ft (R) behind L (ct 2); repeat meas 1 of Part II, ct & (ct&). 3 Repeat meas 2 of Part II, cts l,&,2,& (cts l,&,2,&) . 4-12 Repeat Part II, meas 1-3, three more times except at meas 12, execute ct 1, ct&, ct 2, but then hold on ct &o Pa rt I II 1 ·Tw i sting to face di ag RLOO and mov i ng bkwd, hop on L, heel pivoting inward, ra i sing R knee i n front with heel beh i nd (ct&); step bkwd on R (ct 1); repeat meas 1 of Part III , cts &-1, wi th opp ftwk but still moving bkwd (cts &-2). 2 Repeat Part III, meas 1, one more t i me (cts &,l,&,2) o 3 Twisting to face diag LOO and moving ahead, pi vot on L raising R knee i n front wi th heel at inside of L calf (ct&); step ahead on R (ct 1); repeat meas 3 of Part III, cts &-1, with opp ftwk (cts &-2) o 4 Tw i sting to face diag RLOD, hop bkwd on Las R, straight leg and ft extended, kicks above fl ahead on L (ct 1); twisting once again sharply to diag LOO, leap R ahead as L heel lifts sharply behind at R calf level (ct&); step L ahead of R (ct 2) , 5-8 Repeat Part III, meas 1-4, one more t i me . NOTE: Complete dance done four times in all and ends sharply on Part III, meas 8, ct 2, wi th L heel touching fl ahead of R instead of stepping.

KOCHAREE SOURCE: Th i s dance i s also called "Hale" or "Halaee" by ori gi nal Armenian immigrants from Western Armen ia, wh ich today takes up much of the eastern part of Turkey . It i s one of the most popular Armen i an dances and i s done throughout Soviet Armen ia and by the Armen ians dispersed throughout the world. There are many regional styles and fi gures . This particular "Kocharee" was researched i n several northwestern reg ions of Soviet Armenia-Len i nkan, Spitak, Art i k, Talin~but has spread th roughout the republ ic. In the higher mountain areas where the shepherds ("Hoveev" i n Armen ia) are grazing thei r herds dur i ng the hot summer, Kocharee i s the most popular dance. The orchestra cons i sts of two zurna~a double-reeded, conical pipe with one producing the melody and the other hold i ng the ma i n drone or "dam" and one double-sk i nned drum called "duhol o" Some of the more complex movements are cal l ed "ghoch," from the butti ng of the mounta i n ram and the "khachadzev," from the j ump i ng style of the mountain deer. The dance was learned by Tom Bozig ian as a youngster i n Los Angeles during the summer, early 1950 ' s o RECORD: "Tom Boz i gi an Presents Songs and Dances of the Armenian People" Volume 11, GT 4001.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 7 0

KOCHAREE (Continued) FORMATION: Mixed line dance with the dancers facing center and drawn closely side by side with palms grasped and fingers interlocked plus arms straight down at sides. Leader, called "paree-glookh, 11 is at Rand waves a handkerchief with free hand over the head throughout the dance. MUSIC: 2/4 changing to 6/8 PATTERN MEASURE Figure 1 1 Moving sdwd, step R to R (ct 1); NOTE: As the dance gets on, the partici­ pant has the option to make the initial R step a small double-bounce (ct 7,&); step L beside Ras R lifts slightly off fl (ct 2), 2 Step R to R with slight plie (ct 1); double-bounce twice in pl with Ras L remains to L, touching fl (ct 2,&), 3 Switch body wt to L wi th slight plie (ct 1); switch body wt again to R with double-bounce (ct 2,&) , 4 Switch wt again to L with slight plie (ct I); slight hop on Lin pl as R knee raises in front and heel 1 ifts behind (ct 2). Figure II (6/8) 1 Quickly switching arm hold to grasp shoulders of adjoining dancers, hop on L to Ras R knee raises 1n front and R heel is pulled sharply behind to calf 1 evel (ct &) ; step R to R with slight pl ie (cts 1-3); leap L across R still in slight plie (cts 4-6) . 2 Leap R to Ras ball of L touches beside R (cts 1-3); hop R in pl as L ft raises in front above fl, knee at waist level (cts 4-6). 3 Leap L in pl as ball of R ft, with heel turned in, touches fl in front of L (cts 1-3); repeat this meas 3 of Fig II, with opp ftwk (cts 4-6). 4 Repeat meas 3 of Fig II, cts 1-3 (cts 1-3); hop Lin pl as R knee, bent, raises in front, waist level, not across (cts 4-5). Note: The dance begins on ct 6 as described on meas 1 , ct&, of Fig II ,

MISIRLOU Armenian versions

SOURCE: The first variation evolved from "Larke Lorke, 11 a dance brought by Armenian immigrants from Daron, Western Armenia, during the early 1900's. The second variation came about as a result of an almost identical pattern done to what second and third generation Armenian-Americans called the "Greek Misirlou." Both variations were learned by Tom Bozigian during the late 50's and early 60's at Armenian youth functions held throughout California , RECORD: "Tom Bozigian Presents Songs and Dances of the Armenian People" Volume II, GT 4001. FORMATION: Mixed line dance with l i ttle fingers grasped at above shoulder height and away from chest and dancers facing center with leader at R. MUSIC: 4/4 PATTERN NOTE: Either or both of the following variations can be danced ,

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 8 .

MISIRLOU (Cont inued) MEASURE Va riation I 1 Cross L over R, touching L toes on fl (ct 1); l i ft toes on fl (ct 1); l i ft toes from the fl (ct 2); touch L toes on fl to L (ct 3); lift toes from fl (ct 4) . 2 Repeat action of meas 1, cts 1-4 (cts 1-4) . 3 Pi vot i ng on R, step L with wt across R to face diag LOO (cts 1-2); repeat action of meas 2, cts 1-2 with opp ftwk and motion (cts 3-4) , 4 Repeat action of meas 3, ct 1 (ct 1); step R to R (ct 2); step L behind R (ct 3); step R to R (ct 4); meas 4 i s "grapevi ne step, " Variation II 1 Brush Lon fl beside Rand sw i ng frwd (ct 1); sl i ght hop on Ras L continues to swing with CCW movement to behind R (ct 2); step on L (ct 3); step R to R (ct 4). 2 Step Lover R (ct 1); pi vot on L to face di ag RLOD as R knee is raised slightly (ct 2); moving RLOD, step R across L (ct 3); step L to L, fac i ng ctr (ct 4) . 3 Step R behind L (ct 1); slight hop on Ras L sw i ngs frwd and CCW (ct 2); L continues to swing with CCW movement to step L behind R (ct 3); step R to R (ct 4) . 4 Step Lacross R (cts 1-2); slight stamp R beside L with wt, pivoting to face ctr (cts 3-4). When, and number of times to dance the variations, is left to the leader's discretion. EENCH EEMANAEE (Armenian) How Could I Know (English) AEEN ORVANEETS VOR GUNATSKEER From that very day that you left BARDEZUS E AMAEE My garden has been empty BADJARNEL EENZ CHASATSEER And you di dntt gi ve any reason VOR EEMANAEE So I couldn 1 t have known

CHE VOR YES MEESHT BEROOM EEE Isn ' t it so KEZ DZAGHEEKNER I used to bri ng you flowers ANGEGHDZ SRTOV ASOOMEEE And wi th a si ncere heart SEERO KHOSKER I expressed words of love YEV KUNKSHOREN SHOYOOM EEE I touched you delicately KO NOORP VARSERU EEM SER Your fi ne ha i r, my love EENCH VOR LEENER BADMOOM EEE Whatever happened, EENCH EEMANAEE I would say so AEEN ORVANEETS VOR GUNATSEEER From that very day that you left GYANKUS SHADE DARNATSEL I became bi tter toward life DZAGHEEKNERUS EL EENZ HED And even the flowers DUKHRELEN LATSEL Cr i ed and were sad with me SEERELEES TE YEO DARNAYEER If only, my love, you had returned KEZ GASEEE I would have sa i d to you SEEROOS BES PORO 00 CHERM KHOSKER You are my love with passion and fi re EEM SER EEM SER My true love ARSHALOOEESEEN GU BEREEE Dawn arri ved KEZ ANTARAM DZAGHEEKNER For you unfad i ng flowers SRDEED KHORKOOM GU TOGHNEEE Also i n the depth of your heart KHOR ANCHEENCH YERKER Penetrating and indelible songs. 1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 9.

SEPO Learned by Tom Boz i gian at the various Armenian youth social gatherings in Los Angeles, Calif., during the mid-1960 1 s. The dance has other variations taught by Tom in the early 1960's which he learned from Armenian immigrants from Sepastia, Ancient Western Armenia, which since 1920 has been occupied by Turkey. RECORD: "Songs and Dances of the Armenian People" GT 3001-LP, Side 1, Band 4. FORMATION: Line dance with leader at R, little fingers grasped at shoulder level. METER: 2/4 and 6/8 PATTERN MEASURE Introduction: 4 meas 2/4 Rhythm 1 Facing diag LOO, touch l heel on floor across R with slight plie (ct 1), slight hop on R in pl to face ctr as L raises in front and across R (ct 2). 2 Turning to face diag RLOD, step L to L (ct 1), slight hop on L as R lifts behind (ct 2). 3-4 Repeat meas 1-2 with opp ftwk and direction. 5-8 Repeat meas 1-4, one more time . 9 Moving R, do a two-step starting L, hands come down to side (cts l,&,2). 10 Step R to Ras hands are raised to orig pos (ct 1), sligh~ hop on Ras L lifts behind R (ct 2). Variation of 2/4 Rhythm 1 Facing diag LOO, small hop on R ,n pl as L h.:?el lifts behind R (ct 1) , small hop on R in pl as L heel touches fl ahead of R (ct 2). 2 Pivot on R to face ctr, as L knee raises in front at waist level, L ft crossing and fwd of R (ct 1), turn to face RLOD, step fwd on L leaving R i n pl ( ct 2) 3-4 Repeat meas 1-2 , with opp ftwk and direction. 5-8 Repeat meas 1-4. 9 Hop on R in place as L lifts behind R (ct 1), moving LOO step fwd on L, as hands lower to sides (ct 2), close R to L (ct&). 10 Step fwd L as hands raise to orig pos (ct 1), step fwd on R (ct 2) . 6/8 Rhythm (counted cts 1-2) 1 Releasing little finger hold, touch Lacross R with plie as hands clap at waist level (ct 1), turning to face ctr hop on R in pl as L raises in front and across R - R hand is placed on waist with fingers fwd and L hand (palm away) is raised high over head (ct 2). 2 With hands remaining in same posj in pl jump on both ft with plie in diag RLOD (ct 1), leap on Lin pl as R heel lifts behind (ct 2). NOTE: Steps of meas 1-2 are same as steps described at beginning of dance (2/4 rhythm), but wi th stronger hops and more aggressive movements. 3-4 Repeat meas 1-2, but with opp ftwk and arm movement, and body direction. 5-8 Repeat meas 1-4, one more time. 9 Moving R, do one running two-step i n slight plie, start L. Hands clap at waist level each time L steps (cts l,&,2) . 10 Skip off L to Ras arms swing fwd and bk (ct 1), hop R in pl as L heel lifts behind and arms swing further back (ct 2) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 10.

SEPO (Continued) Variation No. 1, 6/8 Rhythm Optional smal 1 Armen ian "Kertsee 11 as in Wedd i ng Dance from Ka fan may be executed at meas 2,4,6,8 in place. Leap on both ft (ct 1) , leap R fwd as L heel lifts behind (ct&), leap L fwd as R heel l i fts beh i nd (ct 2) . Variation No. 2, 6/8 Rhythm Optional small sc i ssors step may be executed at meas 2,4,6,8 i n place . In place leap on L kick i ng R leg fwd and j ust off floor with toe pointed (ct 1), leap on R in place kicking L leg fwd and j ust off fl wi th toe po i nted (ct&), leap on Las R heel l i fts behind (ct 2).

SEV ACHEROV AGHCHEEK (G i rl wi th the Black Eyes) SOURCE: Learned by Tom Boz i gian at the Youth Palace i n Yerevan, capital of Soviet Armenia i n May, 1975. RECORD: GT Series. Mus i c recorded at group practice by Boxigian with permission of Armen i an State Estrada Ensemble . FORMATION: Mixed line dance wi th l i ttle fingers grasped . 2/4 each meas described i n 2 cts PATTERN MEASURE Instrumental Intro: 10 meas

Figure I 1 With leader at L of l i ne and little fi ngers held at shoulder height (dancers fac i ng di ag L) step L to L (ct 1); touch R toe bes i de L (ct 2). 2 Repeat above wi th opp ftwk (cts 3-4) 3 Step L to L (ct 5); step R i n pl as body turns to R (ct&); step Lacross R(ct6) . 4 Fac i ng ctr step on ball of R pi voti ng both heels to sl i ghtly Ras body turns sl i ghtly L {ct 7); pi vot heels to sl i ghtly Las body turns slightly R (ct &) ; repeat opp acti on of above ct & (ct &) .

Fi gure II (i n 3 parts) 1-2 Facing and mov i ng ctr, walk 4 steps starti ng Las arms are lowered gradually to si de (cts 1-4); arms swing sl i ghtly fwd (ct&) . 3 Turning to face R, di p on L to Las L arm i s drawn to small of back and R extends fwd (fingers rema i n grasped) (ct 5); bounce twice on R (cts 6,&). 4 Dip aga i n on L (ct 7); bounce on R (ct 8). 5 Facing and moving R, step on Las hands clap i n front at chest level (ct 9); step on Ras L hand is placed on front ne i ghbor's L shoulder and R hand i s extended strai ght out to R, palm facing out (ct 10). 6 Do two-step (LRL) (ct 11 & 12) . 7-8 As hands remain i n same pos i t i on, repeat meas 5-6, cts 9-12 (13-16). 9 Pivoti ng on R to face daig R (l i ne now fac i ng outside of ctr) as hands (little fi ngers grasped) are lowered to si de, step Lacross R with plie (ct 17); step R to R (ct 18) ,

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 11.

SEV ACHEROV AGHCHEEK (Continued) 10 Touch L beside R (ct 19); step Lacross Ras body turns slightly R (ct 20); step R to Ras body turns slightly L (ct&). 11 Repeat ct 17 (ct 21); touch R heel to R (ct 22). 12 Do two-step starting R (RLR) (cts 23-24). NOTES: Dance Figures I & II three times in a11. In first transition from Fig. II to start Fig. I again execute approx 360° CW turn with 4 walking steps in pl starting with L, hands remaining down (4 cts). In second transition, execute :turn with only 2 wal~ing steps. For ending when on Fig. II, third time, repeat cts 17-20 but this time holding with no wt on L, and execute again turn with 4 walking steps (4 cts) stamping Lin pl (ct&). Lyrics of Sorg in Transl iteration Akh sev acherov aghcheek Yes seerahar patanee La La La Yes berelem matanee Kakhtsur Pacherov aghcheek La La La ... Aree bats dzer tan dooru Asa barov es yeke1 Voghj ashkbara man yeka Togh ashkhara eemana Kez bes aghcheek chu tesa Kez taneloo em yeke1 Yes meenoochar mor tugha Repeat last 2 lines Kem artes het mee khagha Aree bats dzer tan dooru Asa barov es yeke1 Orut kanach karmeer e La La La . . . Boyut dalar bardee e La La La . . . Akh yes kez vons chu seerem Garnan arev es eem yar Yes seerahar patanee Yes berelem matanee Aree bats dzer tan doorn Asa barov es yeke1 La La La La La (for whole verse)

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 12.

JEITILI Lebanese This dance was learned by Tom Bozigian from Tewfik Waadi during the early '60's when Tom Bozigian had a druming contract at the Fez Supper Club in Los Angeles. PRONUNCIATION: Jahdd-eel-ee RECORD: Orienta 1e Far East Records, Debki 10 Sert es FORMATION : Mixed lines, leader on R has knotted handkerchief. Dancers hands joined in Kurtish arm-lock; Fingers interlocked, arms bent, elbows nested, shl drs touching. Dancers face slightly in LOO throughout dance.

METER: 2/4 PATTERN Meas. Moving in LOO, step Lacross R with slight plie (ct 1); step R to R (ct 2). Do Intro . 17 times in all . FIG. I CROSS STEPS WITH HEEL TOUCHES 1-2 Repeat Intro . twice (R to R; L x R - do 2 times) 3 Touch L heel in front of R (ct 1); touch L heel diag L (ct 2). Do Fig. I, 20 times in all . FIG. II: CROSS-HOP-STEP, STEP-STAMPS 1 Repeat Intro. step ct I"(ct 1}; in place, hop on Las R kicks fwd (ct 2); leap R across Las L lifts sharply behind (ct&), 2 Leap back on Las R kicks sharply fwd - leg straight (ct 1); leap on R beside Las L lifts sharply behind (ct 2) 3 Stamp L beside R, twice, no wt. Do Fi g . II , 11 ti mes i n a 11 • FIG. III: TRADITIONAL DEBKI STEP Note, When changing from Fig II to Fig III, take wt on last stamp. 1 Moving in LOO step R to R (ct 1); step Lacross R (ct 2) , 2 Step R to R (ct 1); stamp Lin front of R, no wt (ct 2) . 3 Step back on L (ct 1); hop on Las R knee raises to waist level (ct 2) . Do Fig. III,t 8 times in all ,

FIG. IV: TAAD!THlNAL WITH SCISSORS 1-2 Repeat Fig . I1lt meas 1-nR-to R; L x R, R to R; stamp L) 3 Sc i ssors: Leap Lin place as R heel kicks fwd and touches floor (ct 1); repeat ct 1, twice more, alternating ftwk (cts &,2) . (3 scissors in all-L,R,L) CHORUS JADDILI YAMM IL JADAYll JADDILI WIFRAHEE WA TAHANNEE WTKHALLI W JADDILI, WALLAH! YA HELU MAH - MA TJADDILI BITULL IL-MAHBOUB WMA INDNA HEDA . Note: I would like to acknowledge and bestow my deepest appreciation to Mr . Jim Waldron now of Los Angeles, CA who aided me in the transliterations and translations of my Lebanese and songs. This ve ry talented linguist has travelled extensively throughout the Near and Middle East collecting and researching songs, dances and folklore. He is a graduate and ex-Russian language instructor at the Army Intelligence Language School of Monterey, CA and was translator for the U.S. government in Germany. He is fluenr in Japanese, German, Russian, Arabic and of course his native English .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 13 ,

HAYRER 00 MAMOOGNER Armenia The title is translated fathers and grandmothers . This dance is from Van, Vaspooragan Region. It's a ritualistic wedding dance with bows honoring the grandmothers of the bride and groom. Grandmothers have been held in high esteem throughout Armenian history. METER: 2/4 Meas. 1 With little fingers grasped and at shoulder height while facing ctr. throughout, touch Lon fl behind as arms lower to side and torso leans slightly fwd (ct 1); touch L ahead on fl as arms raise to orig pos and torso straightens (ct 2). 2 Repeat ct 1 of meas 1 (ct 1); step fwd on L {ct 2). 3 Close R no wt. beside L (ct l); step R sdwys R continuing to move slightly fwd (ct 2). 4 Close L beside R w/very slight double bounce (ct 1 and); step L sdwys L moving slightly fwd (ct 2). 5 Close R bside L w/small double bounce (ct 1 and); step R sdwys R (ct 2). 6 Close L beside R (ct 1); moving bkwd step L w/small turnout immediately behind Ras torso turns L (ct 2). 7 Continuing bkwd repeat ct 2 of meas 6 w/opp ftwk and motion (ct l); repeat ct 1 of meas 6 (ct 2). 8 Repeat ct 1 of meas 7.

LORGE Armenian METER: 2/4 Meas. 1 Little finger hold at shoulder height facing ctr touch L flat ft ahead on fl (ct 1); step L beside R (ct 2). 2 Touch R flat ft ahead and diag Ron fl (ct 1); touch R flat ft straight ahead (ct 2) . 3 Step R in pl (ct 1); turning to face LOO as hands lowered to lower backs plie w/slight chug on R while L heel strikes fl beside R (ct 2). 4 Moving LOO step ahead on L (ct 1); slight hop on Las R lifts slightly sd~y (ct and); step ahead on Ras L kicks slightly sdwy L (ct 2). 5 Repeat action of meas 4, cts 1-and-2 (cts l-and-2) . 6 Repeat meas 4 again (cts l-and-2) . 7 Turning to face ctr slight hop R in pl as hands raise to orig pos and L lifts behind (ct 1).

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 14 0

HEY VALA Armenian SOURCE: Choreographed & taught by Tom Bozigian in Los Angeles, CA to the various Armenian youth organizations . The music is an old folk song sung by Armenians throughout the di aspora . RECORD: "Songs & Dances of the Armenian People"; Side 1, Band 2. FORMATION: Line dance with leader at Rend and dancers holding little fingers at shoulder height. 2/4 PATTERN Measure Note: Dance can start at beg of any meas . 1 Fig I - Facing diag & moving LOO, step R to R (ct 1); step Lacross R (ct 2). 2 Step R to R to face ctr (ct 3); touch L toe (heel turned in) beside R (ct 4). 3 Step L slightly L (ct 5); touch R toe (heel turned in) beside L (ct 6). Note: Steps are bouncie & sharp causing arms to move slightly from elbow to side of each stepping foot.

Do Fig I 3 times whenever done .

1 Fig.II - Facing ctr touch R heel in front hopping slightly on L (ct 1); leap on R where heel touched as L lifts behind (ct 2) . 2 Starting L, do 2-step (bouncie) moving ctr (cts 3,4). 3 Step frwd on R with plie as upper body &arms bend bk (ct 5); straightening body, step bk on Las arms begin to lower from elbow (ct 6). 4 Leap to both ft in pl (R bk) in plie as arms are lowered to side & beyond (ct 7); hop bk on Las R kicks frwd along fl and arms raise to orig shoulder height pos (ct 8); repeat ct 8 with opp ftwrk (ct and). 5 Moving R step Lover R with plie as arms bend from elbow to L (ct 9); returning from plie step R to Ras L toe pivots out and arms bend to R (ct 10), 6-7 Repeat meas 5 2 more times (cts 11-14) . 8 Facing LOO, touch L heel ahead of Ras hands clap at chest level (ct 15); step L beside R (ct 16) . 9 Touch R heel ahead of Land again clap (ct 17); hold (ct 18). Note: On meas 8 & 9, upper body bent slightly frwd .

KAROUN - Springtime Armenian SOURCE: Choreographed by Tom Bozigian in 1963 from original Armenian folk movements, Armenian Youth Organ1zations of Los Angeles . MUSIC: "Songs & Dances of the Armenian People" GT 3001-LP, Sd 1, Band FORMATION: Open, mixed circle with little finger hold at shoulder height. RHYTHM: 2/4 Meas. PATTERN 1-2 Step #1 - Facing sl i ghtly & mov i ng LOO, 2 two-steps to R starting with R (arms bend slightly R from elbow on 1st two -step and Lon 2nd) (Cts . 1-4). 3 Facing ctr step R sideward to R (ct 1); Kick L in front of R (ct 2). 4 Step L in pl (ct 1); Ki ck R in front of L (ct 2). 5 Releasing Finger hold walk 2 steps to LOO (R-L) as hands clap twice on ea ct at chest level (cts 1-2).

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 15.

KAROUN continued Meas. 6 Cross Rover L turning to face ctr and holdi ng fingers again (ct 1) ; Hop bk on Ras L l i fts beh i nd (ct 2). 7 Cont i nuing bkwrd, step on Las R toe pi vots outward and arms bend slightly L (ct 1); Repeat ct 1 wi th opp hand-ftwrk (ct 2) . 8 Repeat Meas 7, ct 1 {ct 1) , Stamp R beside L (ct 2).

1 Step #2 - Fac in g s li ght & mov i ng LOO, step on Ras arms go down to side (ct 1); Hop sl i ghtly frwd on Ras L l i fts behind (ct 2) . 2 Step L-R-L as arms rai se to ori g pos aga i n (cts. 3 and 4) , 3-4 Repeat Step #2 meas 1-2 (cts 1~4) , 5-6 Releasing fi nger ho l d, make complete revolution to R with R-L-R touching L to Ron 4th ct as hands clap at chest level (cts 1-4). 7-8 Repeat Step #2, meas 5-6 wi th opp ftwrk & directi on (ct 1-4). NOTE: Step #l done to cho r us - "Ka roun Karoun" and step #2 done to verses ,

LOORKE Armen'Ta This dance was brought by Armen ian Immi grants from ancient Western Armenia, from the town Kharpert near the region of Taron . The "Kf1a r pertsee 11 , as the Armenians from this town were called, would dance thei r famous "'' or 11 Kocharee 11 immediately following Loorke . Learned by Tom Bozigi an in hi s youth duri ng mi d-50's from various Armenian Imm i grants at soc ial gatheri ngs i n Fresno, CA ,

MUSIC: "Songs & Dances of the Armen i an People11, GT 3001-LP, Side 1, Band 5. FORMATION: Line dance . At beg i nn i ng hands are held down with l i ttle fingers inter- locked. Leader i s on R. MUSIC: 2/ 4 PATTERN Meas. INTRODUCTI ON: 4 meas . FIGURE 1 Fac i ng LOO, hop on L ft , at same t i me place R heel fwd (ct 1), leap sl i gh t ly fwd on Ras L l i fts sha r ply beh i nd (ct&), leap leap on L ahead of Ras R l ifts sharply beh i nd (ct 2) , 2 Repeat meas L 3 Leap on t o both ft wi th pl ie, L ahead of R i n straddle pos face ctr (ct 1), bo unc e t wice on both ft - legs strai ght (ct 2,&) . 4 Repeat meas 3. 5 Repeat meas 3, ct 1 (ct 1), leap on L i n pl ace to face RLOD as R l i fts beh i nd and arms raise above head (ct 2) . 6 Fac i ng RLOD, touch R heel i n front of L (ct 1), leap on R where heel touched as L l i fts beh i nd (ct 2) . 7 Beg i n to turn to LOO, l eap to both ft, except L takes wt (arms rema i n up) (ct 1), leap R t o Ras L li fts shar ply beh i nd (ct&), l eap Lacross R as R l i fts sha rpl y beh i nd and arms , rema i ni ng strai ght, are lowered to sides (ct 2) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 16 .

DARONEE YERKER YEV BARER (AZGAGRAKAN) Armenia This is a medley of Armenian village songs and dances from the Daron region, ancient Western Armenia. It was learned by Tom Bozigian in February 1974 from Manook Manookyan, director--Wire and Binding Factory of Yerevan, where Tom Bozigian performed. PRONUNCIATION: Dah-roh-NEE Yehr-KEHR yehv Bah-REHR RECORD: "Tom Bozigian Presents Songs and Dances of the Armenian People", GT 5001, Side B, Band 2. FORMATION: Medium to short mixed lines (avg 9 people, same ht tog) Leader on R. Lines face ctr, L Hon own L waist with fingers fwd, RH on R shldr of dancer on R (lead dancer has RH to chest, palm facing down). Dancer on Lend of line does H movements as if another dancer were there. RHYTHM: 6/8 meter counted: 1,2,3 4,5,6 Dancers cts. 1 2 METER 5/4 & 6/8 PATTERN Meas. 1-4 INTRODUCTION: No action (begin with singing)

5/4 FIG. I : SLOW MUSIC PART I: 1 Moving in LOO, step R to R with plie as body turns almost 1/4 (ct 1); hold (ct 2); turning to face ctr, close L to Rand bounce (ct 3); bounce (ct 4); hold (ct 5). 2-3 Repeat meas 1, twice more (3 in all) . 4 Repeat meas 1, cts 1-2, but without plie (R in LOO, face diag R; hold) (cts 1-2); step Lin front of R with plie, R remains in place with most of wt (ct 3); quickly step L beside R (ct 4); hold (ct 5). 5-8 Repeat meas 1-4 . Hands, lead dancer: 1 RH opens to side at chest level ht, palm turning up, arm slightly rounded (cts l-2);bending R elbow, H circles up and over returning to orig . pos., palm down, arm parallel to ground (cts 3-5) . 2-3 Repeat arm movements of meas 1. 4 Repeat cts 1-2, meas 1 (cts 1-2); bend R forearm to up pos head level with palm out (ct 3); extend arm to side with palm down (ct 4); hold (ct 5). 5-8 Repeat meas 1-4. PART II: 1 Step R bkwd as L remains fwd, leg straight with toe pointed and touching floor (ct 1); hold (cts 2-5). RH lowers to side then extends fwd to a 45° angle, palm facing away and then L H straight arm is place behind neighbor's lower back (cts 1-5). 2 Step on L where it pointed, in plie, R arm comes down in a CW circular motion to side, just missing dancer on R (cts 1-2); step R beside Land bounce, RH comes up to chin ht, palm facing in, forearm vertical (ct 3); bounce (ct 4); hold (ct 5) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 17. DARONEE YERKER YEV BARER continued Meas. 3 Facing ctr , moving RLOD, step L to L turning almost 1/4 R pivot on ball of R, heel pivots i nward, R rema i ns i n place--elbow remains bent as arm and hand change to horizontal pos, palm down (ct 1); hold (ct 2); close R to L turni ng to face ctr, hands as in meas 2, ct 3--R Hat chin ht palm in, forearm verti cal (ct 3); hold (cts 4-5) 4 Repeat meas 3. 5-8 Repeat meas 1-4, except RH i s straight up wi thout dropp i ng.

REPEAT FIG. I, PARTS I -II, 3 more t i mes (4 in all) and wi th RH raised over head and returning to neighbor's shldr to start dance again . FIG. II: FAST MUSIC

PART I: 1-3 Facing R of ctr with H joined at shldr ht and beg R, do 3 two-steps in LOO, arms bend like windsh i el d wipers, R,L,R. 4 Step Lacross R with p·1,e as R lifts bkwd (ct 1) yell "ah"; Step R bkwd in place as L raises and extends fwd (ct 2) yell "se" . 5 Fac i ng ctr and moving sdwd L, step on ball of L ft to Las R extends R and body leans L, arms swing down and back (45°) (ct 1) ~ step R across L wi th slight plie, arms come up (450) (ct 2) . 6 Repeat meas 5 (2 in a11) . 7 Step L twd ctr i n slight L diag, arms come up to 11 W11 pos (ct 1); step R fwd with strong pl ie, ar ms move down sharply (ct 2) . 8 Step L bkwd as arms return to "W" pos (ct 1); stamp R beside L. no wt (ct 2).

PART II: 1-3 Release Hand make a 4 ft circle CW bkwd with 3 two-steps, beg Rand end in ori g place . M arms move ove r head i n windsh i eld wiper movement (R,L); join at 3rd two-step. W H move overhead, elbows sl i ghtly rounded and flexing at wrist and ci rc1e i n, down and out, W repeat hand movement on second two-step, join H at '1t·J 11 pos on thi rd two-step . 4-8 Repeat Fi g. II, Pa rt I , cts 7-16, except clap H wi th sharp downward motion on ct 14. Rejoin H on ct 15 i n 11 W' 1 pos .

FIG . III: Medley continued on Band 6. (Note: Because there ' s no i ntroduction cue, start wi th Meas 2 the fi rst t i me only) . 1 Facing and mov i ng diag LOO, step R,L (cts 1-2) , Arms move in wi ndsh i eld wi per fashion R,L (cts 1-2). 2 Fac i ng ctr, step R i n place as arms begin loweri ng (ct 1); hop R i n place as L l i fts behind wh i le arms l owe r to si de and back (ct 2). 3 Touch L heel ahead on floor as arms return to 11 W11 pos (ct 1); leap to L i n p1 a s R 1 ifts s 1 i ght l y ( c t 2 ) . 4 Stri ke R heel, leg straight , fwd on floor tw i ce (cts 1-2). 5 Stri ke R heel again (ct l ); hold (ct 2). 6 Bending torso fwd, stri ke R heel as hands clap i n front (ct 1); clap again (ct&); strike R hee l (ct 2) . 7 Stri ke R heel as hands clap (ct 1); hold (ct 2). 8 Strai ghtening torso and graspi ng hands, touch R toe bes i de L (ct 1); ho 1 d ( ct 2) . 9 Step R bkwd (ct 1); step L bkwd (ct 2). Arms move i n wi ndsh i eld fashion R,L (cts 1-2) . Do Fig. III, 3 t i mes i n all .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 18 . DARONEE YERKER YEV BARER (Cont i nued) Meas 6/8 - Fi g. IV

1 Facing diag LOO with hands in "W' pos, sk i p L,R i n LOO (cts 1-2). 2 Fac i ng ctr, sk i p L i n place as arms swing down (ct 1); hop R in place as L l i fts beh i nd and arms sw i ng back (ct 2) . 3 Hop R i n place as L heel . leg straight, stri kes fwd as arms return to "W" pos (ct 1) ; l eap Lin place as R ki cks fwd, turni ng to face LOO (ct 2). 4 Hop on L tw i ce moving LOO as R heel stri kes fwd on floor (cts 1-2). 5 Repeat meas 4 (hop/stri ke) mov i ng LOO , 2 more t i mes (cts 1-2) . 6 Continu i ng i n LOO, execute runn i ng two - step, beg R, as arms come gradually down (cts l,&,2) . 7 Repeat meas 6, wi th opp ttwk . 8 Turning to face ctr wi th hands to si de , leap onto both, ft tog, legs straight (ct 1); leap L i n pl, turn diag L (ct &) ; leap R in pl as L lifts beh i nd (ct 2) . 9 Repeat meas 8 wi th opp ftwk and di rection . Do Fi g. IV 3 t i mes i n a 11 • 2/4 - Fi g. V 1 Turn i ng to face RLOD with L arm i n sh i eld- hold i ng pos hand near chest & elbow po i nti ng ahead & R extended beh i nd papallel to fl, step R ahead bend i ng torso to R (ct 1) ; step L ahead, bend torso to L (ct 2) . 2 Repeat above meas one more t i me (cts 1- 2) . 3 Pl1e R ahead of L bend i ng torso Ras arms bent sw i ng down (ct 1); turning to face ctr step L i n pl as R extends over fl wh i le arms sw i ng 45° out (ct 2) .. 4 Fac i ng ctr but mov i ng LOO step R strai ght leg heel off fl to R with body leaning Ras L extends strai ght leg to Land arms straight sw i ng bk (ct 1); pl i e Lover R, body upr i ght, as arms sw i ng strai ght fwd 45° (ct 2), 5 Sk i p sdwd L to Ras arms begin to swing strai ght down (cts &,1); hop R in pl as L l i fts beh i nd while arms sw i ng bk (ct 2). 6 Leap i n pl i e to both i n pl straddle pos wi th L ahead of Ras arms raise to ori g pos (ct 1); double bounce on both i n pl wi th strai ght legs (cts 2,&) . 7 Repeat above meas one mo re t i me (cts 1- 2); ki ck L fwd (ct&). 8 Step L i n pl as R lifts beh i nd wh i le arms rotate parallel i n front (pol i sh i ng mot i on) 360° CCW (ct 1); hop L i n pl as R remains beh i nd while arms repeat mot i on of above ct (ct 2) " 6/8 - Fi g. vr : Described i n 2 cts . 1 Fac i ng diag RLOD with hands extended over head, and mov i ng RLOD, hop on L as R executes reverse bi cycle mot i on end i ng wi th ki ck (ct 1); leap to R as L strai ght ft extended sc issors ahead (ct&); repeat acti on of above ct wi th opp ttwk (ct 2) . 2 Repeat acti on of above meas one mo re time (cts l,&,2) . 3 Repeat action of Feb V meas 3 cts 1- 2 (cts 1-2) . 4 Repeat action of Fig V meas 4 cts 1- 2 (cts 1- 2) . 5 Sk i p bkwd L to Ras hands ra i se to shoulder ht pos (ct l}; hop R in pl as L knee raises (ct 2) . 6 Step bkwd on Las arms sw i ng down to si de (ct 1); hop L i n pl as R knee ra i ses (ct 2). 7 Hop L i n pl as R heel stri kes i n pl wh i le hands rai se to shoulder ht (ct 1); leap R i n pl (ct &) ; l eap L i n pl as R knee ra i ses (ct 2) . 8 Repeat above meas 7 one more t ime (cts l,&,2) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 19.

DARONEE 5/8 SER MASHOGH DA REE EH ; EEM YA REE BES EH SHOON CHEEG MUH GUH SHUHN CHEH, EEM YA REEN TEGH EH GOH RAH NEE GOH RAH NEE, YARUHM GOH RAHN NEE KAHP REEG MUH KHOS DAH TSEER, DAHR DEH ROOS LAHV TEGH EH AKH AHSD VADZ AH NEE DZEH, CHAHR MAHR TOO LEH ZOON YAH ROOG MUH KEHZ SEE REH, AH SER DAH REE KOHD GOH RAH NEE GOH RAH NEE, YARUHM GOH RAHN NEE BUHZ DEEG MEH YES SEE SEHM, EN EL GAH SEHN TOGH AH LAHSH GEHRD MAH LAHSH GEHRD , 00 RAHKH 00 HOH DOHV SHEHG YAH RUHS DZOH TSEHRN EH, AHKH AH NOOSH HOH DOHV GOH RAH NEE GOH RAH NEE, YARUHM GOH RAHN NEE YES GEE DEHM AHKH JEEG YAHR, SHAHD GAH ROH DOHV YAHR 2/4 YAHR YAHR AH NOOSH YAHR. YAHR NAI NAI NAl NAI BUHZ DEEG YAH RUHS MOH DEH TSAHV, YAHR NAI NAI NAI NAI DOON KHOH ROHR GO RA NEE, YAHR NAI NAI NAI NAI YA RUHS BAR GETZ KHO ROONG KOON, YAHR NAI NAI NAI NAI KHAHST MAZE RUH HEEOO SEER EH, YAHR NAI NAI NAI NAI AKH JEEG KO VAR 000 SEE REH, YAHR NAI NAI NAI NAI

MOOSH This dance was brought by Armen ian imm i grants to the U.S . during early 1900's from the city of Moosh in Daron region of Ancient Western Armenia (eastern Anatolya). A large group of these Armen ians settled in Fresno, Cal, where they proudly preserved their provincial songs and dances , Tom Bozigian learned th is dance as a youth in Fresno, Meter: 2/4 Meas. 1 Fac i ng RLOD l i ttle fi nger hold at shoulder ht w/leader at Lend of line, step R ac ross Las L lifts beh i nd (ct 1); facing ctr step Lin pl as arms lower and swing 45° bkwd (ct 2) , 2 Moving sdwy LOO step R to Ras arms swing 45° fwd (ct 1); step Lacross R as arms swi ng 45° bkwd (ct 2) , 3 Step R to Ras arms rai se to ori g pos (ct 1); slight hop R in pl as L l i fts beh i nd (ct 2). 4 Step fwd on L w/s li ght pl ie as R l i fts behind (ct 1); step R in pl as L extends above fl (ct 2) , 5 Turn i ng to face di ag RLOD step L i n pl as hands lower to side (ct 1); step R beside L (ct&); step L i n pl lifting R heel as hands raise to ori gpos(ct2) . , 6-7 Mov i ng RLOD execute 2 two-steps begin R (cts 1-2) ,

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 20.

SASOON Tom Bozigian learned this dance in the village of Sasnashen, Taleen district, northwest of Yerevan, capi tal of the Armenian SSR, in the spring of 1974. This village was settled by Armenians fleeing the massacres of Daron region during WW I Soviet Armenia's Ethnographic Institute has done extensive f ield research in the Soviet Armenian interior notating dances of Anatolyan Armenians who have resettled in specific regions of Caucasian Armenia. METER: 2/4 Meas 1 Little finger hold at shoulder ht w/leader at Land facing ctr, step R in slight plie across Las arms lower to side (ct 1); step Lin pl as arms swing 45° fwd (ct 2). 2 Moving sdwy LOO step R to R hel 1 slightly off fl as body leans little R, L leg extends strai ght sdwy Land arms swing 45° fwd (ct 2). 3 Slight skip L to Ras arms sw i ng 45° bkwd (ct 1); hop R in pl as L lifts behind. 4 Plie both ft in pl w/L ahead of Ras arms raise to orig pos (ct 1); bounce both ft in pl 2 times (ct 2 &) . 5 Plie both ft in pl aga i n (ct 1); leap R i n pl as L kicks fwd (ct 2). 6 Step in pl L-R-L as arms lower down-then-up (cts 1 & 2) (R heel lifts behind on ct 2) . 7-8 Execute 2 Armenian hop-step-step (Kerte steps) moving in RLOD (hop on L as R heel strikes fl ahead; leap ahead on Ras L lifts behind; leap ahead on Las R lifts beh i nd). (cts 1 & 2) .

LALVAN This dance is from Van and is from the l i st of dances learned by Tom Bozigian from Yenovk Kazarian of Detro i t, MI, whose father, Khachig, was a recognized specialist of dances from the Vaspooragan region. The senior Mr . Kazarian brought the dances with him to the U.S. escapi ng the Ottoman massacres of the Armenians dur i ng WW I. METER: 2/4 Meas 1 Li ttle fi nger hold held at shoulder ht. Leader at R w/dancers facing ctr, touch R flat ft on fl to R (ct 1); touch R bes i de L (ct 2) . 2 Touch R to R (ct l) ; step R fwd as hands begin to lower (ct 2). 3 Turning to face diag LOO touch L heel on fl sdwy Las arms complete lowering w/L hand at lower bk (ct 1); step Lacross Ras body faces LOO (ct 2) . 4 Touch R heel on Fl to R (ct 1); turni ng L to face ctr as arms raise to orig pos step on R where heel touched (ct 2). 5 Touch L ball of ft on fl beside R (ct 1); kick L ahead above fl (ct 2) . 6 Turning to diag RLOD step L i n pl (ct 1); step ball of R beside L (ct&); step Lin pl (ct 2). 7 Repeat meas 6 w/opp ftwk and di rection (cts l - &-2) . 8 Repeat meas 6 once again (cts l - &- 2) .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 21. SHEROKHEE This dance is from the same list of dances perpetuated by the NY Armenian Folk Dance Society. It is from Van. METER: 6/8 (Descri bed in 2 cts for each measure) Meas 1 Little finger hold held at shoulder ht w/leader at Rand dancers facing ctr throughout; touch L fwd on fl w/small plie on R (ct 1); touch L beside R (ct 2). 2 Repeat meas 1 (cts 1,2). 3 Touch L heel on fl sl i ghtly ahead of R (ct 1); leap fwd on Las R lifts behind (ct 2). 4 Touch R heel on fl 45° to R (ct 1); touch R heel straight fwd on fl (ct 2). 5 Leap to R in pl as L kicks fwd heel touching fl and arms bent diag L (ct 1); repeat ct 1 w/opp ftwk, arms & direction (ct 2). 6 Repeat meas 5, ct 1 (ct 1); hop on R in pl as L knee raised in front and L ft bes i de i nside of R knee while arms bend dian L (ct 2).

LOOSNEE SHOGHOV YELLS: Hopa! Haeede! LOOSNEE SHOGHOV BEREES GA Kelenk Gunank! YERAZNEROV EER BAREE Ase! DOORUS BATSEE SOORP DZEKEEN Oashee! BOORMOONKN ARAOZ MOV SAREE NA HOOR BEREE OJAKHEES OZOOKHU YELNEE OZEERANEE CALLS: Uskusek - start SUBROTS BANAM AEEGOOS MECH Vercheen - finish ABREM OESKOV EER BAREE Pokhek - change Ach - right SRBAVAEEREE OZAGHEEK E Tsakh - left VAR OALAREE SHAGHEEK E Ver - up LOOEESE TSAEEOOON ACHEREETS Var - down HAEEYOTS YERGNEE ASTGHEEG E HAZAR GARDON ANTS GATSAV EENCHBES HRASHK 00 DESEELK NERGA YEGHA HAZAR MEE OORAKHOOTYAN HANOESEE EEM SEERAOZEEN YERP OESA YERGNAGAMAR YES ASEE ARANTS NURAN GU TOSHNEM KHEEND 00 OZEEOZAGH CHEM DESNEE SERU SAREE YEGHNEEK E VARSERN ALEEK ALEEK E SHOGH ACHKERU YERAZOON KHALU YERGNEE AMBEEG E SAREE JAMBOV TE VOR GA AGHBEEOORNERU LOOR GOAN HANOEE JAMBOV TE VOR GA AROOOEENERU LOOR GOAN GOOSAN ASHOO NAZELEEO HRESHOAGEE TEVEROV YERGNEE JAMBOV TE VOR GA ASTGHEEGNERU LOOR GUOAN AGH EEM SERU GRAGE HOOEESEE GANTEGH JURAG E HAZAR HOOEESER 00 MENAG HAZAR 00 MEE OANCHANK E

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 22. PREKID KOLO SERBIAN LINE DANCE HANDS HELD DOWN Pattern 1 Measure 1 - Beginning with R, walk four beats to R Measure 2 - 1 - Step R to side 2 - Hop R & - Step L behind R 3 - Rest & - Step R to side 4 - Step Lacross R Repeat pattern 1 four times Pattern 2

Measure 1 - 1 - Step R to side 2 - Hop R & - Step Lacross R 3 - Rest & - Step R to side 4 - Step L behind R Measure 2 - Two "mixed pickle" steps in place (running to counts 1,2,&,3,4,&) Repeat pattern 2 until melody changes. The music is quite clear. Each pattern has its own melody.

l'AJDUSKO MACEDONIAN - BULGARIAN LINE DANCE 0 S HANDS HELD DOWN METER: 5/16 nm This dance is known in many parts of Bulgaria and in Macedonia (including parts of Greek-Macedonia). It can be done to any Pajdusko music . The pattern is ten measures long. There are two ways of articulating the rhythm: hop-steps (skips), and step-steps (jogging). Measure 1-4 - Beginning with weight on L, do four hop-steps moving right. Measure 5-7 - Change direction and do three step-steps (R,L). Measure 8-9 - Facing center, do two hop-steps slightly back, beginning weight on L. Measure 10 - Step R across L, step l back to place (step-step). Reminder: 4 hop-steps, 3 step-steps> 2 hop-steps, 1 step-step.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 23.

0-JUROJEVICA Servia, Yugoslavia Pronunciation: JOOR-jay-veen-tsah Record: The Folklorist (Festival Records) FL-101 2/4 meter Source: Learned in Yugoslavia by Dennix C. Boxell Style: Light, bouncy proud Starting Position: Open circle of M & W, hands joined down at sides, face R of ctr(LOD) wt on L ft . Measure Pattern

FIGURE I -.. Slow Bounce 1 Facing LOO) step· fwd· oh Ri keeping weight partly on L, do a marked flexion of both knees (1) hold (2) do same action with L ft leading (2 &) 2 Step fwd R (1) step fwd L (&) step on R keeping wt. also on L and doing a marked flexion on both knees (2) hold (&) 3 Same as in meas . 2 but starting with L ft 4 Repeat pattern of meas 2 5-8 Same as Meas. 1~4 but with reverse direction and opposite footwork, except meas. 7 which is same as meas . 3 (to Right) FIGURE II Hop-~t'ep-Ste~s 1 Hop on--r-l't (1) step rwd on (&) step on L (2) 2-3 Repeat pattern of meas 1 exactly 4 Facing ctr do 3 small steps R,L,R (1 & 2) 5-8 Reverse pattern of measures 1-4 9-16 Repeat pattern of meas. 1-8

FIGURE HI "! Hop-Step-Steps in Place 1 Facing ctr, hop on L, bringing R ft fwd from behind (1) step on R in front of L (&) step on L (2) 2 Same as meas 1, but start stepping on R slightly behind L (fwd and then back etc . ) 3 Same as pattern in meas 1 4 Same as FIG. II meas 1 5-16 Repeat pattern of meas 1-4, three more times FIGURE IV Hop Steps and Leaps 1-2 Same as meas 1-2, Fig rr ' · 3 Turning to face RLOD (backing out) two leaps R,L (1-2) 4 Still facing RLOD, three small steps, P-L-R in place (1 & 2) 5-8 Reverse action and direction of meas 1-4 9-16 Repeat action of meas 1~8 SEQUENCE: Do a 11 above patterns one after the other. With record, entire dance is done three times thru. Presented by Dave Vinski at Maine Folk Dance Camp 1979 Notes by Yves Moreau

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 24 0

CIJE E ONA MOME MACEDONIAN LINE DANCE learned from Atanas Kolarovski HANDS HELD AT SHOULDER LEVEL METER: 7/8 m nn Pt. 1 - vocal music Meas. 1 rwo walk i ng steps to R (R,L) Meas. 2 Step R to side (1), touch L beside Rand bounce twice (2,3) Meas. 3 Step forward on L (1), touch R beside Land bounce twice (2,3) Meas. 4-6 Repeat meas. 1-3 Meas. 7 Step back on R (1), touch Land bounce twice (2,3) Meas. 8 Two steps to L (L,R) Meas.9-10 Same as meas . 2-3 with oppos i te foot Meas. 11 Step l to Land slightly forward (1) step R behind L (2) Meas. 12 Step L to side (1), lift R (2) Pt. 2 - Instrumental

Meas. 1 Moving R, step R, lift L, step L Meas. 2 Still moving R, step R, lift L Meas. 3 Still moving R, step L,R,L beh i nd R Meas. 4 Step R to side, lift L Meas. 5-8 Repeat meas. 1-4 wi th opposite foot in opposite direction Pt . 1 is done twice, Pt . 2 is done once .

... .., SK OPSKI COCEK Learned from gypsies in Skopja Hands held down in open circle Meter: 2/ 4 Recording: Special tape

Meas. 1 Facing l, Step forward on R (ct 1), step forward on L (ct" 2) 2 Step forward on R, step L behind R moving slightly away from center (ct. 2) small leap onto R bes i de L 3 Step forward on l while di pping (ct .I), step Forward on R, (ct. 2), step Forward on L 4 Fac i ng center step R to s ide (ct. 1), lift L (ct. 2) 5 Mo vi ng L, step L to side (ct . 1), step R across L (ct. 2) 6 Step L to si de (ct. 1), lift R (ct . 2) 7 Step R to si de (ct. 1), l ift L (ct. 2) 8 Same as Meas 6

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 25.

DEVETORKA MACEDONIAN LINE DANCE HOLD HANDS DOWN A Fl Am METER: 9/8 J 41J, J-, Meas. 1 - Step R to side (ct. 1), step L behind R (ct 3), step R to side (ct. 5), Hop R (ct. 7), step Lacross R (ct. 8) Meas. 2 - Step R to side (ct. 1), step L behind R (ct. 3), step R to side (ct. 5) ' bring feet together and bounce on both heels twice (cts. 7 & 8) Meas. 3 - Repeat meas 2 with opposite foot in opposite direction

GANKIN°'-'or SITNA KOPANICA BULGARIAN LINE DANCE METER: 11/16 n nm n n 1 2 3 4 5 Q Q s Q Q HANDS HELD DOWN OR BELT HOLD Basic Step Measure 1 (facing center, moving R) 1 - step R to side 2 - step L behind R 3 step R to side 4 - hop R 5 - step Lacross R Measure 2 (facing center) 1 - step R to side 2 step L behind R 3 step R to side 4 bounce on both feet 5 bounce on both feet Measure 3 same as meas. 2 in opposite direction on opposite foot

VLAJNA SERBIAN LINE DANCE This is an abbreviated version of Cacak. This dance has survived as a dance done to modern "Folk" melodies in fast 6/8 rhythm in Central Serbia. Beats 1-6 Beginning with R, 6 steps to R using either side-behind, side in front or a mixture (grapevine) 7-12 Three step-hops beginning with R. Second step should be slightly forward, the third should be back to place . 13-16 Moving L, step L,R,L, small hop on L

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 26.

ZENSKO PUSTENO (Macedonia) SOURCE: Learned from Pece Atanasovski in Otesevo, Jugoslavia PRONUNCIATION: MUSIC: Special camp tape FORMATION: lines; hands held in W pas for Part I; down for Part II; drop hands for Part III STYLE: A A Fl Fl RHYTHM: m J J J J J ; J ; 1 2 3 4 5 s Q Q Q Q METER: 11/8 PATTERN Meas. Introduction: PART I: 1 Travel, facing R in LOO: Lift R while bouncing on L (ct 1); bounce again on L with both ft on floor (ct 2); step fwd on R (ct 3); rock back onto L (ct 4); Step onto R beside L (ct 5) 2 Travel: Step fwd onto L (ct 1); bounce on L while lifting R (ct 2) step fwd on R (ct 3); step across R with L (ct 4); step back onto R (ct 5) 3 Lift L while bouncing on R (ct 1); bounce again to R, both ft on floor (ct 2); step L to side (ct 3); step R across L (ct 4); step back on L (ct 5) 4 Same as meas 3 on opp ft 5 Same as meas 3 PART II: 1-2 Same as meas 1 & 2 in Part I 3 Lift L while bouncing on R (turn to face L) (ct 1); bounce again on R (ct 2); 3 steps in place (L,R,L) turning slightly to face R (cts 3,4,5) 4 Same as meas 3 on opp ft, turning to face L 5 Bounce twice on R (cts 1 & 2); step back on L (ct 3); step to side on R (ct 4); cross in front with L (ct 5) PART III: Same ftwk as Part II. Drop hands and hold them on hips.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 27.

SANDANSKO HORO' PIRIN, BULGARIAN LINE DANCE HANDS HELD DOWN METER 9;-13/16 n n n m nnnmnn 1 2 3 4 1 2 3 4 5 6 Measure 1 (Moving R) 1 - Hop on L 2 Step R 3 Step L 4 Step R 1 - Hop R 2 - Step L 3 - Step R 4 - Step L 5 - Leap R 6 - Step L Measure 2 (Moving L) 1 - Hop L 2 Hop L (while extending Rand turning to face L) 3 Hop L (continue movement of beat 2) 4 Step R across L 1 Step L 2 - Step R 3 - Step L 4 - Step R 5 - Hop R 6 - Step back on L

£UNJEVACKO MOMACKO KOLO CROATIAN THREESOM DANCE MAN IN BETWEEN TWO WOMEN. MAN'S HANDS AROUND WOMEN:S WAIST. WOMEWS INSIDE HAND ON MAN'S NEAREST SHOULDER Tradi tionally a freestyle dance. As presented at camp, there are several recommended patterns and a 11 chorus 11 • There are two footwork patterns used in the dancer 11 11 1 - Step-together-step-hop , or 1-2-3-hop 2 - 11 Step-hop, step-hopt l-2-3-hop 11

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 28. BUNJEVACKO MOMACKO KOLO continued FIGURE 1 (side to side) - As a threesome, using footwork #1, go to Right and Left, FIGURE 2 ( "Wi ndmi 11 ") - As a threesome, using 1-2-3-hops, turn four to left, four to right;' CHORUS (toss the women) - Using footwork #2, exchange the women, women on R passing outside. The exchange takes one entire footwork pattern. Do one pattern in place, then exchange again, Do one pattern in place. FIGURE 3 (turns) - Using 1-2-3-hops, man turns the woman on his right four measures then he turns woman on his left. Woman does pattern #1 while not being turned. FIGURE 4 (forward and back) - Move forward as threesome using 1-2-3-hops, twice forward, then twice back and repeat. CHORUS FIGURE 5 (show off) - Women do #1 side to s.ide while man does improvised step in front of and facing women. Show-off steps will be some sequence of jumping, hopping and heel clicks. FIGURE 6 (chase) - Women chase man toward middle using two of 1-2-3-hops. Then man similarly chases women. Repeat. CHORUS This recording has just enough music to do the above sequence twice.

,NEDA VODA NALIVALA ' PIRIN, BULGARIAN MOSLEM WOMEN'S LINE DANCE HANDS HELD IN "W" POSITION METER: 11/8

Pattern 1 (right and left) Measure 1 (to R) 1 - Li ft R 2 Step R 3 Step L 4 Step R 5 Step Lacross R 6 Step R back to place Measure 2 - same as meas . 1 only in opposite direction, opposite footwork Measure 3,4 - Repeat 1,2. Pattern 2 (forward and back) Measure 1 (forward) 1-4 - Same as in meas. 1 of pattern one only moving forward 5 - Step L forward 6 - Step R back to place Measure 2 (back) 1 - Lift L 2- Step L 3 - Step R 4 - Step L 5 - Step R 6 - Step L forward to place Meas. 3,4 - Repeat meas. 1,2 .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 29.

NEDA VODA NALIVALA Neda voda nalivala nalivala, razlivala nalivala, razlivala nad voda se jogledala nad voda se jogledala pa sama si produmala pa sama si produmala: Deli mi e mojto libe? Deli mi e mojto libe, mojto libe, p'rvo libe? Dali drugo ne zalibi, drugo libe pohubavo, drugo libe pohubavo, pohubavo, pogizdavo, pohubavo, pogizdavo, pohubavo od meneka? De go libe da mi kaze, Hajde, Nedo, da begame, hadje, Nedo, da begame dode gora suma ima. Dode gora suma ima i poleto detelina i poleto detelina za dvamina ludi mladi za dvamina ludi mladi ludi mladi kato nazi ludi mladi kato nazi ni godeni, ni zeneni!

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 30. TH E BA S I C MOVEr.ENTS 0 F SQUARE DANCING

FOR RECREATIONAL DANCING

1. Circle Family a. Right b. Left 2. Forward & Back 3. Dos ado a. Reverse Dosado 4. Swing 5. Promenade Family a. Couples (full,, 1/2, 3/4) b. Srngl e file C. Wrong way 6. Family a. Left b. Right C. Left arm turn d. Right arm turn 7. Right & Left Grand Family a. Right and 1 eft grand b. Weave the ring C. Wrong way grand 8. Star Family a . Right b. Left 9. Star Promenade 10. Pass Thru 11. Split Family a. Outside couple b. Ring (one couple) 12. Half Sashay Family a. Half Sashay

b 0 Roll away C. Ladies in, men sashay 13. Turn Back Family a. U turn back 14. Separate Fami 1y a. Separate b. Divide 15. Courtesy Turn 16. Ladies Chain Family a. Two Ladies (reg. & 3/4) b. Four Ladies (reg. & 3/4) 17. Lead Right 18. Right and Left Thru 19. Circle to a Line 20. Bend the Line 21. Double Pass Thru 22. Grand Square 1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 31. LOCOMOTION RECORD: Locomotion, Geffen 7-27752, Kylie Minugue FORMATION: Solot no partner needed COUNTS: INTRO: Wait 32 counts 1-8 STEP,TOUCH RIGHT AND LEFT 2 TIMES; Step side R (1), touch L (2), step side L (3), touch R (4); Repeat 1-4 9-16 TWO~STEP RIGHT, TOUCH LEFT; TWO-..STEP LEFT, TOUCH RIGHT; Step on R to R diagonal (1) close L (2), step R (3) touch L (4) Step on L to L diagonal (1), close R (2), step L (3), touch R (4); (Arms oent at elbow, waist level, Pump in circular motion as in wheels of a locomotive.) 17-24 WALK FORWARD 3 AND TOUCH (with clap); BACK 3 AND TOUCH; Walk forward R (1), L (2), R (3), touch L & clap (4); Walk backward L (1), R (2), L (3), touch R &clap (4) 25-32 JUMP FORWARD AND BACK 2 .TIMES WITH~ TURN RIGHT; Jump forward on both feet (1,2) Jump back on both feet (3,4); Repeat (1-4); When jumping back the second time, turn the body~ R to begin the dance again from the beginning ,

FRIENDLY CIRCLE FORMATION : Single circle, No partners necessary MUSIC: Touch a Hand, Make a Friend, MCA 52646, The Oak Ridge Boys ROUTINE: INTRO: Wait 32 counts until vocal begins 1-16 All ci rcle left 16 steps 17-32 All ci rcle right 16 steps 33-36 Dropping hands, all walk i n two steps and then clap hands three times rapidly. 37 40 All back out two steps, and, keep i ng the ball of each foot on floor, bounce on heels three t imes rapidly. 41-48 Repeat counts 33 ~40 49-56 All walk i n towards center, veeri ng slightly left, make a sweeping right­ face turn and walk back out to place, ending facing wall . 57-64 All walk toward wall, veeri ng slightly right, make a sweeping left-face turn and walk back to pl ace ready to "touch a hand" aga i n. NOTE: Counts 49~64 represent a large f i gure eight,

BAD BAD LEROY BROWN FORMATION: Solo MUS IC: Bad Bad Leroy Brown, by Jim Croce, Golden Oldies 0-2605 ROUTINE: Intro. Wa i t for vocal to begin ~~~NTS: Slow, slow, quick, qu ick, (Step forward on the left foot on count one, forward on the ri ght on count two, and then three quick steps, L, R, L on counts 3 and 4) 5-6 Qu i ck vi ne ri ght i n two counts (Step right foot to the right, then left foot to the ri ght beh i nd the right foot, then step on right foot again, touch left foot bes i de ri ght) 7-8 Qu i ck vi ne left i n two counts (Repeat counts 5 & 6 moving left, beg i nning on 1 eft foot)

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 32.

BAD BAD LEROY BROWN (Continued) 9-12 Slow, slow, quick, quick (repeat counts 1-4 beginning on right foot and backing up) 13-14 Scissors. (Step to the left with the left foot, close right foot to left foot, and then step left foot across in front of right foot) 15-16 Scissors. (Step to the left with the right foot, close left foot to right foot and on the scissors across, each dancer turns 90 degrees to face left to begin entire dance again facing the original left hand wall.

SLOVENIAN WALTZ FORMATION: Solo. No partners necessary . All joining hands in a circle. MUSIC: Any moderate to slow waltz ROUTINE: Meas. 1. Balance to the right. (Step to the right on the right foot, touch left toe to right instep or swing left foot across in front of right) 2. Balance to the left. (Repeat above action beginning on the left foot) 3. Balance back. (Step backward on the right foot, touch left foot to right instep) 4. Balance forward. (Step forward on the left foot forward) 5. Balance to the right again, 6. Balance to the left again. 7 & 8. Roll to the right in two waltz steps. (Beginning on the right foot and moving right, turn 360 degrees in six steps)

CRAZY EIGHTS Pa rt 1. COUNTS 2 In place, right foot forward and back 2 In pl ace, left foot forward and back 2 In place, right foot forward and back 2 In place, stamp left foot, right foot Everybody facing center of hall ~')(;).~ [) V V ~~;-'\. D~~ LOO

~~/ ~ ~.-Gk~A~ YFacing in Part 2. Facing out On count of 1 start vine in LOO to right: 1 Bring left foot behind right 2 Slide right foot to right, pointing in LOO 3 Bring left foot over right facing in opposite direction 4 Bring right foot behind left foot 5 Bring left foot in front of right, pointing in LOO 6 Bring right over left, facing in opposite direction 7 Bring left behind right 8 Slide right over left on count of 8 Repeat Part l; repeat part 2 going in reverse LOO (left) Use any record with a strong 8-count beat for this .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 33.

DO-N--OIZZY (--REVI§ED) FORMATION: Three persons facing three persons, one trio facing CW, the other CCW, around the circle. MUSIC: Any lively 64-count music ROUTINE: 1-8 All six join hands and circle 9-16 All ci rcle right returning to home 17-24 Center two persons in each line dosado opposites 25-32 Two right end persons dosado on the diagonal 33-40 Two left end persons dosado on the diagonal 41-64 In original l i nes of three, all join arms (hook adjoining elbows) and as trios, dosado once and a half. (As threes, linked together, dosado around the other three, When completed, dosado half again, passing the original three and meeting a new group of three).

TEXAS SHOOTOUT FORMATION: Three persons (hands joined) facing CCW around the circle MUSIC: Any 64~count sequence. ROUTINE: 1-8 All march eight steps forward 9-16 Right hand high, left person under . (Center person and right hand person make an arch and as that person crosses to the inside of the ring, the left hand person ducks under the arch while the center person also ducks under the ri ght hand persons arch towards the outside of the ring All are now fac i ng reverse line of direction) 17-24 All march eight steps i n reverse l i ne of dance. 25-32 Left hand high, r i ght person under. (Reverse the action of counts 9-16 . All have now returned to original starting position) 33-40 Star right. (Al l put ri ght hands together and walk around for eight counts) 41-48 Star left . (Reverse counts 33-40) 49-54 Ci rcle left. (Same three persons ci rcle left) 55-64 Ci rcle right and as the two si de persons make an arch, the center person is popped under the arch to move forward to the next pair of people to form a new trio to beg i n the dance aga i n.

SALTY DOG RAG CIRCLE FORMATION: Si ngle ci rcle, all fac i ng LOO. MUSIC: Salty Dog Rag, MCA 60090 ROUTINE: To the r i ght, si de, touch, si de clap; Ri ght heel forward touch and back lean To the left, side, touch, si de, clap; back; Walk r i ght, left, right, left; Left heel forward touch and back; lean To the right, side, touch, si de, clap; back; To the left, si de, touch .. side, clap; Repeat for right heel and left heel; Walk r i ght, left, right, left : (Hands on knees) heels out and in; (Hands on knees) toes out and in; Walk right, left, right, left .

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 34.

HI NEIGHBOR RECORD: Square Dancet i me SD 500 STARTING POSITION: Couples with inside hands joined facing LOO, man nearest c~nter of hall. Oppos i te footwork throughout, man starts left foot and lady right. CUES: (Introduction i s 8 beats. Start dance on first beat of music after intro.) PART A: WALK, 2,3, FACE SLIDE SLIDE (LOO) (Repeat) WALK, 2,3, FACE SLIDE SLIDE (LOO) PART B: BACK AWAY 2,3,CLAP TOGETHER 2,3, CLAP HER HANDS AWAY 3,3, CLAP NEW PARTNER 2,3, START OVER TEACHING INSTRUCTIONS: GET READY: Have everyone make a ci rcle, then the gent steps into the center and both partners turn to face LOO as couples with inside hands joined and outside feet ready to start (man left, lady right). PART A: 1. All couples walk forward four steps (man LRLR, lady RLRL), on the fourth step turn to face partner and sl i de two slides in LOO. 2. Both partners again face LOO and repeat Part A: Walk, 2,3,face and slide two sl i des i n LOO. PART B: 1. Back away from your partner, man toward center (COH) and lady toward wall. Back i ng man steps LRL and touches floor with R toe (lady is RLR and touches floor wi th L toe). CLAP OWN HANDS ONCE AS YOUR TOE TOUCHES FLOOR, 2. Walk together 2,3, clap partner's hands and touch the floor with the toe on count 4 (man RLR touch L, lady LRL touch R). 3. Back away again (man LRL touch, lady RLR touch), then turn diagonally to face next partner to the right. 4. Walk diagonally right to new partner (man RLR touch, lady LRL touch). On count 4, as new partners touch, both say "Hi II to each other then start over (DO NOT CLAP).

GRAND SASHAY MIXER RECORD: Blue Star 1782 POSITION: Intro, open fac i ng, man's back to COH Dance, Open, both facing LOO FOOTWORK: Opposite, directions for man unless indicated. INTRODUCTION: 1-4 WAIT; WAIJ; APART-, POINT-; TOGETHER-, TOUCH-; Wait two measures, in open facing position step apart from partner on left, point toward partner with r i ght; step toward partner on right, turning~ left face (woman turns right face) to face LOO in , touch left to right.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 35. GRAND SASHAY MIXER continued DANCE: MEAS: 1-4 WALK--, 2 --; 3--; 4--; CHANGE SIDES--, 2; 3--, 4--; 2--;3--,4--; Walk forward LOO, turning slightly toward partner join man's Land woman's R hands, ·1ead woman diagonally across in front of man under woman's Rand man's L arm; end both facing LOOM on outside in L open position. 5-8 WALK--, 2 -; 3--, 4--; CHANGE SIDES--, 2=-; 3=-, 4-- 2--; 3--, 4--; Walk forward LOO; turning slightly toward partner join man's Rand woman's L hands, lead woman diagonally across in front of man under woman's land man's R arm; end both facing LOO man on inside in open position. 9-12 WALK--, 2--; 3--, FACE--; BACK AWAY--, 2; 3--, 4--; Walk forward LOO turning on R to face partner (man\ R face, W\ L face) man's back to COH; man steps backward toward COH (woman steps backward to wall) 13-16 WALK TO CORNER--, 2--; 3--, 4--; LEFT ALLEMANDE--, 2--; 3-- 4--; Both turn slightly to R walking to corner; join L hands like an allemande walking forward to face original partner, Man facing LOO (woman facing RLOD). 17-20 DO-SA-DO PARTNER--, 2--; 3--, 4--; 5=-,6--; JOIN RIGHT HANDS PULL BY, 8--; Passing R shoulders and moving back to back dance around partner to end facing partner in LOO; join R hands pull by partner and face new partner; 21-24 SEE-SAW NEW PARTNER--, 2-- ; 3--, 4-- ; 5--, 6--; JOIN L HANDS PULL BY--, 8--; Passing L shoulders move back to back around this new partner to end facing partner in LOO; join L hands pull by partner and face new partner; 25-28 DO-SA-DO NEW PARTNER--, 2--; 3--, 4--; 5--, 6--; JOIN R HANDS PULL BY-,,8--; Action same as measures 17~20 29-32 SEE-SAW NEW PARTNER--, 2-.; 3-- ,4--; 5--, 6--; WALK TO OPEN--, 8-- Repeat action of measures 21-23; on measure 32 join man's Rand woman's L hand man walks forward (woman makes~ R face turn) to end open position facing LOO . DANCE GOES THRU FOUR TIMES, ENDING: WALK--, 2 -; 3 -, 4--; CHANGE HANDS TWIRL--, 2- - ~ ACKNOWLEDGE 1-4 Walk forward LOO, change hands to Man's Land woman's R walk forward three steps and face partner, acknowl edge {woman makes a R face twirl in three steps)

HYLL'-S MIXER FORMATION: Double circle, lady on man's right, both facing line of dance. RECORD: Phrase Craze, SIO X2114A COUNTS: 1-8 Walk eight steps forward with partner in open position " 9-12 Face partner and back away four steps, M towards center of circle, L toward wall. 13-14 Stamp your feet three rapid steps . 15-16 Clap your hands three times quickly. 17-24 Walk diagonally to the r i ght to new partner and do-sa-do 25-32 Swing your partner twice around Repeat from the beginning . Mona states that she likes to dance this mixer, reversing the stamping of feet and clappi ng of hands. She prefers to clap first and then stamp,

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 36.

LANCASHIRE REEL FORMATION: Double circle, men with backs toward center of hall, women with backs toward wall. Facing partner. MUSIC: The January Seventh , Lloyd Shaw 318-45 ROUTINE: 1-8 Seesaw partner (left shoulder do-sa-do) 9-16 Left .hand turn the left-hand lady 17-24 Do-sa-do partner 25-32 Right hand turn the right-hand lady 33-40 Keep her, balance (R,l,R,l) 41-48 Swing 49-64 Promenade (Step to face partner on the last count of promenade)

RAZZLE -OAZZlE FORMATION: Couples facing line of dance (CCW around circle) MUSIC: Razzle Dazzle TNT-1058 ROUTINE: Ea. starts on outside foot Walk 4 steps (1-2-3 4) Turn and walk backwards 4 steps Repeat in opposite direction Balance step and circle Ea. steps sideways on outside foot and touches inside foot next to it. Repeat to inside Ea. circles four 2-steps to outside to return to place. Repeat the 2 side-touches. Outside person circles in place as inside partner walks forward to new partner.

COUNTRY MIXER RECORD: #1018 FOOTWORK: Opposite directions for man SEQUENCE: Intro. Dance 5 times INTRO. 1-4 WAIT; WAIT; APT,-,PT,-; TOG,-,TCH,-; (SC) wait 2 meas Tnopenfcg positionM fcg wall; (M R & WL hands joined) step bk twd COH on L, point R toe twd partner maintain EYE CONTACT; step tog on R, trng to SC fcg LOO & tch L toe to side of R instep; DANCE: 1-4 WALK,-,WALK,-; RUN,2~3,-; WALK,-,WALK,-; RUN,2 ~3,-; -- -- - ,,;--:- -- -- walk LOO l,-,R,-; run l,R,L.~; wa1k R1-,L,-; run R,L,R,-; 5-8 (SOLO) CIRCLE 2-STEP: CIRCLE 2-STEP; tTOG) CIRCLE 2-STEP; CIRCLE 2-STfP~ Mcircle lf (W-RfTT,R,l,-;R.1l R -; L','R ',L,-;R,L,R,-:!toClosed M fcgwa'll

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell COUNTRY MIXER conti nued 9-12 HEEL,-,10E,-; SIDE 2-STEP; HEEL,-TOE,-; SIDE 2-STEP, (BANJO) . touch L heel diagonally twd wall & LOO, touch L toe in same spot; step side L, close RtoL, step side L,~; touch R heel diagonally twd wall & RLOD, touch R toe in same spot; step side R, close LtoR, side R,-; (blend to banjo R hips adj, M fcg wall 13-16 Rf WHEEL,2,3,- ; WHEEL,2,3,-; (SOLO) RUN,2,3,-; RUN.2,3,-! (NEW PART SC) wheel Rf around partner I,R,L,-; R,L~-; (release partner M fcg LOO, WR) M run fwd LOO 1nside of circle (W RLOD outside of circle} passing one person R shoulder to take second person for new partner as Wturns Rf to ACKNOWLEDGE TO LAST NEW PARTNER AS MUSIC ENDS

TUNNEL THRU 1 & 3 go forward and backo Forward again, join hands with opposite and make an archo Side two ladies tunnel thru and swing the opposite gento Same two ladies tunnel home and everybody swing your own. All promenade. Repeat for couples 2 & 40

THE GRAND SQUARE QUADRILLE FORMATION : Square RECORD : Shaw 276 This dance is prompt called in the same way as a contra o Dance is done as recorded by Bob Osgoodo CHORUS : CHORUS ~ - -, sides face~ grand square ~, sides face, grand square .. oo• -, - - """ - THIRD VERSE : reverse Heads half promenade inside the square ~ -- - - = - =, - = ~-,same two right & left thru , (begin verse prompt here) (back home) FIRST VERSE : Head couples right & left thru - - - - head couples right & left back , sides half promenade - --- side couples right & left thru -, same two right & left thru side couples right & left back , heads to the right half prom , same two right and left back - - - = same two right & left thru heads to the left. right & left thru , same two right and left back - - - =, head to the left half prom CHORUS~ -, same two right & left thru - - - -, sides face, grand square OOooo CHORUS: SECOND VERSE: Head ladies cha i n over Si des face, grand square.,.oo•• same ladies chain back side ladies chain over , same ladies chain back head ladies chain right same ladies chain back

- - ad - head ladies cha, n left same ladies chain back

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 38.

NEW MISSOURI HOEDOWN MUSIC: Any-snappy hoedown Head two gents promenade, all the way around, that's what I said. When you get home, turn your partner with a right elbow. To the corner girl with a left elbow Back to your partner with a right elbow All the way around to the right-hand lady with a left elbow Back to your partner swing and whirl, everybody swing your girl Allemande left the corner girl, grand right and left ... Repeat for side gents; repeat for all four gents.

ARKANSAS TRAVELER First and third, you balance and swing Up to the center and back again. Forward again in the same old track And swing your opposite with the right hand around Partner left and left hand around Corner right and right hand around Partners left and a left hand around Promenade your corner as she comes down. Repeat ca 11 for couples two and four .

HAYRIDE Head two couples cuddle up t i ght, girls turn right elbow Go once around to the left-hand pair, left elbow turn you know Turn once around with that two, once around wil 1 do Then back to the mi ddle hook right elbows again you do Go once and a half i n the mi ddle of the set To the right hand couple, you're not through yet. Turn that two left elbow once around Then back to the middle, heads turn it once around The men drop off at home, ladies star right again. Head for home and sw i ng your own, swing 'em good and then All promenade around that ol' ring Go walkin' with that pretty l i ttle thi ng .

CINCINNATI WALTZ QUADRILLE (Gibson House Waltz) FORMATION: Square MUSIC: Cincinnati Waltz Quadrille BS 2378 1-4 All four ladies right hand star 5-8 All four ladi es left hand star 9-12 Partner r i ght hand turn 13-16 Partner left hand turn once and a half 17-20 All four gents right hand star 21-24 All four gents left hand star, pass your partner by 25-32 Promenade the next (Waltz promenade may be done in ballroom position turni ng clockwi se and progressing CCW or in regular promenade position,

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 39. PROPER QUADRILLE FORMATION: Square MUSIC: Honey Harbor 2 Step (Fireside String Band) or any 64-count melody. ROUTINE: COUNTS: Intro, middle break) ending 1-16 All eight circle left to home 17-24 Allemande left 25-48 Grand right and left all the way around. Dip and bow to partner as you pass them half way around 49-64 Promenade Figure: 1-8 #1 couple promenade inside the ring acknowledging each couple as you pass them finishing facing out at home 9-16 In any order, the sides fall in behind the active couple 17-32 Ladies walk single file and countermarch left around the column of men 33-48 Men single file and countermarch right around the column of ladies 49-56 All face partners and back away 57-64 Forward again and turn partner two hand turn to place Couple #2 then repeats the figure After the middle break couples 3 &4 repeat the figure Do the intro one more time to conclude the dance.

GRAND SQUARE SIX QUADRILLE SD-009 (Chord) ----(Sides pass thru) SEP A RATE GO ROUND TWO (Sides) HOME YOU GO HEADS PASS THRU SEP A RATE GO ROUND TWO -- (Heads) HOME YOU GO --- SIDES FACE GRAND SQUARE SIX BOW TO YOUR PARTNER SWING PROM E NADE

(Heads) SIDES PASS THRU ( Repeat from the beginning) NOTE: Sides lead twice: Sides pass thru first and sides will face for the Grand Square Six. Heads lead twice: Heads pass thru first and heads will face for the Grand Square Six.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 40. LISTEN TO THE MOCKING BIRD FORMATION: Square MUSIC: Listen to the Mockingbird, TNT 237 ROUTINE: Use any simple opener, middle break and closer The first couple promenade the outside Around the outside, come into the inside Now swing in the center, circle six hands around (Active couple swings in the center of the set while the other six circle left once around them.) Circle six hands around till you get back home Do-sa-do your corners all, back to back around you go Now swing your partner round and round, promenade Listen to the Mockingbird, listen to the Mockingbird Oh, the Mockingbirds a-singin 1 in the vale,

SCONES AND TEA FORMATION: Double circle, Couples facing couples around the room. MUSIC: Lighted Sconce ROUTINE: 1-8 Facing couples star right once around 9-16 Left hand star, go home 17-24 Two ladies do-sa-do 25-32 Two men do-sa-do 33-40 As couples do-sa-do around the other couple 41-48 Circle left once around 49-56 All swing partners 57-64 Everyone pass thru to the next couple to begin again,

MARCHING TO PRETORIA FORMATION: Large circle of couples facing couples, one couple with backs to COH, other facing COH . MUSIC: Marching to Pretoria, Lloyd Shaw 183; Patriotic Medley, Red Boot 2155; Jingle Bells, MacGregor 2046; Winter Wonderland, Windsor 5050 COUNTS: INTRO: Ladies chain 1-8 Chain back 9-16 Left-hand star 17-24 - - Right-hand star 25-32 In your big circles march single file 33-40 - - Come back to the same couple 41-48 - - Right and left thru 49-56 -- Pass thru 57-64 Wheel' left, Face a new couple and ladies chain

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 41. CARRY UNDER THE ARBOR FORMATION: Proper duple. 1,3,5 & every other couple active. Not crossed over. MUSIC: St. Ann Reel (TNT Star & Promenade Contra 2018) ROUTINE: COUNTS: 1-16 #l 1 s (actives) make an arch while #2's figure eight around the #l's. (The #2 couple goes under #l's arch, lady crossing and going around the #1 gent, while the #2 gent goes under the arch and around the #1 lady. They then finish the figure eight by going under the arch again and the #2 lady goes around the #1 lady while the #2 gent goes around the #1 gent, everyone ending where they started.) 17-24 Sa me four c i re 1e 1e ft 25-32 Circle right 33-48 #2's make the arch and #l's repeat the actions of #2's in measures 1-16 49-56 #2's step apart and face down the set while #l's step in between them and all walk down eight steps , (Do not turn around.) 57-64 All four back up, and as they are backing up, the centers arch and the ends turn in and duck under that arch, thru to face a new couple to begin the dance again. RUTGER'S PROMENADE FORMATION: Duple Improper MUSIC: Bye Bye Blues, Pulse, or I Like To Dance, TNT With the one below (corner) do-sa-do - -, - - same lady swing - -, face across go right and left thru --- -, -- right and left back Courtesy turn and~ more, promenade up and down , Wheel around (as a couple), promenade back bend the line, two ladies chain - - chain them back new corner do-sa-do

DEC KO I S DELIGHT FORMATION: Alternate duple. 1,3,5 active and crossed over MUSIC: Wizard On The Hill ROUTINE: COUNTS: 1-8 Do-sa-do corner 9-16 Same girl swing 17-24 Reverse the flutter 25-32 Two ladies chain 33-40 Right and left thru 41-48 Half promenade 49-56 Right hand star 57-64 Left hand star

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 42. GOLDEN WALTZ CONTRA FORMATION: Alternate duple, 1,3,5 active and crossed over MUSIC: Anniversary Waltz ROUTINE: MEAS, 1-4 Actives waltz down the set, back to back, face to face, back to back and California twirl of the 4th measure to face back up the set 5-8 Come back up the set in two waltz steps, back to back and face to face, and then cast off (unassisted) or flair around in two waltz steps. End in the same position in the set, but crossed over. 9-16 Inact,ves repeat the sequence moving up the set 17-20 All star right in four waltz steps 21-24 Al 1 star left coming back 25-28 Half promenade in skirt-skaters position 29-32 Al 1 go forward and back

THE DUKE OF KENT'S WALTZ CONTRA FORMATION: Duple proper To prompt this dance: Meas. Intro -- -, With the ~ple below star, right -- 1-4 -, Same four star, left - -, 5-8 -, Acffv~llcfe": four steps down, 9-12 -- -, Return and cast off ~- 13-16 -, - - - , A11 ba 1a nee - , 17-20 , Box the gnat -~-~--;11:11 balance-, 21-24 Box the flea - - -, -- -, men star right hand 25-28 With lady below - -, -- -, turn partner left, 29-32 Back to place ~below sta~ght)

THE REEL McQUAIDES FORMATION: Alternate duple. 1,3,5 active and crossed over MUSIC: Any 1 ively reel ROUTINE: COUNTS: 1-8 Actives center with a do-sa-do 9-16 Allemande left below and a little bit more, gents to the center and balance four 17-24 Balance (ocean wave) forward and back and turn half by the left 25-32 Balance forward and back again and turn half by the left again 33-48 Men start a reel of four 49-56 Men turn by the right once and a little bit more. (Cross at the head and foot.) 57-64 Swing a new corner The dance is a double progression.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell 43. LIGHTED SCONCE FORMATION: Duple improper contra, #1 couple face down, #2 couple face up MUSIC: Lloyd Shaw 337/338, March of St. Timothy, 1985 DANCE: Intro Two ladies allemande right 1-8 Swing your partners. swing 'em all 9-16 --- -, Ci rel e four go 1eft a round 17 - 24 - - Are h below, actives thru the arch to a line of four 25-32 Four-in-line come up the set 33-40 Turn alone, go back down 41-48 Face across and ladies chain 49-56 ---- Chain the ladies back again 57-64 Two ladies allemande right.

1989 Oglebay Institute Spring Folk Dance Camp, Wheeling, West Virginia Instructors: Tom Bozigian, Michael Ginsburg, Bob Howell