GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 1 of 100

29 th Annual Door County Folk Festival Get Your Foot in the Door!

Wednesday-Sunday, July 9-13, 2008

Sister Bay, Ephraim & Baileys Harbor Wisconsin

http://www.dcff.net / [email protected] / (773)-463-2288 DCFF Home

Dance Syllabus

Advance Regular Discount Price On Paper: $19.00 $22.00 On CD: $8.00 $11.00 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 2 of 100 2008 DCFF Dance Syllabus – Complete Syllabus Table of Contents Click on Link(s) Below to Open Dance Description(s)

Alice Janatova 10 Marge Sklar 52 Bazant 11 Ajnzerica (Enzerica) 53 Furiant 12 Dana 56 Na Roziouceni n/a Hora de la Soroca 59 Trojke 13 Oee Naze 60 Raatikko 61 Dit Olshan 14 Bogdanos 15 Michael Kuharski 62 Bouree a deux temps 16 Devollice 63 Sira 17 Keciko 65 Syrtos Ai Lia 18 Valle Nuseve Nga Korca 19 Nick Aguilar – Mary Garvin 67 Xhimixhi Nesho 20 Tango Milonga-Vals 68

Forrest Johnson 22 Penny Brichta 70 Armenian Miserlou (Racine version) 23 Adama Veshamayim 71 Kolubarski Bez 24 Amelil Shir 72 Silinja Šetnja 25 Bat Shism 73 Bapundak Katan 74 Grace Bernhard 26 Debka Dror 75 Tamarii Tahiti 27 Neshikat Turkit (Turkish Kiss) 76

Jon Waite 28 Rick King 77 Romanian Clublife 29 Baba Djurdja 78 Sarba Munteneasca 30 Floricica 79 Svatbarsko 31 Leli m'yar 80 Te Aven Baxtale 32 Letsi 83

Kate Flynn 35 Yuliyan Yordanov 84 Cupid Shuffle 36 Beratis 85 Musesko Oro (Maškoto) 37 Ripni Kalinke 87 Phirno Pharo 38 Selsko Chetvorno Horo 90 Vidinska Chichovata 91 Kim Caisse 39 Backovsko Horo n/a Mary Garvin 92 Chiba Minato Ondo 40 Plevensko Daichovo Horo 93 Dagmat 41 Yambolsko Paidushko Horo 95 Kawachi Ondo 42 Turkish Ramo Ramo 43 Paul Collins 96 New Šest 97 Leslie Hyll 44 Turopolski Drmeš 98 Čerešna 45 Daronee - Yerker Yev Barer 46 DCFF Weekend Schedule 3 Hanter Dro 49 DCFF Review Session Schedule 7 Robin Ddiog 50 Individual File TOC (html) Rueckelreih 51 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 3 of 100

29th Annual Door County Folk Festival (2008) Schedule of Activities (Instructors will select dances to teach from the lists below. Schedule & selections are subject to change without notice.)

We 2:00p SBVH Staff Arrives (Staff & Volunteers) " 3:00p SBVH Setup Begins (Staff & Volunteers) " 6:00p SBVH Registration Begins (Staff & Volunteers) " 8:30p­until SBVH 9th of July Dance Party (Forrest & Company w/live music with Nick Bratokovich) " 1:00a­2:30a SBVH Late Night Party (Paul Collins & Company) Th 9:00a SBVH Setup Continues (as needed) (Staff & Volunteers) 9:00a SBVH Teacher Continuing Education (Sanna Longden, Warren Kubitschek, Paul Collins) Fresh Faces Workshop Bazant (Czech Republic, Bohemia) Alice Janotova Furiant (Czech Republic, Bohemia) Musesko Oro (Roma) Kate Flynn Th 1:15p­3:00p SBVH Phirno Pharo (Roma) Svatbarsko (Bulgaria) Jon Waite Te Aven Baxtale (Romania) Kawachi Ondo (Japan) Kim Caisse Bachkovsko Horo (Bulgaria) Balkan Dance Workshop with Live Music by Balkan Cabaret Ripni Kalinke (Bulgaria) Yulyian Yordanov Vidinska Cichovata (Bulgaria) Th 3:15p­5:00p SBVH Yambolsko Paidushko (Bulgaria) Mary Garvin Plevensko Daichovo (Bulgaria) Turopolski Drmeš (Croatia) Paul Collins New Šest (Serbia) " 8:00p­until SBVH Thursday Night Dance Party (Forrest & Company) " 9:00p SBVH Silent Auction Begins (Mercedes Dzindzeleta & Company) " 1:00a­2:30a SBVH Late Night Party (Paul Collins & Company) Fr/Sa 8:00a­9:45a SBVH Contra/Square Workshop (Roger Diggle with live music by Last Gaspé) Fr/Sa 8:00a­9:45a EVH Teacher Continuing Education (Sanna Longden, Warren Kubitschek, Paul Collins) Beginning Level Dance Workshop Valle Naseve Nga Korca (Albania) Dit Olshan Syrtos Al Lia (Greece) Bourree A Deux Temps (France) Fr/Sa 10:00a­11:45a SBVH Kolubaski Bez (Serbia) Forrest Johnson Armenian Miserlou (Racine Version) Silinja Setnja (Serbia) Dagmat (Turkey) Kim Caisse Turkish Ramo Ramo (Turkey) Intermediate/Advanced Level Dance Workshop Devolice (Albania) Michael Kuharski Fr/Sa 10:00a­11:45a EVH Keciko (Turkey) Ajnzerica (Croatia) Marge Sklar Dana (Romania)

SBVH – Sister Bay Village Hall / EVH – Ephraim Village Hall / SBP – Sister Bay Park / BHTH – Baileys Harbor Town Hall FBC – First Baptist Church of Sister Bay / TSP – The Sandpiper Restaurant (Baileys Harbor) (i) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 4 of 100

29th Annual Door County Folk Festival (2008) Schedule of Activities (Instructors will select dances to teach from the lists below. Schedule & selections are subject to change without notice.)

Singing Workshop with Mary Sherhart & Balkan Cabaret Fr/Sa 10:00a­11:45a FBC Bring your voices and your musical instruments! Fr/Sa 10:00a­11:45a SBP Children's Activities (Dick/Miriam) Fr/Sa 12:00p­1:00p FBC Dance Relief Workshop (Mercedes) Fr/Sa 12:15p­1:15p SBVH Teacher Continuing Education (Sanna Longden, Warren Kubitschek, Paul Collins) Beginning Level Dance Workshop Amelil Shir (Israel) Penny Brichta Bapundak Katan (Israel) Neshikat Turkit (Israel) Fr/Sa 1:15p­3:00p SBVH Oee Naze (Armenia) Marge Sklar Raatiko (Finland) Na Roziuceni (Czech Republic, Bohemia) Alice Janotova Trojke (Czech Republic, Moravia) Furiant (Czech Republic, Bohemia) Intermediate/Advanced Dance Workshop Floricica (Romania) Rick King Baba Djurdja (Macedonia) Fr/Sa 1:15p­3:00p EVH Leslie Hyll Daronee (Armenia) Beratis (Albania) Yuliyan Yordanov Selsko Chetvorno Horo (Bulgaria) Hawaiian & Polynesian Dance Workshop Tiny Bubbles (Hawaii) Fr/Sa 1:15p­3:00p FBC Beautiful Kauai (Hawaii) Grace Bernhard Te Manu Pukarua (Hawaii) Tamarii Tahiti (Tahiti) Fr/Sa 1:15p­3:00p FBC Singing Workshop Tri Bratovchedki (Nancy/Debbie/Dan) Fr/Sa 1:15p­3:00p SBP Children's Activities (Dick/Miriam) Mini­Concert At Baileys Harbor Town Hall with Balkan Cabaret, Nick Bratkovich & Fr 12:30p­1:45p BHTH Last Gaspe Argentine Tango Workshop Fr 2:00p­5:00p Tango (Argentina) BHTH Nick Aguilar Sa 1:45p­4:30p Vals (Argentina) Mary Garvin Milonga (Argentina) Beginning Level Dance Workshop Leli Mýar (Greece) Rick King Letsi (Greece) Ceresna (Macedonia) Fr/Sa 3:15p­5:00p SBVH Hanter Dro (Brittany/France) Leslie Hyll Robin Ddiog (Wales) Rueckelreih (German) Cupid Shuffle (USA) Kate Flynn Phiro Pharo (Rroma, Macedonia) Grchkoto (Bulgaria) Advanced Level Dance Workshop Adama Veshamayim (Israel) Penny Brichta Bat Shism (Israel) Debka Dror (Israel) Fr/Sa 3:15p­5:00p EVH Bogdanos (Greece) Dit Olshan Sira (Bulgaria) Nesho Xhimixhi (Albania) Romanian Club Life (Romania) Jon Waite Sarba Muntuneasca (Romania) Svatbarsko (Bulgaria) Fr/Sa 3:15p­5:00p FBC Singing Workshop with John Morovich & Balkan Cabaret Bring your voices and your musical instruments!

SBVH – Sister Bay Village Hall / EVH – Ephraim Village Hall / SBP – Sister Bay Park / BHTH – Baileys Harbor Town Hall FBC – First Baptist Church of Sister Bay / TSP – The Sandpiper Restaurant (Baileys Harbor) (ii) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 5 of 100

29th Annual Door County Folk Festival (2008) Schedule of Activities (Instructors will select dances to teach from the lists below. Schedule & selections are subject to change without notice.)

Cash Bar Beer & Wine Happy Hour ­The Sandpiper Restaurant­Baileys Fr 5:45p­8:00p TSP Harbor (Don Valenti, Rosemary Olson) Fr 6:00p­8:00p TSP Group Dinner­The Sandpiper Restaurant­Baileys Harbor (Don Valenti, Rosemary Olson) ­ (Seatings: 6:15,& 7:00) " 8:00p­until SBVH Ethnic Dance Party (live music w/Balkan Cabaret & Nick Bratkovich, Stuffed Animal Night) " 8:00p­11:00p EVH Contra/Square Dance Party (Roger Diggle & Steve Pike with live music by Last Gaspé) " 1:00a­2:30a SBVH Late Night Party (Paul Collins & Company)

Sa 6:00p­8:00p SBP Fish Boil Dinner (Daryl Larson Fish Boils) (Seatings: 6:00, 6:30, 7:00) " 7:00p­8:00p SBP Music & Dancing in the Park " 8:30p­until SBVH Ethnic Dance Party (Forrest Johnson & Co ­ Live music w/Balkan Cabaret & Nick Bratkovich) " 11:30p SBVH Silent Auction Ends " 1:00a SBVH Larry Hoey Memorial Folk Dance Olympics (Paul C) " 2:00a­2:30a SBVH Late Night Party (Paul Collins & Company) Su 9:00a­11:00a SBVH Contra/Square Workshop (Roger, Steve P & Paul C with live music by Last Gaspé) " 11:15a­12:30p SBVH Review Session 1 (Staff) " 1:30p­3:00p SBVH Review Session 2 (Staff) " 3:30p­5:00p SBVH Review Session 3 (Staff) " 6:00p­9:00p TBA Survivors' Group Dinner(s) (TBA ­ Meet at SBVH/SBP) " 8:30p­2:30a SBVH Survivors' Dance Party (recorded music & live music w/Balkan Cabaret & Others) Mo 9:00a­? SBVH Clean­Up

SBVH – Sister Bay Village Hall / EVH – Ephraim Village Hall / SBP – Sister Bay Park / BHTH – Baileys Harbor Town Hall FBC – First Baptist Church of Sister Bay / TSP – The Sandpiper Restaurant (Baileys Harbor) (iii) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 6 of 100

29th Annual Door County Folk Festival (2008) Schedule of Activities (Instructors will select dances to teach from the lists below. Schedule & selections are subject to change without notice.)

Important Schedule Notes

DCFF Mini­Concert with Balkan Cabaret (and others) Friday Afternoon at 12:30pm at Baileys Harbor Town Hall

Friday Evening Parties at 8:00pm Ethnic Folk Dance Party at Sister Bay Village Hall Contra/Square Dance Party at Ephraim Village Hall

Saturday Evening Parties at 8:30pm Live Music Ethnic Folk Dance Party at Sister Bay Village Hall All Request, Recorded Music Ethnic Folk Dance Party at Ephraim Village Hall

Argentine Tango Workshops Friday Afternoon from 2:00pm to 5:00pm at Baileys Harbor Town Hall Saturday Afternoon from 1:45am to 4:30pm at Baileys Harbor Town Hall

DCFF Group Dinners Friday Cash Bar, Beer & Wine Happy Hour at The Sandpiper Restaurant in Baileys Harbor – 5:45pm & 8:00pm Friday Group Dinner at The Sandpiper Restaurant in Baileys Harbor – Seatings at 6:15pm & 7:00pm Saturday Fish Boil Dinner in Sister Bay Park – Seatings at 6:00pm, 6:30pm & 7:00pm

SBVH – Sister Bay Village Hall / EVH – Ephraim Village Hall / SBP – Sister Bay Park / BHTH – Baileys Harbor Town Hall FBC – First Baptist Church of Sister Bay / TSP – The Sandpiper Restaurant (Baileys Harbor) (iv) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 7 of 100

DCFF REVIEW SESSIONS for Sunday, July 13, 2008 Session 1 of 3

Note: The dances listed below will definitely be reviewed during the designated sessions, and every effort will be made to maintain the order listed below. The skill level of each dance precedes the name.

Session 1: 11:15 a.m. ‐12:30

Presented by Forrest Johnson beg. Kolubarski Bez (Serbia) beg. Armenian Miserlou (Racine version) beg. Silinja Setnja (Serbia)

Presented by Penny Brichta beg. Amalel Shir (Israel) beg. Bapundak Katan (Israel) beg. Neshika Turkit (Israel) inter/adv. Bat Shishim (Israel) inter/adv. Adama Veshamayim (Israel)

Presented by Leslie Hyll beg. Ceresna (Macedonia) beg. Hanter Dro (France/Brittany) beg. Robin Ddiog (Wales) beg. Rueckelreih (Germany) inter/adv. Daronee (Armenia)

Presented by Dit Olshan beg. Valle Naseve Nga Korca (Albania) beg. Syrtos Al Lia (Greece) inter/adv. Bogdanos (Greece) inter/adv. Nesho Xhimixhi (Albania) inter/adv. Sira (Bulgaria)

End of Session 1 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 8 of 100

DCFF REVIEW SESSIONS for Sunday, July 13, 2008 Session 2 of 3

Note: The dances listed below will definitely be reviewed during the designated sessions, and every effort will be made to maintain the order listed below. The skill level of each dance precedes the name.

Session 2: 1:30 – 3:00 p.m.

Presented by Alice Janotova beg. Bazant (Czech Republic, Bohemia) beg. Na Roziouceni (Czech Republic, Bohemia) beg. Trojke (Czech Republic, Moravia)

Presented by Jon Waite Inter/adv. Te Aven Baxtale (Romanian) inter/adv. Sarba Muntuneasca (Romanian) inter/adv. Romanian Club Life (Romanian) inter/adv. Svartbarsko (Bulgaria)

Presented by Marge Sklar beg. Oee Naze (Armenia) beg. Raatikko (Finland) inter/adv. Dana (Romanian) inter/adv. Ajnzerica (Croatia)

Presented by Yulian Yordanov inter/adv. Ripni Kalinke (Bulgaria) inter/adv. Beratis (Bulgaria) inter/adv. Vidinska Chichovata (Bulgaria) inter/adv. Chetvorno Horo (Bulgaria)

Presented by Kim Caisse beg/inter Backovsko Horo inter/adv. Chiba Minato Ondo (Japan) beg. Dagmat (Turkey) beg/inter. Kawachi Ondo (Japan) beg. Turkish Ramo Ramo (Turkey)

End of Session 2 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 9 of 100

DCFF REVIEW SESSIONS for Sunday, July 13, 2008 Session 3 of 3

Note: The dances listed below will definitely be reviewed during the designated sessions, and every effort will be made to maintain the order listed below. The skill level of each dance precedes the name.

Session 3: 3:30 – 5:00 p.m.

Presented by Kate Flynn beg. Cupid Shuffle (USA) beg. Musesko Oro (Maskoto, Roma) beg. Phirno Pharo (Roma)

Presented by Mary Garvin inter/adv. Jambolsko Paidushko (Bulgaria) inter/adv. Plevensko Daichovo

Presented by Nick Aguilar and Mary Garvin Tango (Argentina)

Presented by Rick King beg. Leli m’yar (Greece) beg. Letsi (Greece) inter/adv. Floricica (Romania) inter/adv. Baba Djurdja (Macedonia)

Presented by Michael Kuharski inter/adv. Devollice (Albania) inter/adv. Keciko (Turkey)

Presented by Grace Bernhard Beautiful Kauai (Hawaii) Te Manu Pukarua (Hawaii) Tiny Bubbles (Hawaii) Tamarii Tahiti (Tahiti)

Presented by Paul Collins beg. Turopolski Drmes (Croatia) inter/adv. New Sest (Serbia)

End of Session 3 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 10 of 100

Alice Janotova (Strakonice, Czech Republic) (Czech Dance Instructor)

Alice Janotova attended the Academy of Performing Arts in Prague, studying Dance Pedagogy. She is has been a dance instructor at the School of Basic Arts, Strakonice and a cast member of Leoš Janáček‛s Opera Její pastorkyně (Jenůfa), National Theater Prague. She is also a violinist and co- leader of bagpipe band Švandova dudácká muzika that accompanies the Czech Children‛s Folklore Group Prácheňáček, and has been a dancer in the South Bohemian folklore group Prácheňský soubor písní a tanců. Alice is fluent in English, German and basic Spanish. Her interests include concerts, theatre, movies, exhibitions, dancing, swimming, hiking, cycling and traveling. If any groups are interested in inviting Alice to do workshops in the fall, she may be contacted at: [email protected] GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 11 of 100

Bazant (Bazhant = pheasant) – Czech folk dance Bohemian folk dance in 2/4 Notes by Alice Janotova assisted by Jon Waite

Starting position – Dancers are in partners in a closed circle - leads on the L side. Hands in V with L hips facing center of circle.

1stx & 3rdx through: 1 & 2 & 1 & 2 & Meas. 1-2: L hop R hop stamp L stamp R L hop

Meas. 3-4: Repeat meas 1-2 w/opposite footwork

Meas. 5-8: Repeat meas. 1-4, on last 3 steps leader turns to face partner w/back to center of circle. 1 & 2 1&2 Meas. 9-10: L together L to L, stamp 3x(RLR) w/no weight on last stamp – partners move away

Meas. 11-12: Repeat meas. 9-10 w/opposite direction/footwork – partners move back together and take weight on last stamp

Meas. 13-14: Repeat meas. 11-12 but w/no weight on last stamp

Meas. 15-16: Repeat meas. 9-10 but with weight on last stamp. Leader moves back to circle w/last 3 stamps.

Meas. 17-20: Repeat meas. 1-4 but with no hop on last step and change to back basket hold

Meas. 21-28 (music gets faster): Continue same foot pattern 3x w/couples turning in circle clockwise in place. Lead turns forward. Both should start w/outside foot. Last meas couples flip w/4 walking steps and w/out dropping arms.

Meas. 29-36: Same pattern and direction as meas. 21-28 but w/lead turns bwd. Last 4 steps drop hands and return to same pos as meas. 9

2ndx through: Meas. 1-8: Footwork same as 1stx but dancers stay in partners. Partners face each other bent w/chest fwd, heads up and arms out like “pheasants”. Partners rotate around each other cw with arms down on 1, up on &, down on 2, up on & then stay down for the next meas. coming up right before the next measure. Repeat

Meas. 9-16: Same as 1st x through, but throw leading leg up and out in “chicken scratching” motion.

Meas. 17-20: Same as meas. 1-4

Meas. 21-36: Same as 1st and 3rd time. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 12 of 100

Furiant (Czech Republic, Bohemia)

Background: This is a dance from Bohemia. Although the word "furiant" actually means 'defiant, pig-headed fellow' or 'swaggerer,' it is also the name given to a common Czech dance form in triple time, but its strong cross accents make it sound as if it were changing meter. This dance was originally done by men only.

Translation: Swaggerer’s Dance

Meter: 3/4

Formation: Individuals in a circle

Steps: ?

Description: Not available at this time. Please make your own notes.

Presented by Alice Janotova at the 2007 Door County Folk Festival GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 13 of 100

Trojke – Czech trio dance Moravian (Hana region) folk dance in 2/4 Notes by Alice Janotova assisted by Jon Waite

Starting position – Dancers are in groups of 3. They form a triangle with leader at the top connected with scarves. During intro, dancers swing arms/scarves up and in on 1st meas and hold.

Meas. 1-8: Using a polka step (see note for style) leader moves fwd starting w/R and partners move bwd starting on outside foot. Arms move down and out on meas. 1 and up and in on 2 etc. Meas. 8 could also be 3 stamps instead of polka step.

Meas. 9-16: Repeat meas 1-8 w/opposite direction.

Meas. 17-20: Leader goes fwd w/light running steps under scarf connecting partners, then circles to L close behind partner back to starting pos. Trio stays connected and partners follow. Everyone should end up in the same position.

Meas. 21-24: Same as meas. 17-20 but with leader circling behind R side partner.

Meas. 25-32: Repeat meas. 17-24.

Repeat dance 2x more.

Note on Polka style: Polka step should be light and prancing as in the style of little horses. Originally costumes from the Hana region prevented dramatic movement, so steps should be small. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 14 of 100

Dit Olshan (Skokie, IL) (Dance Instructor)

Dit Olshan has been teaching International Folk Dance in the Chicago area for about 30 years, at one time, leading three separate groups a week.. Currently she leads a Wednesday Nite group at the Skokie Park District. Formerly, as a math teacher in Chicago, Dit implemented an extra curricular program in international dance at the district level, conducting district teacher workshops while teaching classes at her own school. She has traveled, studying dance, in Yugoslavia, Romania, Bulgaria and Scotland. She has given international dance workshops regularly on a semi-annual basis in Israel to the Israeli Teachers Association and various local groups during the 1990's. Other workshops given include San Diego, New Orleans, Springfield, IL and Racine, WI. Dit has been a regular member of the teaching staff of Lake Geneva Camp for the past 25 years. She has served on the Midwest June Camp committee for several years, chairing it for three of those years. Currently, Dit is a docent at Lincoln Park Zoo, works as a tax preparer, and has not spent more than a year without a dog - which she is known to show up with at Paul Collins Dance group! BOGDANOS GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 15 of 100 Greece

This dance comes from a little town in extreme Eastern Thracian Greece, which has Bulgaria to the North and Turkey to the East. The area is called “Evros” as that is the name of the river which runs through it. Some of the Greeks nowLiving in the area come from families that were moved there from Bulgaria in the 1920’s. I Learned this dance from Kyriakos Moisidis , who conducted a workshop in St. Louis, Mo in February of 2008. Kyriakos lives in Greece, teaching and performing dance throughout the country. He conducted just a few workshops in the United States, but I am sure we will see more of him in the coming years. He came equipped with music, but no dance notes.

Rhythm: 7/8 or 1-2, 1-2, 1 2 3 or quick quick slow throughout

Formation: Mixed line of men and women, arms W position, shoulder height.

Style: Bouncy

The dance:

I. Backing out of the circle at a slight angle to the right (as in Cocek) ,Step R, step L, step R and touch L to R. Step fwd on L, bringing R close to L (but not touching floor) Cue: back, back, back, tch, fwd touch This figure repeats throughout the vocal

II During the instrumental, the “back touch” and “fwd touch” changes to “1,2,3” 1,2,3” Cue: back, back, one two three, one two three

ARMS: The arms move the same for both parts: They swing down and slightly back when moving back , coming up on the “back touch” or “’1,2,3”. They remain up and stretched out in front, with elbows slight bent when going forward --Coming down as you back up;

Presented at DCFF, July, 2008 by Dit Olshan as learned from Kyriakos Moisidis

Notes by Dit Olshan

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 16 of 100

BOURREE A DEUX TEMPS (Bourbonnais - France)

Bourrées are very popular dances throughout Central France. They are danced in opposite lines of M & W. The general structure involves figures where the dancers go fwd twds each other and then cross over to partner’s side. The bourrées from the Bourbonnais region are mostl;y in 2/4 time and are generally calmer than the the ones in the Auvergne and Berry regions in 3/4 time. Bourrées are often played on the vielle à roue (hurdy gurdy) and cabrette (bagpipe). Learned from the Bourrée Gannatoise Group in July 1991 at Heritage Workshop, Cornwall, Ontario..

Pronunciation: Booh-rayh ah duh tahn Music: Yves & France Moreau CD Rhythm: 2/4 Formation: Line of M facing line of W Style: Slight knee bend Basic step: The basic bourrée step consists of the following: Meas 1: step fwd on L (1) Touch ball of R ft fwd and to R of L , feet apart (2); Meas 2: step on R in place with marked knee bend (1) gentle “pumping step” onto ball of R ft (&); transfer wt again onto R with knee bend (2) ______Meter: 2/4 Pattern ______Introduction: slow tuning on hurdy gurdy. Start with melody line

1. Avant-Deux (Forward and back) 1-2 Do basic bourrée step fwd twds partner, and back 3-8 Repeat basic bourrée step fwd and back, 3 more times

2. Traverser (Crossing over) 1 Using basic bourrée step, go fwd twds partner and face L (getting close to partner); on the “R-pump-step”, go fwd 2 Turn 1/2 turn CW on first half of basic (you’re now facing partner) and back away with 2nd half of basic 3-8 Repeat pattern of meas 1-2, three more times

Note: Slight modifications can occur in the fwd and crossing steps. Ex: For the avant-deux figure, first head twds partner, R shldr to R shldr, move back and then do the same motion again ending L shldr to L shldr.

For the traverser figure, use 1 basic step to exchange place with prtnr turning CCW (very close to prtnr) and then backing out straight.

Repeat dance from beginning.

Presented by Yves Moreau Presented at DCFF, July 2008,by Dit Olshan, as learned from Yves At Madison Folk Ball, 2003

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 17 of 100 Syrtos Ai Lia GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 18 of 100

This is a dance from Polygyros in Greece. It is danced only on St. Elias Day, which is what the name means. I learned this dance from Kyriakos Moisidis at a workshop in St. Louis, February, 2008. Kyriakos, who lives in Greece, conducted just a few workshops on the East coast, California, and St. Louis.

Formation: Open circle, leader at R end. Hands joined at shoulder level,,elbows bent and down. Rhythm: For both parts, I and II, 2/4 = S Q Q Source: Kyriakos Moisidis of Greece

Part I Facing R of center and moving LOD Meas 1 Step R to R (slow), step L across and behind R (quick), step R to R

2 Step L slightly across and in front of R (slow), step R to R (quick), step L across and in front of R (quick)

3 Step R to R (S), lift on ball of R as you point and touch L in front of R (Q) (pas de bas ?), place weight back on R heel (Q) (step-up-step) 4 Reverse step 3 ( stepping on L, pointing and lifting on ball of R foot, and as a final step in this measure, Close R to L. On the last ‘quick’ count of meas 4, when closing R to L, bring arms down to sides in preparation for next figure.

The above 4 measures are repeated three more times.. The first two measures are instrumental and the third and fourth have a vocal accompaniment.

Part II Facing center and swinging arms fwd and up on meas 1,down and back on meas 2, fwd & up on 3, down & back on 4, fwd & up on meas 5 and down at sides on meas 6------ready to raise hands to shoulder height for Part I. 1 Step fwd on R,(S) step fwd on L (q) step back on R (q) 2 Step back on L (s), ste;p back on R (q), step fwd on L (q) 3 Same as 1 4 Same as 2 5 Same as 1 6 Step back on L and close R to L and hold for (q)

Presented by Dit Olshan at the Door County Folk Fair, July, 2008

Notes by Dit Olshan

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 19 of 100

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Forrest Johnson (Big Bend, WI) (Planner, Dance Instructor, Party Coordinator)

Forrest and his wife Carol have been folk dance leaders and teachers of the Tuesday Night recreational folk dance group in Milwaukee (now back at Hart Park in Wauwautosa) for many years and through many changes of location. They originally met at the University of Minnesota in Minneapolis, fell in love and lived happily ever after... Then they moved to the Milwaukee area! Before living in Big Bend, they made brief stops in Ann Arbor, Michigan, the Grand Canyon, Shenandoah National Park (where Forrest worked as a Park Ranger no less) and back in Minneapolis. Recently, they have been recruited to teach a folk dance class at University of Wisconsin-Milwaukee. Forrest has done a great job of arranging and coordinating the folkdance parties at DCFF. He compiles and edits Milwaukee's Folkdance Flyer and takes a lot of abuse from Tut. Since his "formal" retirement from the Milwaukee Public Schools, Forrest has actually been employed on a part-time basis at the Milwaukee Public Schools' Potters Forest doing the many duties of a forest ranger. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 23 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 24 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 25 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 26 of 100

Grace Bernhard (Sister Bay, WI) (Hawaiian and Polynesian Dance Instructor)

Grace Bernhard started International Folk Dancing in Milwaukee in 1979. She joined the "Viata Romaneasca" Romanian folk dance ensemble of Milwaukee the same year and was a member of the ensemble for 10 years, performing in and around the Milwaukee area and at Summerfest, State Fair, and the Holiday Folk Fair. Grace started Polynesian/Hawaiian dance lessons in 1990 and became a member of the "Aloha Nui Revue" performing ensemble of Milwaukee under the direction of Anita Bradley. After her move to Door County in July of 1996 and marriage to Gerhard Bernhard, she performed in a variety of community events and frequently on Sunset Concert Cruises and at the DCFF. Grace will present Polynesian/Hawaiian Dance: An opportunity to learn about the music and culture of Polynesia and Hawaii while learning the different forms of Hawaiian and Polynesian dance. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 27 of 100

Tamarii Tahiti (Tahiti)

Background: 'ote'a - traditional drum dancing from Tahiti.

Translation: Children of Tahiti

Meter: 4/4

Formation: Tahitian dance is forward-oriented and primarily directed towards an audience.

Steps: The heels are placed together with the toes slightly spread and the knees flexed. The knees are then alternately straightened as if walking in place. Heels must remain flat on the ground and the knees should never be completely straightened or "locked". The hips should face forward and move in a sideways fashion. The shoulders should be stationary and facing forward. The basic position for the arms is to have them extended fully to the sides, hands are in a natural curve with fingers together and the wrists bent slightly upward.

Description: Not available at this time. Please make your own notes.

Presented by Grace Bernhard at the 2007 Door County Folk Festival GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 28 of 100

Jon Waite (Milwaukee, WI) (Dance Instructor)

Jon Waite has been a member of the Hart Park dancers in Wauwatosa, WI since being dragged there, kicking and screaming, over 6 years ago. After a tense introductory period, he found he really enjoyed the music, rhythms and steps, but more importantly, the people. In addition to being a regular at the recreational group, Jon also teaches at Hart Park and just finished a 6 year stint with Viata Romaneasca, Milwaukee's Romanian performing troupe. When not gradually destroying his knees through dance, Jon is a band director and professional musician in the Milwaukee area. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 29 of 100

Romanian Clublife Choreographed by Daniel Sandu Material from traditional and Roma sources

Notes by Jon Waite

Starting position - Weight on left foot, facing center, hands joined and straight out at shoulder level.

Figure 1; Meas. 1: Walk fwd. to center 3 steps (RLR) and touch w/L Meas. 2: Opposite footwork and direction Meas. 3: Face R (arms stay to center and up) for 2 step-togethers (RLR, LRL) Meas. 4: Continue with 1 step together (RLR) the walk back 2 counts (LR) Meas 5-8: Repeat above sequence with opposite footwork and direction

Figure 2; Meas. 9: Arms come down to sides very close together and take 7 small steps (can be stamps) to R and pause on 7 (1&2&3&4pause) Meas. 10: Step L , close R, step L, stomp (no weight) R Meas. 11: Repeat meas 9 Meas. 12: Repeat meas. 10 except stamp with weight on R to end Meas. 13-16: Repeat meas. 9-12 w/opposite footwork and direction

Repeat Figure 1;

Figure 3; Drop hands for parts 3 and 4 – hands movement or finger snaps are appropriate Meas. 17: Face R with weight on L and place R heel in front (LOD) then R toe across andR heel in front then fall on R Meas. 18: swivel to face L and repeat meas. 17 w/opposite footwork Meas. 19-20: Repeat meas. 17-18 Meas. 21: Face center and step RLR to R(1&2) and cross L foot behind (3) and hold Meas. 22: Repeat meas. 21 w/opposite footwork Meas. 23-24: Repeat meas. 21-22

Figure 4; Meas. 25 & 26: Weight on L, shuffle (L heel in, L toe in etc) 7 counts to R while touching R heel in front, then R toe behind – fall on R for count 8 Meas. 27 & 28: Repeat meas. 25 – 26 w/opposite footwork and direction Meas. 29-32: Repeat meas. 25-28

Repeat Figures 1, 2 and 1 to end dance

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 30 of 100

Sarba Munteneasca ct.6 Step L together Muntenia ct.7 Step R to R ct.8 stamp w/L ct.9 stamp w/L Fig.1 ct.10 pause ct.1 Step R to R ct.11 Stamp w/L ct.2 Step L together ct.12 pause ct.3 Step R to R ct.13 Stamp w/L ct.4 hook L in front of R ct.14 Stamp w/L ct.5 Step L to L ct.15-16 Stamp/brush forward w/L ct.6 Hook R in front of R ct.17-18 Swing L back Repeat action 5x total. ct.19-20 Swing L fwd ct.21-22 Pati bas to L Fig.2 ct.23-24 Pati bas to R ct.1 Step L to L ct.25-26 Close L to R & pause ct.2 Step R together ct.27-28 Close R to L & pause ct.3 Step L to L cts.29-32 Repeat cts. 25-28 ct.4 Hook R in front of L ct.5 Step R to R Fig.5 ct.6 Step L together ct.1-2 Pati bas to R ct.7 Step R to R ct.3-4 Pati bas to L ct.8 stamp w/L ct.5-6 Step hop on R hook L ct.9 stamp w/L ct.7-8 Step hop on L hook R ct.10 pause ct.9-16 Repeat cts. 1-8 ct. 11-12 pati bas to L (QQS rhythm) ct.17 Leap onto R, twisting body to L ct. 13-14 pati bas to R ct.18 Pause ct. 15-16 close L foot to R and pause ct.19 Leap onto L, twisting body to R Repeat action with opp. ft. in opp. ct.20 Pause dir. ct.21-24 Repeat cts. 17-20 ct.25-26 Pati bas to R Fig.3 ct.27-28 Pati bas to L ct.1-2 Pati bas to R ct.29 Stamp w/R across L ct.3-4 Pati bas to L ct.30 Stamp w/R to R ct.5 Step R to front ct.31 Pause ct.6 Cross L in front of R ct.32 Stamp w/R across L ct.7 Step slightly back w/R ct.8 Step L next to R Repeat entire sequence again for a ct.9 Cross R over L total of 2x through ct.10 Step slightly back w/L cts.11-16 repeat cts. 5-10 with opposite footwork and direction ct.17-18 Pati bas to R ct.19-20 Pati bas to L cts. 21-24 Repeat cts. 17-20 ct.25 Stamp w/R across L ct.26 Stamp w/R to R ct.27 Stamp w/R across L ct.28 Pause w/weight on L

Repeat fig. 1

Fig.4 ct.1 Step L to L ct.2 Step R together ct.3 Step L to L ct.4 Hook R in front of L ct.5 Step R to R GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 31 of 100

SVATBARSKO – Bulgarian Wedding Dance Taught by Ventzi Sotirov at Chicagoland Spring Fling, April, 2003

Notes by Pat Dretzka

Starting position - Weight on left foot, facing center, arms in W position.

Meas. 1: Hop on LF, step to right with RF, step on LF behind RF. (QQS)

Meas. 2: Repeat Meas. 1

Meas. 3: Step to right with RF, bounce twice on RF as you begin swinging LF around to front (SS)

Meas. 4: Continue to swing LF in front of and close to RF, touch L toe to floor, step on LF in front of RF – slightly bending forward. (QQS)

Meas. 5-8: Repeat Measures 1-4

Meas. 9: Hop on LF, step to right with RF, step on LF behind RF. (QQS) (Same as measure 1)

Meas. 10: Face right, travel with a right-together-right (QQS)

Meas. 11: Continue traveling with a left-together-left (QQS)

Meas. 12: Step on RF while turning to face center, touch LF next to R toe – or slightly in front of RF (SS)

Meas. 13: Turning 45º to left, take two steps to left – L, R (SS)

Meas. 14: Still facing toward left, jump on both feet (S), jump on LF and raise RF (S)

Meas. 15: Still facing toward left, step slightly backwards with RF. Pull L heel toward R ankle. (SS)

Meas. 16: Still facing 45º to left, do a small lift on RF (&), moving forward take 3 heavy steps LRL – arms coming down so hands are at chest level. (QQS)

Notes on arms: In my recollection, the arms were in a "W" position through out the dance. During Measures 1-15 they may be half way between shoulder and waist (forearms at 45ºdegrees forward) and normal “W” position with hands at shoulder level.. On Measure 16 you bend forward and the arms come down so hands are at waist level and forearms are parallel to the ground as you charge forward.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 32 of 100

Te aven baxtale Gypsy dance, Romania Presented by Sonia Dion & Cristian Florescu

In Romania Gypsies are mentioned for the first time in the 16 th century in Walachia. From there they migrated to Transylvania and later into West Europe. It is interesting to know that Gypsies in Romania were slaves until the nineteenth century.

Formation: mixed circle or couple or free Position: free hands, facing center Pronunciation: teh ah­VEHN bahf­TAH­leh Music: Sonia Dion & Cristian Florescu Romanian Realm Vol.1, Band 4 or Sonia Dion & Cristian Florescu, 60 th Stockton Folk Dance Camp, Band 5

­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ Meter: 2/4 Pattern of Te aven baxtale ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ Meas. Count

1­24 Introduction (no action or improvisation)

Figure 1 1 1 Step on R in place & Step on L in place 2 Step on R in place & Stamp on L in place (no wt)

2 Repeat measure 1 with opposite ftwk (starting L ft)

3­4 Repeat measures 1­2 5­6 Repeat measures 1­2 7 Repeat measure 1 8 Repeat measure 2, do not stamp on R (last &)

9 1 Large step on R to R, body slightly to the right 2 Cross in front with L ft

10 1 Large step on R to R bending on R knee and body facing center 2 Touch with L heel (no wt), L leg extend in L diag. in front and turn body to the same diag. M may slap L thigh with L hand

11­12 Repeat measures 9­10 with opposite ftwk and direction (starting with L ft) 13­16 Repeat measures 9­12 17­20 Repeat measures 5­8 21­24 Repeat measures 9­12 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 33 of 100

­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ Meter: 2/4 Pattern of Te aven baxtale (continued) ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ Meas. Count Figure 2

1 1 Step on R heel twd center 2 Step on full R ft

2 Repeat measure 1 with opposite ftwk 3­4 Repeat measures 7­8 of figure 1 (starting R ft)

5 1 Step on R ball bkwd 2 Step on full R ft

6 Repeat measure 5 with opposite ftwk 7­8 Repeat measures 7­8 of figure 1 9­24 Repeat measures 1­8, two more times (3 total)

Style: When you hit the floor with the ball of the foot (meas. 1­2 ct 2) or your heel (meas. 5­6 ct 2), you should do it so that the sound is heard.

Note: Variation for couples or two concentric circles (inner circle facing outwards and therefore facing the dancers in the outer circle): One partner or circle does figure 2 as described, i.e., moving forward (meas. 1­2) and the other starts by moving backward (meas.5­6). E.g.: M: (1­2, 3­4, 5­6, 7­8), repeat 3 times W: (5­6, 3­4, 1­2, 7­8), repeat 3 times

Figure 3

1 1 Standing on L, touch with R heel to R (no wt), R leg extend straight 2 Standing on L, touch with R heel in front (no wt)

2 1 Step on R ft twd (slightly) center & Step on L ft behind (slightly) R ft 2 Step on R ft twd (slightly) center & Scuff with L heel (no wt)

3 1 Raise L leg (45º) in front, knee bend (45º) & Stamp on L ft in place (no wt) 2 Stamp on L ft in place (with wt)

4­6 Repeat measure 1­3 7 Repeat measures 1

8 1 Step bkwd on R ft 2 Step bkwd on L ft

9­24 Repeat measures 1­8, two more times (3 total) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 34 of 100

­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ Meter: 2/4 Pattern of Te aven baxtale (continued) ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ ­ Meas. Count Figure 3 (continued)

Note: Variation for couples: This figure (fig. 3) may be done facing your partner, each of you turning around the other (CCW).

Variations for two concentric circles (inner circle facing outwards and therefore facing the dancers in the outer circle): While doing this figure (fig. 3), move slightly to the right; since everyone moves to their right, they will have someone new opposite them each time. You may also choose to turn around the person opposite you.

Final pattern:

Intro. + F1 + F2 + F3 + F1 + F2 + F3 + F1 (Final: last measure; (1) Fall on both ft together (‘Assemblé’)

Presented by Sonia Dion & Cristian Florescu, ©2005 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 35 of 100

Kate Flynn (Milwaukee, WI) (Dance Instructor)

Kate Flynn Kate Flynn, a lifelong dancer, was first exposed to folk dancing at the 2001 Door County Folk Festival when she decided to join her mom, Mary Kay, and several of her wild friends for a weekend in Door County. Initially Kate was surprised by the fervor for folk dance felt by these women but then quickly developed her own love of Balkan music and the community-building experience of folk dance. Since then, she has regularly attended the Milwaukee Hark Park folkdance group and dance camps throughout Wisconsin and Illinois. In addition to teaching at the Milwaukee Group at Hart Park and at the Fairwater (WI) International Folk Dance Festival, Kate performed for several years with Na Lesa Bulgarian Folk Ensemble and Dunav Serbian dancers. When not dancing, Kate directs a non- profit dedicated to cultivating indigenous leadership in Milwaukee. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 36 of 100

Cupid Shuffle American R&B Music by Cupid (2007)

Freestyle solo dance (similar to Electric Slide)

Facing forward (North) Figure 1. Moving to the R: Step R Close L X 4 (can make last step-close a triple step) Reverse (Moving to the L: Step L Close R X 4)

Figure 2. Kick R forward, Step L in place – alternate footwork X4

Change Direction (to West) Figure 3. “Walk it by yourself” X 8 (8 steps in place while turning to face “West”)

Continue sequence of 3 figures advancing in each direction (creates a square)

There is a lot of freedom in this dance for interpretation of the footwork and personal styling of arms, legs, feet, head, hips, etc. “Get down with it people.”

Presented at DCFF 2008 by Kate Flynn

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 37 of 100

Musesko Horo Rom Music: Sani’s CD

I learned this dance from Rom dance teacher, cultural preservationist and political activist, Sani Rifati. This dance is very similar to Mashkoto Horo.

Styling: Steps are small. “Crossing Steps” shift weight forward and back.

Arms: “V” hold

10 Measures

Figure 1. “Travel” Moving Right LOD Meas 1 Step LRL 2 Step RLR 3 Step LRL 4 Step R, hop R lifting L and turning to face center, step L to center

Figure 2. “Crossing Steps” Facing Center 5 Step-cross R in front of L, step L in place, step R in place (rocking weight front to back to front) 6 Step L in place, hop L lifting R, step R to R 7-8 Reverse meas. 5 & 6 to R 9-10 Reverse again to L

Presented by DCFF 2008 by Kate Flynn

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 38 of 100

Phirno Pharo Rom Music: Petrichko by Rumen Shopov

I learned this dance from Rom dance teacher, cultural preservationist and political activist, Sani Rifati. This dance becomes hypnotic with its changes in LOD.

Arms: “V” hold

Styling: Bouncy use of whole body in heavy style (grounded). Fluid sideways movement through bounces and turns.

10 measures

Body Facing Center – Feet Moving to Right LOD Meas 1 R touch-step, L lift-cross touch-step 2 R touch-step, L lift-cross touch-step 3 R touch-step, L lift-cross touch-step 4 Turn facing Left LOD with R touch-step, L back-step

Moving Left LOD 5 L touch-step, R lift-cross touch-step 6 Turn facing Right LOD with L touch-step, R back-step

Right LOD 7 R touch-step, L cross-step 8 Turn facing Left LOD with R touch-step, L back-step

Left LOD 9 L touch-step, R cross-step 10 Turn facing Right LOD with L touch-step, R back-step

Presented by DCFF 2008 by Kate Flynn

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 39 of 100

Kim Caisse (Madison, WI) (Dance Instructor)

Kim Caisse has danced with the Madison international folk dance group for over ten years. She has been helping to organize and teach on Sunday nights for several years now, and enjoys being one of the little elves that help make the Madison Folk Ball and June Camp happen. Kim also teaches crochet at a marvelous cafe/yarn shop in Verona, WI, and finds it strangely similar to teaching dance. She has been self employed as a ceramic jewelry artist for over twelve years. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 40 of 100 Chiba Minato Ondo presented by Kim Caisse

I learned this from Joanna Thompson, who learned it from some folks who were visiting from Wisconsin's sister state, Chiba Prefecture, Japan. Minato means harbor, and ondo is one kind of dance. The song lyrics are about what a good harbor Chiba has, the nice weather which is cool even in summer, and how the fireworks at the festival really stir the heart. This dance has many features common to many dances from all over Japan: the 'push-pull' hand motions, the cho chon ga chon clapping pattern, and the yama biraki (mountain opening) hand gesture.

Stand in a circle, facing center. Hands are open with fingers together, but not tightly so. measure 1 Facing center, do nothing first beat, clap twice 2nd beat, keep hands together and don’t clap on 3rd beat, clap once on 4th beat. (cho chon ga chon) Keep hands together after clap. 2 Face right and do same cho chon ga chon clap pattern. 3 Pull R back, bring hands up to shoulder height near body, R hand palm forward, L hand palm back. Touch R toe fwd in LOD. Extend R hand fwd fully, palm fwd. Keep L near you, palm back at shoulder height. Pull R foot back sharply. Flip palms: L palm fwd R palm back. Pull R hand back half way, push L hand fwd half way Step fwd LOD on R foot. Flip palms again, extend R hand fwd fully, palm fwd, pull L back near shoulder, palm back. 4 same as 3 with opposite hand and footwork 5-6 same as 3-4 7-8 hold hands at shoulder height, palms out. Walk 8 steps in a small clockwise circle moving both hands slightly to R when you step R, and slightly to L when you step L. The last of these 8 steps falls on the first beat of the next measure 9 step L to finish circle of 8 steps facing center. Make top of mountain with hands, palms down. Step R fwd crossing L slightly. Move hands in straight diagonal line down and out to sides. Step back on L and move hands back to top of mountain along same track, palms still facing down. (yama biraki) Step R beside L, clap hands once. 10 Still facing center, keep hands together after clap for one beat, and then do same mountain and clap as in meas. 9 11-12 Take 4 steps to center, starting with R, and clap on each step with your hands extended forward about waist height. 1st and 3rd claps are a little higher than waist, 2nd and 4th are a little below. 13-14 Take 8 small steps straight back out of circle while holding hands forward at shoulder height with fingers dangling to make ‘rain’. Move hands slowly to sides, still at shoulder height so arms are extended at sides by the end of 8 steps. Repeat all from beginning.

Styling

In both the arm extensions in measures 3-6 and in the mountain gesture in measures 9-10, imagine your hands are on a track and must stop when they hit the end of the track, but gently without crashing into the end of the track. If you can, pause for just a little moment at the end of the track. This is where you get to show off your control in Japanese dances - the fluid gestures which stop at tiny pauses without jarring.

A little warning: some dancers who are familiar with dances that have heel touches are tempted to touch with the heel and not the toe when learning Japanese dances. This is really, really not Japanese styling and if you did it in traditional costume your shoe would fall off. So touch with the toe. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 41 of 100

Dagmat Presented by Kim Caisse

I learned this from a Turkish woman named Krimat in Madison, Wisconsin. She and her husband, an ethnic Albanian from Turkey, lived in Sun Prairie and ran a restaurant there. Michael Kuharski remembers them saying they were from Bursa in Turkey.

This dance is really good for drawing beginners into the line because the music is so slow at first and the pattern so easy that it doesn’t really even need teaching. Hands are in W position.

Part one - moving sideways to right and left Measure 1-2 Facing right, step R, L, R, to right, face center and lift L 3-4 Repeat moving L with opposite footwork (or, move to L while facing center by stepping L to left, R behind L to left, and L to left, and lift R) 5-8 Repeat 1-4

Part two - in place, facing forward 9-10 Step R beside L, lift L, then step L beside R, lift R 11-12 Repeat 9-10 but remember to keep weight off R at end for next move 13-14 Touch R forward, then touch R diag. forward to right, then close R beside left and hold. 15-16 Clap hands 5 times (on first 5 beats, hold last 3)

Styling Krimat did this whole dance in heels, a bit delicately. Once the music picked up, on measures 9-12 (the step-lifts in place) her high school aged son Mike instead dropped weight onto both feet with a knee bend and then straightened up to lift one foot. It looked fantastic but his mom scowled at him disapprovingly. I leave it to you to make your own choice about the legitimacy of Mike’s styling.

In Madison we have developed the terrible habit of playing with the 5 claps, with everyone coming up with their own syncopations and extra beats.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 42 of 100

Kawachi Ondo

This is a men's Obon dance from Osaka, the second biggest city in Japan. Obon is a festival held throughout Japan in early autumn welcoming the spirits of one's ancestors back for a visit, and is still accompanied by dances which vary from town to town. Obon festivals have been crucial to the survival of traditional Japanese folk dance. I learned this dance from my friend Yumi Matsumoto, who lived in Madison for one year, and is an accomplished international folk dancer in many styles. She is from Osaka and this is her favorite Japanese folk dance. Stand in a circle facing the center.

Intro Bend knees and straighten up to clap hands until you start the dance (and clap and clap). You’ll clap one last time just as you hear the singer start and then begin the dance. measure 1 Touch L foot back swinging both fists to R with L arm bent in front of you but held away from body - don't hug yourself. Step fwd on L swinging both fists to L with R arm bent in front of you.

2 Touch R toe fwd swinging both fists to R with L arm bent in front of you but held away from body. Step R next to L, clapping hands at head high and to right.

3 Bend knees while swinging hands (open hands) from where you clapped diag down to L like you’re pushing something down & back. Straighten knees, bringing open hands up in front of chest to make top of 'mountain'. Palms face down. Step L to L still facing center, swinging hands down and out to sides in straight diag. line for 'mountain' gesture.

4 Rock weight back onto R. Turn to L. Step L fwd (to L), swinging R fist forward & L fist back, elbows bent & arms held away from body. Step R fwd (to L), swinging L fist forward & R fist back, elbows bent & arms held away from body.

5 Face center. Bring open hands up to top of 'mountain'. Palms face down. Step L to L still facing center, swinging hands down and out to sides in straight diag. line for 'mountain' gesture. Rock weight back onto R foot, bringing hands back up along same diag line, palms still facing down. Touch L foot, flat, beside R, clapping hands.

6 Step L fwd twds center. Hands open, palms down, swing hands out to sides along horizontal line until arms are straight out sideways at shoulder height. Rock weight back onto R foot, bringing hands back tog. along same horizontal line, palms still facing down and shoulder high. Touch L foot, flat, beside R. Clap hands.

7 Take 3 little steps, LRL, almost like jogging in place while brushing hands vertically past each other on the first two steps (left hand brushes down when you step L, right hand brushes down when you step on R) and bring hands together on third step with a clap, but clap by bringing hands together along vertical path. Third L step does not take weight.

Styling

After all claps keep your hands together for a moment at the end of the clap. We have a cultural tendency to bounce our hands apart right after a clap; the Japanese tendency is to keep them together. You can see this when you see them praying in a temple, clapping twice and then keeping their hands together to begin praying.

In the mountain gesture in measures 3 and 5 imagine the whole surface of both hands is touching the sides of a model of Mt. Fuji about chest height and about 6 feet wide at the base. Also imagine your hands are on a track and must stop when they hit the end of the track, but gently without crashing into the end of the track. If you can, pause for just a little moment at the end of the track. This is where you get to show off your control in Japanese dances - the fluid gestures which stop at tiny pauses without jarring.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 43 of 100

Turkish Ramo Ramo Presented by Kim Caisse

I learned this from a Turkish woman named Krimat in Madison, Wisconsin. She and her husband, an ethnic Albanian from Turkey, lived in Sun Prairie and ran a restaurant there. Michael Kuharski remembers them saying they were from Bursa in Turkey.

This dance is sort of a ‘two walls’ dance done in two parallel lines with everyone facing first wall A and then wall C. You will be looking at the back of the person next to you in line (see diagram). You never hold hands, and you almost never face walls B and D except briefly when turning to face the opposite wall.

There is a little jiggle done through out the dance. Keep your weight on the balls of the feet and using the muscles in your feet (not your knees) quickly bounce ‘down up down up’ each measure. It goes with the music. It’s really boring without it.

Part one - done in place, facing wall A the whole time. Start with weight on left foot, ready to rock forward onto right with a ‘jiggle jiggle.’ The left foot stays in place throughout part one. Throughout this part let your arms and shoulders gently follow the movements of your feet: right arm comes forward when you step R forward, left arm comes forward when you step R back, etc. Measure 1-2 Step forward onto R, then leaving R forward, step back onto L 3-4 Repeat 1-2 5-6 Still facing wall A, step R backwards, then leaving R behind, step L in place 7-8 Repeat 1-2 (simply put, in part one R goes forward, forward, backward, forward, and L stays put)

Part two - Turn to face wall C with 4 steps. Measure 9 Turning 90º clockwise to face wall B, step R towards wall C 10 Turning 180º clockwise to face wall D, step L towards wall C 11 Still facing wall D, step R behind L towards wall C 12 Turning 90º counter clockwise to face wall C, step L towards wall C

Now do Part 1 facing wall C, then do part two with the same footwork to turn to face wall A again. Keep alternating parts one and two, facing wall A or C every other time. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 44 of 100

Leslie Hyll (Dayton, OH) (Dance Instructor)

Leslie Hyll has been a member of the Miami Valley Folk Dancers recreational folk dance club for over 30 years, sharing teaching responsibilities (beginning and advanced levels) and serving in various administrative offices. She spear-headed a project to digitize 50 years of the club's dance workshop syllabi. She has been a member of several performing groups including: Zivio! (South Slavic), Beseda (American Czechoslovakian Club) and Bagatelle (Le Club Francais), at various times serving as a researcher, choreographer, instructor, and director for those groups. She choreographed an American suite for Zivio!'s 1987 tour of Yugoslavia, and Slovenian, Croatian, Macedonian and Pan-Slavic dance suites for the Dayton International Festival. Leslie is a Senior Software Engineer and Quality Assurance Manager for Northrop Grumman. www.daytonfolkdance.com GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 45 of 100

ČEREŠNA

Origin: Macedonia Recording: Folkraft 1531; Sperry E3-KB-6115 Formation: Line, “W” position with hands extended slightly forward. Right foot free. Rhythm: 2/4

Measure Pattern 1 Facing slightly right, draw right toe across left instep 2-5 Four walking steps to the right starting with right foot (R, L, R, L) 6 Turning to face center, step sideward right on right foot 7 Lift on right foot, bending left knee to raise left foot across in front of right knee (men’s styling). Women’s styling is to lift left foot in front of ankle. 8 Close and step on left foot beside right 9 Turning to face slightly right, touch right heel forward 10 Turning to face center, close and step on right foot beside left 11 Turning to face slightly left, touch left heel forward 12-14 Turning to face slightly right but moving left, three walking steps (left, right, left) backward

/ Čerešna se od koren korneše The cherry tree is pulled from its roots, moma se od majka deleše. / 2x the daughter is separated from her mother. / Proštevaj, majko, proštevaj, Forgive me, Mother, forgive me, Proštevaj se mili rodini. / 2x Forgive me my dear family. / Do sega sum tebe slušala Until now I've obeyed you, od sega ke slušam svekrva. / 2x From now on I'll obey my mother-in-law. / Od sega ke slušam svekrva From now on I'll obey my mother-in-law, deveri, dzolvi, jatrvi. / 2x brothers-in-law, sisters-in-law.

Presented at the 2008 Door County Folk Festival (Wisconsin) by Leslie Hyll (Dayton, Ohio) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 46 of 100

DARONEE YERKER YEV BARER

Alternate Name: AZGAGRAKAN Origin: Armenia Source: 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. Its staged version is part of the repertoire of the Armenian State Song and Dance ensemble choreographed by Azat Gharibian. It was introduced into the USA by Tom Bozigian in the mid to late 1970s. Recordings: "Tom Bozigian Presents Songs & Dances of the Armenian People" GT2001 "Tom Bozigian Presents Songs & Dances of the Armenian People Vol. 3" GT5001 Presentation: These instructions represent the first and second parts of the six part medley. Only these two parts were presented at the 2008 Door County Folk Festival by Leslie Hyll. These two parts are approximately 3 minutes and 40 seconds of the 6 minute medley. Formation: Mixed lines, leader at R end

Measure Count Pattern 1-4 Introduction Beginning Position – Face ctr, L hand on L waist, fingers fwd, R hand on R shoulder of dancer to R. Leader’s R hand is at chest-level, palm down, with arm in a horizontal pos.

PART I, FIG I - Rhythm 5/4 1 1-2 Step R slightly (such that R ft is perpendicular to L ft) as body turns slightly to R (ct 1). Pivot on ball of R ft to face ctr again (ct 2). Arm movement for leader ONLY: Sweep arm to R slowly turning palm up until arm is extended out to R (cts 1-2). 3-5 Close L to R, bounce (ct 3), bounce (ct 4), hold (ct 5) Arm movement for leader ONLY: Sweep arm back to chest, turning palm down (cts 3-4), hold at chest (ct 5) 2-3 Repeat meas 1 two times

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 47 of 100 DARONEE YERKER YEV BARER Page 2 of 3

Measure Count Pattern 4 1-2 Repeat meas 1 ct 1. Hold (ct 2). Arm movement for leader ONLY: same as meas 1 cts 1-2 3-5 Plié on L in front of R (ie. step onto L in front of R, leaving R in place, bend knees) (ct 3). Draw L quickly beside R, pivoting on ball of R ft to face ctr again (ct 4). Hold (ct 5). Arm movement for leader ONLY: Bend R elbow raising arm to vertical position, palm facing out (ct 3). Lower hand to chest, arm in original horizontal pos (ct 4). Hold at chest (ct 5). 1-4 Repeat Part I, Fig I one more time

PART I, FIG II 1 1-5 Feet: Step bkwd on R as L remains touching floor Arms: R hand drops to side and extends fwd to ctr, 45 degrees up, palm facing away; L hand is placed behind neighbor's lower back 2 1-2 Feet: Step where L was touching with Plié (bend knee) Arms: R arm comes down in a CW circular motion to side 3-5 Feet: Bring R beside L, bounce on both ft (ct 3), bounce (ct 4), hold (ct 5). Arms: R hand comes up to chin level palm facing in, elbow down (ct 3). 3 1-2 Feet: Moving RLOD step L to L twisting L heel to L and turning slightly R Arms: R arm and hand change to horizontal pos palm down, turn head to R 3 Feet: Close R to L, pivoting on ball of L ft to face ctr again Arms: R arm and hand change back to vertical position, turn head to ctr 4-5 Hold 4 Repeat meas 3 Arms: R hand moves out to extended pos as in meas 1 without dropping to side 5-8 Repeat all of Part I, Fig I one more time Arm transition to beginning of Part I, Fig I: R hand comes up in a CW circular motion to rest on R shoulder of dancer to R

Repeat all of Part I three more times. Join hands at shoulder level for Part II. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 48 of 100

DARONEE YERKER YEV BARER Page 3 of 3

Measure Count PATTERN PART II, FIG I - Rhythm 6/8 (Alternate count in parentheses is 2 cts per meas) 1-3 1-18 (1-6) Beginning with R ft, 3 two-steps in LOD 4 1-3 (7) Plié L over R as R lifts behind 4-6 (8) Step bkwd on R as L raises and extends in front 5 1-3 (9) Feet: Facing ctr & moving RLOD step up on ball of L to L, heel raised, body leaning RLOD and R leg extends to LOD Arms: Arms are brought down to side & back 45 degrees 4-6 (10) Feet: R crosses over L with slight Plié Arms: Arms come fwd 45 degrees 6 1-6 (11-12) Repeat meas 5 7 1-3 (13) Feet: Step L to diag L of ctr Arms: Arms come to shoulder height 4-6 (14) Feet: Step R in front of L in strong Plié Arms: Arms draw down sharply to side 8 1-3 (15) Feet: Step bkwd on L Arms: Arms return to beginning pos 4-6 (16) Stamp R beside L but do not take weight

PART II, FIG II 1-3 1-18 (1-6) Feet: Beginning with R ft, turn 360° in a small CW circle with 3 two-steps in LOD Men’s Arms: Release hands, Begin with R arm pointing to R, L arm bent at elbow to point R, with palms facing away do windshield wipers to R (meas 1), L (meas 2), R (meas 3). Rejoin hands at shoulder height at end. Women’s Arms: Release hands, With hands at head level, palms facing out, the middle finger and thumb forming a slight “C”, rotate hands at wrist turning palm in, down, out (1 meas). Repeat for each two-step. Rejoin hands at shoulder height at end. 4-8 1-3 (7) Repeat Part II, Fig I, meas 4-8 Arm change at meas 7, cts 4-6 (14): let go of handhold and clap hands with a sharp downward/outward motion. Regrasp handhold at shoulder height on meas 8.

Repeat all of PART II twice more

Presented at the 2008 Door County Folk Festival (Wisconsin) by Leslie Hyll (Dayton, Ohio) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 49 of 100

HANTER DRO France

Pronunciation: Awn-terr Droh Origin: Basse-Bretagne (lower Brittany) Recording: Many tunes have been written and recorded for Bretagne dances. Most bands from Brittany will have at least one tune for Hanter Dro on their CDs. I have chosen a tune from a Quebec band. Ad Vielle Que Pourra, New French Folk Music, “Hanterdro Tid’ Poc’h”, track 3, GLCD 1099 Rhythm: 6/8 Formation: Open circle, mixed; hand joined with elbows bent such that forearms are parallel to the floor, forearms cross mid arm; not as tight as a Turkish hold. Face slightly L of ctr. The dance moves to the left.

Counts Pattern 1 Small step forward and L onto L foot 2 Small step on R across L or next to L foot 3 Small step forward and L to L 4 Pause 5 Small step on R slightly bkwd 6 Pause

Repeat to end of music

Presented at the 2008 Door County Folk Festival (Wisconsin) by Leslie Hyll (Dayton, Ohio) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 50 of 100

ROBIN DDIOG Wales

Pronunciation: ROH-bin THEE-ogg Translation: Idle or lazy robin Source: Robin Ddiog was introduced by Michael and Mary Ann Herman, from instructions sent by the Welsh Folk Dance Society. The dance appears to have been choreographed after 1940. Recording: Folkraft 1573 Formation: Mixed circle of M and W, hands joined and held down in a "V" position. Other instructions say hands should be in a “W” position. Rhythm: 4/4

Measure Pattern 1-2 Introduction, 2 meas, no action. Figure 1 1-2 Facing to R, run 7 steps starting R. With 8th step, turn to face center. Note: One researcher suggests the original Welsh instructions say to skip not run, and that there is no step to face the center – just 8 skips in LOD. This would make the dance much more energetic. 3 Releasing hand hold, turn individually in place CW with four running steps to end facing ctr. Note: If doing the skipping version, then skip here also. 4 Join hands again. Stamp R taking wt (ct 1); hold (ct &); stamp L taking wt momentarily (ct ah); stamp R taking full wt (ct 2); hold (ct &); stamp L taking wt momentarily (ct ah); stamp R taking full wt (ct 3); hold (ct &); stamp L taking full wt (ct 4); hold (ct &). This creates a syncopated stamping sequence: R--LR--LR--L-- Figure 2 5-6 Step R (ct 1); swing L across R (ct 2); step L (ct 3); swing R across L (ct 4). Repeat step-swings. Note: If doing the skipping version, then also hop on the R foot as you swing the L across, and hop on the L foot as you swing the R across. 7 Repeat meas 4 (stamping sequence).

Presented at the 2008 Door County Folk Festival (Wisconsin) by Leslie Hyll (Dayton, OH) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 51 of 100

RUECKELREIH

Origin: Germany Background: At the conclusion of wedding festivities the guests form a line and follow the fiddler through the whole house of the newlyweds to inaugurate their new home. Source: Hanny “Honey” Budnick, a German, living in the Philadelphia area. “I use the dance at the beginning of an event and guide it into the first 'real' dance, usually a circle.” Music: Any slow 2/4 or 4/4 music, with a nice lilt. Perhaps a slow schottische. Formation: Single line of dancers, hands joined and down. The line of direction (LOD) is to the left. The leader (on the left end of the line) may lead the line anywhere in the room, as if the line is snaking through the newlyweds’ house.

Measure Pattern

1 – 8 Starting with left foot, walk with 16 slow steps to left, 2 steps per measure 8 – 16 Starting with left foot, and continuing to the left, step-together- step pattern (cts 1 & 2) for each measure (8 two-steps)

Repeat 1 – 16 to end of music

Presented at the 2008 Door County Folk Festival (Wisconsin) by Leslie Hyll (Dayton, Ohio) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 52 of 100

Marge Sklar (Marquette, MI) (Dance Instructor)

Marge Sklar was introduced to Folk Dancing in 1964 during an AYH bicycle trip in Philadelphia. While in the Peace Corps, Marge danced with the Nigerian women outside the kitchen after the evening chores were done. That's also where her husband-to-be, Bill, taught her the Midwest Jewish left- moving hora and where they were married in 1966. Back in Philadelphia, Marge and Bill danced at International House and on the plaza at the Art Museum during the summers. After moving to Detroit, they took up folk dancing seriously at International House, with the Detroit Folkdance Club and the Wayne State University group. After moving to Marquette, they danced with the Marquette Folkdancers. Marge, Bill and a few others started the Northern Michigan University International Dancers in 1991, after attending the DCFF and getting encouragement and advice from Paul Collins plus a sound system and lots of music from Joan Amsterdam. Marge is the artistic director and main teacher for the NMU International Dancers. Bill and Marge also teach ballroom dancing. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 53 of 100

AJNZERICA (ENZERICA) Croatia

This lively dance is from the Croatian region of Zagorje, located in the northwestern part of Croatia, near Zagreb. According to the legends told by old villagers in Marija Bistrica (a town known for pilgrimages to its sanctuary of Marija Bistrica), Gypsy musicians from around the town of Varazdin played Ajnzerica (Enzerica) for church festivities. Local villagers took the dance and music back to their own villages, where it is still danced at weddings and holiday festivities.

The dance was researched by Zeljko Jergan in the village of Mace, near Marija Bistrica In 1979.

The circle version of this dance was presented by Zeljko Jergan, at the 1995 Santa Barbara Symposium. The cpl version was presented at workshops in southern California during January of 1996

TRANSLATiON: A nonsensical word

PRONUNCiATION: EIN-zeh-ree-tsah

CASSETTE: Jerry Grcevich, Croatian Folk Dances, Vol. I, side A/6

FORMATION: Individuals in a circle, facing ctr.

STEPS: Polka: Flat-footed two-steps - smal leap on L (at 1); step R-L with small running style steps (cts &-2). This step can be done moving fwd, bkwd, or turning.

Cpl polka: When turning as a cpl, the upper body bends slighty sdwd L when beg the polka with L ft. and bends sdwd R when beg with R ft. Arm pos: Cpls join in shldr shldr-blade pos. W hands are on M shldrs, M hands high on W shldr blades. The arms are rounded at shldr ht (as if holding a beach ball), W arms are touching M arms).

Jumps: All jumps are flat footed, and done with slightly bent knees.

HANDS: When M hands are free, they are low on the hip with fingers fwd while W hands are on the waist with fingers fwd. STYLE: Ftwk small, close to floor, and flat footed.

METER: 2/4

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 54 of 100

PATTERN:

Meas. INTRODUCTION: None

PART I: 1-4 8 claps with hands at approx chest ht.

5-8 With hands on hips and facing ctr - do 8 jumps on both ft in place, turning 1/4 R (CW) on each jump. (2 per meas)

Note: 8 jumps =2 complete turns. This is optional, if you wish to do 1/2 turns that is ok also. The jumps are heavy, flat footed with ft slightly apart.

9-12 Do 8 jumps on both ft in place - turning L (CCW).

13-14 Facing ctr - do 3 jumps. with accent, on both ft in place (option, turn R once). Stamp R ft 3 times in place without wt (cts 1-2-1). hold (Ct 2).

PART II:

1 Facing ctr, join hands in “V” pos - step R to R (ct 1); close L to R with wt (Ct 2). 2 Jump onto both ft in place (ct 1); step L to L (Ct 2). 3 R moves twd L, then steps fwd twd ctr (ct &-1); close L to R (Ct 2). 4 Step R to R (Ct 1); close L to R (Ct 2). 5 Jump onto both ft in place (Ct 1); step L bkwd (Ct 2). 6 Jump bkwd on R as L closes to R. landing on both ft (ct 1); jump in place on both ft again (ct 2). 7 Step R to R (Ct 1); close L to R (Ct 2). 8 Step R to R (Ct 1); close L (ct 2). 9-14 Repeat meas 1-6. 15-16 Stamp R 3 tImes slightly fwd, or jump onto both ft 3 times with accent (cts 1-2-1); hold (Ct 2). 17-32 Repeat meas 1-16. (2 times in all)

FIG. III When doing this figure as a cpl dance, W use opp flwk.

1-3 Moving fwd twd ctr - beg L do 3 polka steps, alternating ftwk. 4 Jump fwd onto both ft. ft slightly apart, knees bent (Ct 1); hold (Ct 2). 5-8 Repeat meas 1-4, beg R and moving bkwd. 9 Small leap on L slightly to L (cts 1); step R,L in place (cts &-2).

CpIs - Turn slightly twd ptr - MR and WL hands move slightly bkwd. Note: Ftwk is flat footed. 10 Repeat meas 9 with opp ftwk.

Cpls - Turn to face ctr. 11-12 Jump 3 times (flat footed) in place or stamp L ft 3 times slightly fwd (cts 1-2-1); hold (Ct 2). 13-24 Repeat meas 1-12 (2 times in all)

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 55 of 100

INTERLUDE: 1-2 During the 4 Ct pause in the music, yell: “repeté” (reh-peh-teh) which translates “more” (actually, “repeat”) in French, you may also Clap 3 times (cts 1-2-1); hold (Ct 2).

CIRCLE VERSION OF DANCE REPEAT DANCE FROM BEG. The circle version of the dance is done a total of 2 tImes.

CPL VERSION OF DANCE REPEAT FIG. I-II:

FIG. Ill-A: CPL VERSiON (POLKA)

1-4 Cpls face (M face RLOD). and join in shldr shldr-blade pos - and do 3

polka steps and a jump onto both ft (see Fig. Ill. meas 1-4). beg ML WR -

turnIng CW 1-1/2 limes while moving In LOD - M end facing RLOD. W facing M. 5-8 Do 3 polka steps and a jump, beg MR, WL – cpls turn CCW 1 ½ times while moving in RLOD – M end facing LOD, W facing M. 9-10 Cpls turn CW 1 time in place – with 2 polka steps. M end facing RLOD, W faces M. 11-12 Do 3 jumps in place (flat-footed) with accent. 13-14 Repeat meas 1-8 (cpl version).

Learned from Zeljko Jergan at Detroit Folkdance Fall Camp September, 1996.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 56 of 100

Dana From the region of Muntenia, Romania Presented by Sonia Dion and Cristian Florescu

In the Romanian folk repertoire, we find many modern dances with Eastern inspiration and influence. These dances are called Manele. Among them Dana, one of the most popular, is performed by gypsies who live near the capital city of Bucharest or in other major cities in southern Romania. Those gypsies came from Turkey, as is clear from the music and steps to this dance. The music is so powerful and stirring, it is impossible to listen to it without dancing.

Formation: mixed open circle Position: hands free Pronunciation: DAH-nah Music: Sonia Dion & Cristian Florescu Romanian Realm Vol. 1, Band 6 Style : Gypsy style; exuberant, snapping fingers, ululating, shaking shoulders Ladies more feminine, Eastern movements with hands, shaking necklaces

------Meter : 2/4 Description of Dana ------

Meas. Count

1-4 1-8 Introduction* (hands free, arms down bent from the elbows parallel to the ground ( L pos.), feet together bouncing on heels)

Figure 1 (facing center, moving to the right (LOD)

1 1 Step L across in front of R 2 Step on R to the right

2-6 Repeat measure 1, five more times

7 1 Step L across in front of R & Step on R in place 2 Step on L close to R

8 1 Step R across in front of L & Step on L in place 2 Step on R close to L

9-10 Repeat measure 1, two times

11-12 Repeat measures 7-8** **Touch R beside L on last count, first time only

*(Note: replace introduction measures by 4 additional measures of measure 1, fig 1)

Figure 2 (hands free, arms higher than shoulders in U position)

1 1 Large step on R ft to the R, body in diag. to the R, raising arms 2 Large step L ft across in front of R ft

2 1 Large step on R to the right 2 Touch with R ball, body facing center GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 57 of 100

------Meter : 2/4 Description of Dana (continued) ------Meas. Count Figure 2 (continued)

3-4 Repeat measures 1-2 with opposite ftwk and direction

5-8 Repeat measures 1-4

Figure 3

1 1 Large step on R to the right, body in diag. to the right 2 Large step L across in front of R

2 1 Large step on R to the right 2 Raise L leg, bent knee 100° in front

3-4 Repeat measures 1-2 with opposite ftwk and direction

5-8 Repeat measures 1-4

Figure 4 (hands free in U position, may clap hands on each beat)

1-2 1-3 Execute 1 full turn to the right (CW), moving LOD with 3 steps starting with R ft

4 Raise L leg, bent knee 100° in front, facing center

3-4 Repeat measures 1-2 with opposite ftwk and direction

5-8 Repeat measures 1-4, on the last count Touch with R ball near L except the last time (before fig.1) end with Step R beside L (take wt)

Figure 5 (hands free in almost W position, shoulder-level) (ladies doing shimmying movement and turning wrists)

1 1 Body facing diag. to the left, touch with R ball, crossing in front of L 2 Touch with R ball behind

2 1 Touch with R ball, crossing in front of L 2 Step on R close to L

3-4 Repeat measures 1-2 with opposite ftwk and direction

5-8 Repeat measures 1-4 but on the last count Touch with L ball

Transition

1-2 Bounce on both heels, 4 times

3-4 Moving bkwd with 4 steps, starting with R ft and raising hands gradually above shoulders (U position)

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 58 of 100

------Meter : 2/4 Description of Dana (continued) ------Meas. Count Figure 6 (wt on L, forearms: “windshield wiper” movement)

1 1 Stamp on R in front, diag. to the left, arms moving to the right 2 Stamp on R in front, diag. to the right, arms moving to the left

2 Repeat measure 1

3 1 Step R across in front of L, arms moving to the right 2 Step on L bkwd, arms moving to the left

4 1 Step R to the right, arms moving to the right 2 Step on L fwd, arms moving to the left (Note: Meas. 3-4 = Jazzbox) 5-20 Repeat measures 1-4, 4 times (5 total)

Figure 1’ (finale)

1-16 Same sequences as figure 1

17 1 Step L across in front of R & Step on R in place 2 Step on L close to R

18 1 Stamp on R & Stamp on R

Final pattern:

Introduction F1 ( 24 ct ) + F2 + F3 + F4 + F5 + F1 ( 32 ct ) + Transition + F2 + F3 + F4 + F5 + F1( 32 ct ) + Transition + F6 + F2 + F3 + F4 + F1’.

Presented by Sonia Dion and Cristian Florescu, © 2004

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 59 of 100

Hora de la Soroca Rumanian circle dance Beginning Formation: Dancers in a circle; hands in W position.

Side, close, side, touch in Line of Direction, starting with right foot; left foot will be free at end. Step to center with left foot; lift right foot to knee height behind left foot; Step back to original circle with right foot, raising left leg; Step to left on left foot, raising right let.

Repeat whole dance from beginning until music ends.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 60 of 100

OEE NAZE Kurdish Armenian

Source: Learned by Tom Bozigian at the Institute of Ethnology of the University of Yerevan from Zhenya Khachturyan, researcher, in June, 1975. The singer of this melody, Hovaness Badalyan, is the source of this dance having brought it to Armenia in 1940’s from his native Persia.

CD: The Best of Tom Bozigian, Songs & Dances of the Armenian People. Vol. 1

Formation: Mixed, open line with (pinkie) hand hold

Rhythm: 2/4 Pattern Measure Instrumental Intro: 10 Meas.

1-2 Facing center with hands joined at side, do 4 side steps to R starting on R (RLRL) as arms swing with each step back, fwd, back, fwd. (cts 1-4)

3 Step R to R as arms swing back (Ct 5) step L behind R (slight pile) as hands are raised to shoulder height (ct 6)

4 Step R to R (ct 7) touch L beside R (Ct 8)

5 Turning to face R, dip on L as L arm is drawn to small of back and R arm extends to front neighbor’s back (ct 9) bounce twice on L (ct 10 &)

6 Turning 1/4 to R, step fwd on R as hands are released (ct 1) step L-R in place turning R to face LOD as hands clap in front at chest level when stepping on L (cts 12 &)

7 Step L to L as hands are again grasped at down position and swinging back (ct 13) touch R beside L as arms are raised to shoulder height (ct 14)

8 Step R across L as arms from elbows up bend to R (Ct 15) step L to L as arms bend to L (ct 16)

Note: Dance is done 7 times in all

Learned from Tom Bozigian at the Tapestry Workshop Sept. 29-Oct. 1, 2007 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 61 of 100

Raatikko Finnish Folk Dance – Couples Beginning Formation: Couples in open position around the room. Man’s right hand on Woman’s back; Woman’s left hand on Man’s right shoulder. Outside hands may be joined in semi‐open ballroom position or left loose to swing with walking step.

Walking Step: Take 7 steps forward, starting on outside feet (M l; W r); on count 8, partners swing inside foot Face and take either semi‐open or butterfly position (both hands joined). Slide to reverse direction 8 steps. Repeat

Turning Step: In semi‐open ballroom position, do 8 turning polka steps.

Repeat whole dance from beginning.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 62 of 100

Michael Kuharski (Madison, WI) (Dance Instructor)

Michael Kuharski , the perpetrator of Istanbul Bar, started folk dancing in Madison in 1969 & has been leading & teaching in that community ever since. He speaks Serbo-Croatian, Bulgarian, some Macedonian, a little Romanian, less Albanian, & a smattering of “MwaukeeTalk”. He has made 10 trips to the Balkans and regular journeys to Milwaukee to study the folklore, language and culture of the people (particularly Kosovo Albanians, Macedonians, Bulgarians, & Wauwatosans) as well as to collect dances, music, instruments, costumes, friends, red scarves, & anecdotes. Michael is Artistic Director of Ensemble Narodno, the main man behind Folk Ball, a June Camp organizer, & adds energy almost anywhere. He teaches weekly at Madison Folkdance Unlimited, annually at Door County Folk Festival, and elsewhere upon invitation. Michael plays accordion, lugs a tupan around, & transcribes folk songs by the score. Beware of his edited versions of favorite folkdance recordings and try to catch him sitting down! GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 63 of 100

Devollice ( Albanian from Macedonia )

Pronounced: deh-voh-LEE-cheh Background: The name refers to the Devolli region in southeastern Albania. The dance consists of a slow part in approximately 2/4 rhythm followed by a faster section in 6/8 which may also be done at the end of other dances. The dance was observed and filmed by Bob Leibman in Macedonia at the 1971 Ohrid festival and in 1972 at weddings in the village of Krani, performed by ethnic Albanians. Bob taught the dance to recreational folkdancers and this description is largely his in form and content. After first learning it on several occasions from Bob, Michael Kuharski has observed and done the dance with Albanians from Krani in Madison, Milwaukee, and Chicago. Recording: SELO, Vol. 1 Albanian Songs & Dances, Side A Band 3 [vinyl LP] Garlic Press Cassette 001 Rhythm: Part I: approximately 2/4 with a lengthening of count 2, especially on all even-numbered measures Part II: 6/8 Formation: Open circle, leader at right end. Women may do this dance, but it is primarily a man's dance. Hold: Hands joined and held forward anywhere from waist to shoulder level.

MEAS CT PATTERN PART I. [2/4 meter] Basic Pattern Dance begins facing right of ctr & moving to right (LOD). 1 1 Step fwd R in LOD. 2 1 Step fwd L in LOD. 3 1 Step fwd R in LOD. 4 1 Turning to face ctr, step fwd L (directly into ctr), liftign R foot and bringing it behind L knee without emphasis. 5 1 Step back on R (out of circle). 6 1 Step onto ball of L foot behind and right of R foot. The L foot and body turn naturally somewhat to left of ctr. 2 Shift weight back to R in place, facing to ctr again. 7 1 Step L sdwd left. 8 1 Step R beside L, or behind it. 9 1 Step L sdwd left. 10 1 Step R beside L. 11 1 Still facing ctr, step L across in front of R, flexing both knees. 2 Straighten knees somewhat. 12 1 Bring free R leg across in front of L. It may be raised in the air and bent at the knee, or it may simply touch the ground to L and fwd of L foot.

Styling Note: The slight dip in meas 11 may sometimes also be done in meas 7 and 9. Steps in meas 1, 4, 11 are often performed with a slight preparatory lift (chukche) before stepping on the beat.

Variations on PART I A. Anyone in the line may choose to replace one or more of meas 1, 2, 3 (single slow step) by a step-close-step in quick-quick-slow rhythm. B. The leader and perhaps the next two or three dancers may do a slow CW turn during meas 1-2. It can be performed with either the two single steps described, or the step-close-step of Variation A. C. Squats: Performed only by the leader and those next to him. They may be done while moving to and facing right on meas 1, 2, 3; while moving left and facing ctr on meas 7, 9; or while moving right and facing ctr on meas 11. Except in meas 11, they are generally done with feet somewhat farther apart than knees and thighs.

page 1 of 2

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 64 of 100

DEVOLLICE page 2 of 2

MEAS CT PATTERN PART II. [6/8 meter. Dancers' beats: 1 2 3] Basic Pattern 1 1 Facing ctr, Step R to right (LOD). 2 Step L into ctr of circle. Hands may be brought fwd slightly for emphasis 3 Slight flex of L knee, bringing R behind L calf. 2 1 Step back on R (out or circle). 2-3 Two lifts or low hops on R while turning bkwd CCW (to face left of ctr), bringing L ft through a low arc -- knee fairly straight & foot somewhat out to the side away from R -- to position with knee bent and L ft near R. 3 1 Step back on L (LOD). 2 Step back on ball of R (LOD), or simply touch without taking wt. 3 Shift wt back onto L in place. 4 1 Large step R fwd (RLOD) and begin to turn CW. 2-3 Two lifts or hops on R, turning CW to face right of ctr. L is brought around while holding it somewhat straight and out to the side. It ends fwd of R. 5 1 Step fwd L (LOD). 2 Touch R near L (to side or slightly fwd) without taking wt. 3 Hold.

Variations on PART II The following optional four-measure Insertion phrase may be added after meas 4 of PART II. This Insertion may be repeated any number of times in succession before finishing the pattern with meas 5 of the Basic Pattern. The most common way of doing this is with two Insertions for a complete dance phrase of 13 measures.

MEAS CT PATTERN Insertion Phrase 1 1 Leap or step onto L across in front of R (LOD), body turned right of ctr. 2 Leap into squat on both ft facing ctr. 3 Rise on L with R leg held out fwd and to right in preparation for the next step. 2 1-3 Step R,L,R making a complete CW turn in the area just to the right of that occupied while squatting (first step is to right). 3 1 Leap or step onto L by or slightly back of R (face ctr). 2 Leap into squat on both ft, facing ctr or slightly left of ctr. 3 Rise on L with R leg extended fwd (face left of ctr). 4 1 Large step R fwd (RLOD) and begin to turn CW. 2-3 Two lifts or hops on R, turning CW to face right of ctr. L is brought around while holding it somewhat straight and out to the side. It ends fwd of R.

Presented by Michael Kuharski Door County Folk Festival - 2008

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 65 of 100

Keciko ( Turkey )

Pronounced: KETCH - ee - koh Translation: "Beautiful girl"

Background: Keciko, from Elazig in central eastern Turkey, is a dance of the Kurdish people, a non-Turkish ethnic minority. It was learned by Bora Ozkok in 1970 from Ayse & Gunes Atac and the University of Istanbul Ethnic Dancers, and taught by him to American folkdancers during the early 1970's in several slightly differing forms. The one described here has taken firm root as a hardy perennial in the upper midwest.

Recording: BOZOK-104 (45 rpm), Side 2, Band 1 "Keciko" Meter: 2/4 Phrasing: Musical phrases are of 4 measures, dance phrases of 3.

Formation: Short mixed lines of men and women. Dancer at each end of a line swings a handkerchief with his free hand.

Hold: Shoulder hold with elbows kept straight.

Sequence: The leader (rightmost dancer) may begin with any 4-measure musical phrase. The figures are executed in this fixed cycle, each repeated until the leader signals the change to the next figure with a call of "Haydi!", "Hopa!", or "Gec!"

MEAS CT PATTERN

FIGURE I. [done with knee-flex on each major count]

1 1 Facing LOD, Step R in LOD. 2 Step L in LOD.

2 1 Step R a bit ahead of L, keeping L toe on the floor, sinking at the knees, & pushing L knee forward. & Rise a little at the knees. 2 Sink at the knees, pushing L knee forward. & Rise a little at the knees.

3 1 Shift weight to L, keeping R toe on the floor, sinking at the knees, & pushing R knee forward. & Rise a little at the knees. 2 Sink at the knees, pushing R knee forward. & Rise a little at the knees.

(page 1 of 2)

Keciko (page 2 of 2) GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 66 of 100

MEAS CT PATTERN

FIGURE II.

1 1 Facing center & moving LOD, hop L while sharply kicking R heel across to the left in front of L shin (mnemonic: the "soccer kick") & Turning to face LOD, Step R in LOD. 2 Step L in LOD. 2 1 Jump flatfooted onto both feet in place with knees bent, twisting to face left of center, so that L ft points left & R ft points center 2 Straightening knees, Bounce in place on the toes. & Bounce in place on the toes. 3 1 Sink flatfooted onto both feet in place with knees bent, twisting to face left of center, so that L ft points left & R ft points center 2 Jump onto L, twisting to face LOD, while kicking R sharply behind L knee, toes pointed down, R ankle touching L knee.

FIGURE III.

[transition measure - forward] 0 1 Facing center & moving forward, Hop L & Step R forward. 2 Step L forward.

1 1 Jump flatfooted onto both feet in place with knees bent 2 Hop on R, lifting & extending L forward. 2 1 Touch L heel forward, slightly angling body backward with R knee slightly bent. 2 Leap onto L, kicking R to extreme left, knees straight [ mnemonic: "scissor position" ] 3 1 Touch R heel to extreme left, knees straight. 2 Touch R heel to extreme right, knees straight. [Repeat meas. 1-3 until leader calls for change to ...]

FIGURE IV. [transition measure - backward] 0 1 Facing center & moving backward, Hop L & Step R backward. 2 Step L backward.

1-3 [exactly as in FIGURE III]. [Repeat meas. 1-3 until leader calls change to FIGURE I]

Presented by Michael Kuharski Door County Folk Festival - 2008

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 67 of 100

Nick Aguilar (Columbia Heights, MN) (Argentine Tango Instructor)

NickAguilar has been avidly dancing Argentine tango for seven years and he deejays various tango dances (milongas) in the Twin Cities. He has occasionally taught tango at community ed. classes and has taken numerous tango workshops with many nationally known American and internationally known Argentine teachers. He greatly enjoys introducing people to the music and dance of Argentine tango.

Mary Garvin (Saint Paul, MN) (Argentine Tango Instructor)

Mary Garvin has taught at the Door County Folk Festival, Chicagoland Spring Fling and other dance groups and festivals around the country. She is a leader at Tapestry - the Twin-Cities locally supported and organized Ethnic Dance Center and also one of the organizers of SNOPA! - a Twin- Cities Winter Dance Weekend. She was on the dance committee of the folk dance group at Columbia University at Earle Hall in New York City. She was a member of modern & folk dance repertory companies at the University of Oregon, was a college dance Instructor and was a performer in the George Tomov Yugoslav Dance Ensemble. Mary has become addicted to Argentine tango in the last couple of years but stays loyal to her international dance roots. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 68 of 100 ARGENTINE TANGO – Vals and Milonga

The social Argentine tango is danced by couples moving around the dance floor in a counter- clockwise direction, following the feeling of the music. The dance is totally improvised using a combination of walking steps, weight shifts, pivots and embellishments. The leaders lead and the followers follow every millisecond of the dance. Tango consists of three forms of dance: the "tango", usually in 4/4; the "vals" (waltz) in a fast 3/4; and the "milonga" in 2/4, similar to a meringue-type beat.

Floorcraft: The couples should keep with the counterclockwise flow of the whole dance floor and not cut across the flow of traffic. They should keep moving, not staying in one spot too long and avoiding bumping into other dancers.

Embrace: There are two embraces in tango: close and open. The open embrace allows room between the two dancers and is similar to a ballroom dance position. The close embrace resembles a very close hug with contact between the torsos of the dancers. Sometimes the dance is done totally in open embrace, sometimes only in close embrace, and sometimes the dancers flow into and out of both embraces, a concept that has been referred to as “liquid tango.” In Argentina at the social dances, the traditional tango is done exclusively in close embrace, while “nuevo (new) tango,” often done by young people, opens the embrace.

Posture: Posture is very important in tango technique. You should carry yourself as if walking with good posture. The weight should be balanced between the heel and the ball of the foot, but slightly more on the ball of the foot. You can sway slightly forward and back while still retaining the balance between the ball and the heel of the foot. With the slight lean forward, the toes should not be bent in your shoes as if digging into the ground trying to retain your balance. Letting your feet “spread out” will help with your balance. While walking during the dance, the thighs of a dancer should not come into contact with those of the partner. However, there are certain advanced elements in which the dancer’s legs do make contact.

Frame: A good frame is essential to an elegant and comfortable dance. Assuming good posture, the leader will hold the follower’s right hand in his left at the follower’s shoulder height. The elbow of both dancers should relax toward the ground. The elbow should never get behind the plane of the torso. The hands should maintain a very slight amount of pressure to maintain the frame and to avoid “spaghetti arms.” The follower should not grasp the leaders hand or thumb as a support. Both dancers should always maintain their own balance.

The leader’s right arm, will go around the follower’s back, just below the shoulder blades. This position will vary depending on the height of the dancers. The follower’s left arm will go around the back of the leader’s neck in close embrace, or on his shoulder or bicep in a more open embrace. This can change during the dance. The follower should not hang her arm on the leader, but use her muscles to support her own arm. The frame is not used for support, but rather to communicate the lead and follow of the dance. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 69 of 100 Argentine Tango Page 2

While dancing, the dancers should try to keep in front of the partner’s torso. This is a very important concept.

Leaders must lead with their torsos and not their arms. The relationship of the arms to the torso should remain the same. This is the frame. The leader communicates the lead with the torso/frame, not the arms. Using the arms to lead makes for an uncomfortable and unpleasant dance for the follower.

The Dance: Tango is a walking or pedestrian dance, and good walking technique is 98% of tango. Always walking to the feel of the music, the leader should move as if just walking comfortably down the street. The heels should hit the ground first and then the weight transfers to the ball of the foot. When walking the knees should slightly brush together or at least come very close to each other. Avoid the “Frankenstein” walk with legs apart.

The followers will be walking backward the vast majority of each dance. When she feels the lead to step back, she extends her leg back as far as the lead allows, then transfers the weight to the toes or ball of the foot rolling through until the heel contacts the floor. The followers should step one foot directly behind the other as if walking backwards on a gymnastics balance beam. The knees should brush slightly during each step.

Both dancers should keep the knees slightly bent, or soft, to be more grounded to the floor and to avoid injury to the knees. The dancers must center their weight on one foot or the other. This is known as being on your “axis.” The axis extends from the ball of the foot and out through the top of your head.

Pivots are a common, important and elegant element of tango. When either dancer is on axis, they may pivot clockwise or counter-clockwise in preparation for another step. The pivot starts with the torso, goes through the hips and finally to the feet in a smooth and elegant movement.

Tango is totally improvised. On the social dance floor there is no choreography. The dancers use walking, weight shifts, pivots and embellishments to create their “3-minute dance.” A beautiful tango can be danced using only the most basic steps, provided the steps are executed well and are in sync with the music. Those two elements are what make a tango satisfying, whether the steps are basic or complicated.

Take your time. Enjoy the music. Enjoy the dance. Most of all enjoy them together.

23 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 70 of 100

Penny Brichta (Wilmette, IL) (Israeli Dance Instructor)

Penny Brichta has been dancing Israeli since the days when she knew just about every dance ever created. These days she is happy to learn 150+ dances each year and retain at least 20 of them. Penny began dancing in high school. She studied in Israel while in college and was fortunate to participate in dance sessions up to 4 nights each week. She was formerly a director, occasional choreographer, and dancer in the semi professional Nitzanim Israeli Folk Dance Troupe. When not dancing or Jazzercising, Penny works in Human Resources, often teaching leadership training sessions where she has been know to require her students to stretch , jog, and dance the Macarena. For the past 15 years, she has taught the beginners' session at Northwestern University's popular Israeli Folk Dance group. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 71 of 100

Adama Veshamayim Land and Sky

Dance: Gadi Bitton Music: Formation: Circle, no hands

Part I Facing center

1-4 Step side R, L cross front, R, L cross front - hands down sway right, left 2x 5-8 Repeat 1-4 with arms overhead 9-12 Full turn to right 2x R,L,R,L 13-16 Facing CCW Tchkerssiya R fwd, L in place, R bwd, L in place while arms move in fluid motion 17-20 Open grapevine R side, L behind, R side, L cross 21-22 Sway R, L 23-24 Full turn right R, L 25-26 Facing center step R, chug while twisting hands w/ arms overhead 27-28 L Yemenite 29-32 Pivot right twds center, R, L stepc, R to face center, L front

Part 2A Facing center

1-2 R Yemenite 3-4 Full turn left L, R twds center 5-6 L-R-L twds center 7-8 1/2 turn R, L to right to face out 9-16 Repeat same footwork, begin facing out, end on circle line facing CCW

Part 2B Facing CCW/ CW

1-2 Sway R, L 3-4 Moving in or out: R-L-R 5-7 Sway L, R, L 8-9 Cross R-L-R 10-12 3/4 turn left to face away from center L, R, L 13-16 Step out to right R, L in place, R close and clap, hold

Sequence: 1st x thorough music: 1, 2A-2B, 2A-2B facing away from center 2nd and 3rd x through music: 1, 1, 2A-2B, 2A- 2B facing away from center

Presented by Penny J Brichta at DCFF 2008 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 72 of 100

Amelil Shir (corrected) I will sing a song of Peace

Dance: Shlomo Maman Music: A. Medina Formation: circle

Part 1 Facing center holding hands

1­2 Step R to right, close L 3­4 Bending knees and way body and look right, repeat left 5­16 Repeat sequence 3 times (total 4 times)

Part 2 Moving in and out of circle, no hands

1­2 Step fwd R, L snapping fingers 3­4 Step fwd R snap, Step L sharply with left hip to center, snap twds circle 5­6 Turn twds outside circle in 4 steps R, L, R, L 7­8 Step R twds center, L in place, R close 9­16 Repeat counts 1­8

Part 3 On line of circle, hands joined close to neighbor with arms bent at elbow

1­2 Step R, cross L over 3­4 Moving CW: Step R behind, L to left, R over left 5­6 Step L, cross R over 7­8 Moving CCW: Step L behind, R to right, L over right

Transition:

1­2 Step R twds center, pivot on L to face outside 3­4 Step R twds outside circle, pviot on left to face center

Presented by Penny J Brichta at DCFF 2008 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 73 of 100

Bat Shism (60 Years Old) In honor of the 60th anniversary of the State of Israel

Dance: Chiam Shiryon Music: Gevatron Formation: Circle Dance begins with the vocals (4 x 8 counts + 4 counts)

Part 1 Face CCW

1-2 Walk R, L 3-4 Rock R fwd, L bwd 5-8 3/4 Turn right R, L side, R behind, L side 9-10 Facing CW: Walk R, L 11-12 Rock R fwd, L bwd 13-14 Full turn to right, R, L 15-16 R side, L behind 17-20 Open grapevine: R side, L cross, R side, L behind 21-22 Step twd center R, L 23-24 Sway R-L 25-28 Grapevine moving CW: R over, L side, R behind, L side 29-32 R Touch L, L touch R while turning 1/4 to face CCW

Part 2 Facing CCW

1-4 R cha-cha, L cha-cha (R-L-R, L-R-L) 5-8 Step R side, L behind, sway R, sway L 9-10 Walk R, L 11-12 Step R, L with 1/2 turn to face CW 13-14 Moving backward: R-L-R 15-18 Slow back Yemenite: (back L, back R, L fwd), touch R

Part 3 Facing CW, moving twds center

1-4 R, L behind, R, touch L 5-6 3/4 turn left L, R to face center 7-10 Yemenite L, touch R 11-12 Cross R, step bwd on L facing CCW 13-16 Rock R bwd, L fwd, sway R, L 17-32 Flip to face CW and repeat counts 1-16

Part 4 Facing CCW

1-4 Walk R-L-R, lift L 5-7 Back Yemenite L (L bwd, R bwd, L fwd), touch R to face center

Presented by Penny J Brichta at DCFF 2008 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 74 of 100

Ba’Pundak Katan In a Small Inn

Dance: Avi Peretz Music: B Berman Formation: Circle

Part 1 Facing center

1-4 Step R, L, R twds center, pivot on R to face out 5-6 Moving outside L, R, L, pivot on L to face in 9-10 Sway R, sway L 11-14 Cherkessia R fwd, L in place, R bwd, L in place 15-16 Touch R, pause 17-26 Repeat counts 1-10 27-28 Brush R and slap R thigh with right hand, hold 29-32 Repeat counts 11-16, 1/4 turn to face CW on count 32

Part 2 Facing CW

1-4 Step R, L behind, R side, pivot on R to right 1/2 turn to face CCW 5-8 Step L, R behind, L side, pivot on L to left to face CW 9- 10 Sway R, sway L 11-14 Grapevine moving out of circle: R cross, L side, R behind, L side 15-16 Cross R and step L with 1/4 pivot to face center 17-18 Sway R, sway L 19-20 Full turn right R-L-R 21-24 Sway L, sway R, full turn L-R-L

Presented by Penny J Brichta at DCFF 2008

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 75 of 100

Debka Dror Debka of Freedom

Dance: David Alfassy Music: Indian Folk Formation: Circle

Part 1 Facing center

1­4 R, R stamp, L behind hop, R­L­R side 5­8 L, L stamp, R behind, L­R­L side 9­12 R, R stamp twds center, L cross hop, side R , side L (box) 13­16 Repeat 9­12 17­32 Repeat 1­16

Part 2 Facing Center moving CW

1­4 Sway R, sway L, cross R­L­R 5­6 Step L and 1/2 turn to left and touch R 7­8 Step R and 1/2 turn right to touch L 9­16 Facing center and moving CCW grapevine : L behind, R side, L over, R side, L behind, R side, L over, R brush 17­32 Repeat 1­16

Part 3 Facing center

1­4 Step R twds center, pivot L to face out, step R twds outside, pivot on R, hold 5­6 L Yemenite 7­8 Touch R, touch R 9­10 Step R, touch L and snap 11­12 L Yemenite 13­16 Repeat 9­12 17­48 Repeat 1­16 2 more times (total 3x)

Presented by Penny J Brichta DCFF 2008 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 76 of 100

Neshikat Turkit - Turkish Kiss

Dance: Meir ShemTov Music: Sezen Aksu Formation: Lines

This is a novelty dance, very popular among the adolescent population. Dancers face towards the music. Style is Turkish with personal flair!

Part 1

1-4 Moving to right: step R, close L, step R, close L Arms: from bottom, together and open, 2x 5-6 Sway R, sway L, close 7-8 Arms only: twist R, twist L 9-15 Repeat 1-8 to left (7-8 arm twists are R, L) 16-17 R-L-R while arms dig from hips 18-19 Left toe points facing CW. Arms: circle upwards 21-24 Repeat 16-21 to opposite direction 25-26 Moving fwd: R cha cha, L cha cha 27-30 Back up R, L, R, L 31-32 Kick R, step, kick L step 33-34 Twist 4x

Part 2

1-8 Twist to R 8x Arms: R arm up and up, side and side 9-16 Repeat with Left 17-24 Repeat with both 25-32 Standing in place, Roll down and up. Arms roll and kiss-kiss 33-64 Repeat

Part 3

1-4.1 R-L-R, L-R-L sweeping arms and moving twds music 5-8 1/2 turn to right to face away from music; Repeat counts 1-4 9-12 1/2 turn right to face away R-L-R, cross L, back on R 13-16 Turn to left 2x with arms in W and bent at wrists 17-34 Repeat 1 –16

Presented by Penny J Brichta at DCFF 2008

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 77 of 100

Rick King (Southfield, MI) (Dance Instructor)

Rick King first danced at the Detroit Folkdance Club in 1973 for about 2 months but didn't dance regularly until 1978 at Alex Cushnier's group at Wayne State University. In 1979 joined the Detroit Folk Dance Club. In 1984, he took a hiatus from dancing and became active again in 1989, dancing 2-3 nights per week. In 1990, he began teaching folk dance classes in Huntington Woods and Southfield, MI and promoting folk dancing in the area, organizing dance workshops featuring local Chaldean and Lebanese ethnic groups. In 1995 he started a monthly dance group on Suns that later moved to alternate Sats in Ferndale. That year he also took a "folk dance" trip to Europe, Bulgaria and the Koprivshtitsa festival. In 1996, Rick became leader of what had formerly been the Wayne State group and moved it to the Ferndale location, dancing two Fris a month, while continuing the monthly Sat group. Eventually the two groups merged into Fris, meeting weekly. At the same time, Rick became the leader for the weekly Monday teaching nights. Rick's music collection goes beyond the basic folk dance "repertoire" recordings and contains more current versions, especially from the Balkans and the Middle East. His loves doing simpler dances to alternative music that has an "ethnic" feel. Rick is also an avid bird watcher. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 78 of 100

Baba Djurdja Macedonian. Learned from Kete Ilievski.

Meter: 11/8, divided into four beats: 3 3 2 3, counted 1, 2, 3, 4. Formation: line with leader on the right.

Begin with weight on R and arms down.

Measure: 1 Facing and moving in LOD, leap onto L (ct. 1), step fwd R (ct. 2), step fwd L, R (cts. 3,4). 2 Repeat meas. 1. 3 Repeat meas. 1. 4 Step L across in front of R (ct. 1), step back into place on R, at the same time turning to face center and lifting arms to “W” position (ct. 2), bounce twice on R (cts. 3,4). 5 Bounce on R (ct. 1), step or leap onto L in place, lifting R in front (ct. 2), bounce twice on L (cts. 3,4) 6 Repeat meas. 5 with opposite ft wk and direction. 7 Repeat meas. 5. 8 Bounce on L (ct. 1), step to R on R, turning to face LOD and lowering arms (ct. 2), step fwd L, R (cts. 3,4).

Suggestion: z Lift your leg high enough so that the thigh is parallel to the ground.

06/2008 Dance notes © Rick King GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 79 of 100

Floricica Romanian. Learned from Mihai David.

Meter: 2/4, counted 1 & 2 & Formation: line, leader on both ends, arms start in “W” position. Begin with weight on L. Part 1; dancing in place. Measure: 1 Facing center, step R to R (ct. 1), step L behind R (ct. &), step R to R (ct. 2), kick L fwd (ct. &) 2 Repeat 1 with opp ft wk and direction 3-8 Repeat the first 2 measures 3 more times.

Transition to Part 2: turn to face L of center.

Part 2; moving to the L. Measure: 1 Step R across in front of L strongly, at the same time push arms fwd and up a little (ct. 1), turning to face center, step L to L (ct. 2), step R next to L (ct. &). During cts 2 &, bring the arms down, back and return to original position to make a small counterclockwise circular motion. 2 Step L to L (ct. 2), step R next to L (ct. &), step L to L, continuing ccw motion of arms but only half of a circle (ct. 2), hold (ct. &), pausing arm motion and turning to face L of center. 3-8 Repeat measures 1 & 2 three more times. Repeat Parts 1 and 2.

Transition to Part 3: turn to face L.

Part 3; dance changes direction and moves to the R. Measure: 1 Facing and moving R, step fwd on R (ct. 1), step fwd on L (ct. &), step fwd on R (ct. 2), step fwd on L (ct. &). 2 Step fwd on R (ct. 1), step fwd on L (ct. &), step fwd on R (ct. 2), turning to face L (ct. &). 3-4 Repeat measures 1 and 2 with opp ft wk, same direction (i.e., moving backwards) 5-6 Repeat measures 1 and 2. 7-8 Repeat measures 1 and 2 with opp ft wk, same direction.

The dance pattern is: Part1 – Part2 – Part1 – Part2 – Part3

Suggestions: z Step as high as you can during Part 3. z Have a strong leader at both ends so that Part 3 works.

05/26/08 Dance notes © Rick King GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 80 of 100

Leli m'yar Pontic Greek. Learned from Kyriakos Moisidis.

Meter: 6/4 Formation: circle, facing center, arms start in “W” position.

Begin with weight on L.

Slow part, done during instrumental and first part of the singing, 6 times.

Counts: 1,2 Step R to R (ct.1), step L across R (ct.2). Move arms slightly R and L during this movement. 3,4 Step R to R (ct.3), touch L next to R (ct.4). Move arms slightly R and hold during this movement. 5,6 Step L in place (ct.5), touch R next to L (ct.6). Move arms slightly L and hold during this movement.

Transition to fast part: swing arms down and back on last ct. 6 in preparation for swinging them forward.

Fast part, done during refrain beginning with “Leli m', leli m', leli m'yar, leli m'yar”, 6 times.

Counts: 1,&,2,& Step R to R (ct.1), step L next to R (ct.&), step R to R (ct. 2), step L next to R (ct.&). Swing arms forward on ct. 1 and back on ct. 2. 3,4 Step R to R (ct.3), step L across R (ct.4). Swing arms forward on ct. 1 and back on ct. 2.

Transition back to slow part: during last time through fast part, swing arms forward and up to “W” position during ct. 3.

Repeat alternating slow and fast parts to the end of the music.

Suggestions: z If there aren't many people do the dance in an open circle.

05/26/08 Dance notes © Rick King GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 81 of 100

Leli m'yar lyrics Apparently this is in an obscure Pontic Greek dialect heavily influenced by Turkish. The meaning is not clear.

Esy emen k_ethelnes leli m yar (2) to peskiri m nde pernes leli m yar (2) leli m - leli m leli - m yar - leli m yar (2) leli m - leli m lel olsun - lel olsun lel olsun boile olsun soile olsun

Esy emen eleges leli m yar (2) kanan ki kalatsevo leli m yar (2) leli m - leli m leli - m yar - leli m yar (2) leli m - leli m lel olsun - lel olsun lel olsun boile olsun soile olsun

me t_omatä m iδa se leli m yar (2) to theos ki_nanevo leli m yar (2) leli m - leli m leli - m yar - leli m yar (2) leli m - leli m lel olsun - lel olsun o tsitsak kibar olsun kibar olsun

eγo aγapose k_erhume leli m yar (2) ke sy parameriis me leli m yar (2) leli m - leli m leli - m yar - leli m yar (2)

05/26/08 Dance notes © Rick King GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 82 of 100

leli m - leli m lel olsun - lel olsun o tsitsak kibar olsun kibar olsun

05/26/08 Dance notes © Rick King GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 83 of 100

Letsi Pontic Greek. Learned from Kyriakos Moisidis. “Letsi” means “eagle”.

Meter: 2/4 Formation: line, leader on L, arms start down in “V” position.

Begin with weight on L.

Measure: 1 Bend body fwd and to the L so head faces the floor, and step ball of R foot onto floor with digging motion (ct. 1), step R fwd, turning slightly R (ct.2). 2 Keep body bent forward, step ball of L foot in place with digging motion (ct. 1), step L fwd, turning slightly L (ct. 2). 3 Keep body bent forward, step ball of R foot in place with digging motion (ct. 1), step R in place, turning rapidly R to face to the R (ct. 2). 4 Repeat 3 with opp ft wk and direction. 5 Keep body bent forward, step ball of R foot in place with digging motion (ct. 1), step R in place, turning R to face center, and at the same time bringing arms fwd (ct. 2). 6 Keep body bent forward, step ball of L foot in place with digging motion and at the same time swing arms back (ct. 1), step L in place, swinging arms fwd (ct. 2). 7 Keep body bent forward, step ball of R foot in place with digging motion and at the same time swing arms back (ct. 1), step R in place, and at the same time begin to straighten the body, swinging arms fwd and up (ct. 2). 8 Touch L next to R while continuing to straighten the body and swinging arms up until they are straight and over the head (ct. 1), step L in place (ct. 2). 9 Touch R next to L (ct. 1), step R in place (ct. 2). 10 Repeat 9 with opposite footwork, and then begin to bend body fwd and to the L to prepare to start the dance again.

Suggestions: z Move the line L during measures 1 to 3. z At the end of measures 3 and 4, make the turns very strong; just be careful not to bash heads with the next person who is not turning as much. z Emphasize the digging motion so it is not just a touch.

05/26/08 Dance notes © Rick King GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 84 of 100

Yuliyan Yordanov (Madison, WI) (Dance Instructor)

Yuliyan Yordanov grew up in Doyrentsi, a village in Lovech region of north central Bulgaria, and learned dancing and singing at a young age. A graduate of the acclaimed Academy of Music and Dance Art in Plovdiv, he worked professionally in Lovech as a dance director, choreographer, and Bulgarian folk dance instructor beginning in 1993. He and his students participated in many concerts, celebrations, and international festivals throughout Bulgaria and the rest of Europe. In May 1995 they were selected to appear on Channel One of Bulgarian National Television. In 1997 Yuliyan was honored with an invitation to attend the traditional annual party for Bulgarians with notable achievements in education and culture hosted by the president of Bulgaria. Since moving to the U.S., Yuliyan has taught Bulgarian dancing at: Door County Folk Festival in Door County, WI (2003, 2004 and 2005), Appleton IFD Dance Weekend in Appleton, WI (2005), Autumn Leaves Festival in Nashville, TN (2005), Balkanske Igre Spring Festival in Chicago, IL (2004, 2005 and 2006), Bulgarian Dance Weekend in Harrisburg, PA (2006, 2008), Buffalo on the Danube Dance Camp at Timber Ridge Camp in High View, WV (2007), Old Country Weekend, Lake Texoma, OK (2007), Rang Tang, Atlanta, GA (2008), Workshops in Evanston, IL (2004); Milwaukee, WI (2004); Chicago, IL (2003, 2004, 2005); Washington DC (2006, 2008); Princeton, NJ (2006, 2008); Las Vegas, NV (2007); San Diego, Laguna Beach, Bellflower and Berkeley, California (2007); Seattle, WA (2008); Philadelphia, PA (2008); Brooklyn Heights, NY (2008). In Des Plaines, IL, Yuliyan established and leads the folk dance formations "Nashencheta" and "Mitronija" of St. Sophia Bulgarian School since 2002. In Milwaukee, WI, he has been a choreographer and artistic director for the "Na Lesa" Bulgarian folk dance ensemble since 2004. For two years (2005-2006) he served as an artistic director of the younger group of "St. Sava Junior Dancers" at the Serbian Cultural Center. In Madison, WI, Yuliyan has danced with and choreographed regional Bulgarian dance suites for “Narodno! International Dancers”. He also dances with the “Mesoghios Greek Dancers” where he learned many authentic dances. As a musician, Yuliyan has performed (tupan, tambura, vocals) with “Malo Selo” folk ensemble in Madison and is now the vocalist and tupan player for the Balkan folk music ensemble “Veseliyka” also in Madison. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 85 of 100

Beratis

(From Northern Epirus, today’s Albania)

Learned from Vasiliki Tzoumerka-Knoedler, founder and leader of Mesoghios Greek Dancers in Madison, WI.

Meter: 8/4, hands in W hold

Measure 1 Counts: 1 Step on L to R in front of R bending both knees 2 Bounce with weight on L 3 Lift R in front of L pivoting on L to face center while bouncing on L 4 Bring R back in small arc to touch L calf w R ankle while bouncing on L 5 Bounce on L 6 Pull R away from L calf slightly and touch L calf again while bouncing on L 7 Same as 5 8 Same as 6 (alt: Leader only can stamp R heel behind L instead)

Measure 2 Counts: 1 Step R back, bending both knees 2 Bounce with weight on both 3 Lift L in front of R while bouncing on R 4 Step forward on L while swooping down and up again 5 Bounce on L 6 Lift R in front of L while bouncing on L 7 Bounce on L 8 Bring R back in small arc to touch L calf w R ankle while bouncing on L

Measure 3 Counts: 1-2 Step back on R while holding L slightly above floor and slightly forward of R , twisting hips slightly to L so L heel turns closer to R toe 3 Twist hips back straight and step L slightly forward of R while bending both knees 4 With knees bent twist counterclockwise slightly 5 Straighten knees 6 Lift L in front of R while bouncing on R 7 Bounce on R 8 Bring L back in small arc to touch R calf

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 86 of 100

Part 2 Pogonisios (Sta Dhio), Meter 4/4.

Measure 1 Counts: 1-2 Facing center, step R slightly to R and hold 3 Step L back 4 Step R slightly to R

Measure 1 variation, called by leader Counts: 1 Hop on L in place 2 Step R forward 3 Step back on L 4 Leap onto R next to where L was, while kicking L forward and slapping L foot with R hand

Measure 2 Counts: 1-2 Step L to R crossing in front of R and hold 3 Step R to R 4 Step L to R crossing in front of R

Described and presented by Yuliyan Yordanov, © 2008 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 87 of 100

RIPNI KALINKE

Meter: 2/4 time.

This dance is named after the popular song from the Rhodopes. It could be done to different songs from the Rhodopes. The style of dancing is subtle for women and heavier for men. Men are on the right of the semicircle in a belt-hold; women are on the left side with the left hand on their own belt and their right arm through the bent elbow of the woman to their right. The connection between the men and the women is by a handkerchief.

The dancers face center throughout.

Each measure can be counted “one-two,” with the exception of those in which the dancers do the “prisitvane” motion. These measures should be counted “one-and-two-and.” The “prisitvane” movement is three small leaps plus a pause on the second “and.”

Weight is on the L foot, and each figure is eight measures.

Figure 1: Measures 1 Step forward and bounce on R 2 Step backward and bounce on L 3-4 Same as 1-2 5 Leap to R onto R, leap onto L to R, crossing L in front of R 6 Same as Measure 5, but L crosses behind R 7 Lean to R on R and bounce 8 Lean to L on L and bounce.

Figure 2: 1-2 Same as 1-2 of Figure 1 3 Stamp and step on R in place 4 Bounce on R, step on L to R crossing in front of R 5 “Prisitvane” toward center starting with R 6 “Prisitvane” starting with L 7 Two small leaps with pivoting backward 8 Same as Measure 7.

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 88 of 100

Figure 3: 1 Step and bounce on R to R 2 Step and bounce on L to R, crossing in front of R 3 Leap to R onto R, leap to R onto L behind R 4 Same as Measure 3, but leap onto L in front of R 5 Step with R to R, leap onto L to R 6 Same as Measure 5 7-8 Same as 7-8 in Figure 1.

Figure 4: 1 Two leaps toward center, starting with R 2 Same as Measure 1 3-4 “Prisitvane” twice toward center 5-7 Same as 1-3 but away from center 8 Step on L, stamp with R closing to L.

Figure 5: (optional) 1-3 Same as 1-3 of Figure 3 4 Step with R to R, lift L 5-7 Same as 1-3 but with opposite footwork to L 8 Step on L to L, close R to L.

Sequence of the dance:

1st verse 1,2,2 Short interlude 3 2nd verse 1,2,2 Long interlude 3,4 3rd verse 1,2,2 Short interlude 3 4th verse 1,2,2 Long interlude 3,4 5th verse 1,2,2 Finale 3(with closing R to L at the end) or 5

GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 89 of 100

Ripni Kalinke - Lyrics - English Translation ("Let 's Get Up and Join the Dance, Kalinke")

(1) (1) Ripni Kalinke da tropnime Let's get up and join the dance Kalinke da sa poukat doushmanine. Despite those who are opposed to our Da sa poukat doushmanine being close hem i moyne hem I tvoyne. Both on your side and my side. Da sa poukat doushmanine hem i moyne hem I tvoyne.

(2) (2) Bre yunache loudou mlado Hey young lad, young and wild, kak da ripna kak da tropna. How to dance near you Kak da ripna kak da tropna When my mother is watching from over ga vish mayka out de glyoda. there. Kak da ripna kak da tropna ga vish mayka out de glyoda.

(3) (3) Kou ta glyoda da ta glyoda Let your mother watch if she wants tebe mayka mene baba. Mother to you, perhaps my future Ripni Kalinke da tropnime mother-in-law da sa poukat doushmanine. So let's get up and dance near each Ripni Kalinke da tropnime other, despite the circumstances. da sa poukat doushmanine.

(4) (4) Bre yunache loudou mlado Hey young lad, young and wild, kak da ripna kak da tropna. How to dance near you Kak da ripna kak da tropna When my father is also watching from vish boubaykou out de glyoda. over there. Kak da ripna kak da tropna vish boubaykou out de glyoda.

(5) (5) Kou ta glyoda da ta glyoda Let your father watch if he wants teb boubaykou mene dedo. Father to you, perhaps my future Ripni Kalinke da tropnime father-in-law da sa poukat doushmanine. So let's get up and dance near each Ripni Kalinke da tropnime other, despite the circumstances da sa poukat doushmanine.

Described, translated and presented by Yuliyan Yordanov, © 2004 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 90 of 100

Selsko Chetvorno Horo

(From Shoplouk, Western Bulgaria)

Meter is 7/8 (3+2+2). Style is springy in the fashion of the Shop dances. Arms could be in either belt or V - hold.

Typical dance motion is “Sovalka” (Shuttle) and it occurs on count (1) of the measure. The foot doing sovalka is crossed in front of the other foot which is off the ground. There is a subtle raising of the heel as a preparation for sovalka followed by sharp turning of same heel towards central vertical body line while pivoting on the ball of the foot. There is a bounce on the heel of the front foot while stepping on the ball of the rear foot. There is a bounce on the rear foot heel as well when it touches the ground. Both bounces should reflect in the shoulders. Sovalka is followed by two steps and this motion is called “Sovay”. The dance is a 10-measure pattern and starts with weight on L. Measures 1-2 move R; measures 3-5 “Sovay” in place facing center; measures 6-7 move L; measures 8-10 “Sovay” in place facing center.

Measures:

1-2 Step on R to R (1); bounce on R (2); step on L to R in front of R (3). 3 “Sovay”: Sovalka with L (1); step on L to L (2); step on R to L in front of L (3). 4 Same as meas.3 but with opposite footwork. 5 Same as measure 3. 6-7 Same as meas.1-2 but with opposite footwork and direction. 8-10 Same as meas. 3-5 but with opposite footwork.

Some optional variations:

“Nozhichki” (Scissors) could replace “Sovay”.

On meas. 2 and 7 there are two variations: 1-Step behind on count (3) of the measure. 2-Grape vine starting with crossing first behind and then in front.

The dance is not limited down to these variations. Improvisation is a big part of the village dance scene.

Described and presented by Yuliyan Yordanov, © 2008 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 91 of 100

Vidinska Chichovata

(From Vidin and vicinity, NW Bulgaria)

Meter: 2/4. The dance can be done to many different pieces of music and has many variations. The dance phrases are 6 measures each. Variations occur on measures 4-5-6. Most of the time arms are in W-hold with subtle circular motions relating to the footwork. Shoulders are relaxed. Face center throughout the dance.

Basic pattern Measures: 1. Leap onto R to R (1); step on L to R crossing behind R (2). 2. Leap onto R to R (1); step on L to R crossing in frond of R (2). 3. Same as measure 1. 4. Leap onto R to R, bending back L in the knee (1); brush with L heel by the R foot extending L leg slightly above the ground. 5. Leap onto L to L (1), step on R to L crossing behind L (2). 6. As measure 4 but with opposite footwork.

Variation 1 Measures: 4. Close (or Click) R to L (1); bounce on R (2). 5. Leap onto L to L (1); step on R to L crossing behind L (2). 6. Close (or Click) L to R (1); bounce on L.

Variation 2 Measure: 4. Step on R to R (1); step on L to R crossing in front of R (2) 5. Step back on R (1); step on L to L stretching R above the ground (2) 6. Step on R to R (1); step on L to R crossing in front of R (2).

Variation 3 Measures 4. Hop on L, beginning reel step with R (1); step on R behind L (2). 5. Leap onto L to L (1); step on R to L crossing in front of L (2). 6. Hop on R pivoting to R (1); step on L t o R crossing in front of R (2).

Described and Presented by Yuliyan Yordanov, © 2005 -2006 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 92 of 100

Mary Garvin (Saint Paul, MN) (Dance Instructor)

Mary Garvin has taught at the Door County Folk Festival, Chicagoland Spring Fling and other dance groups and festivals around the country. She is a leader at Tapestry - the Twin-Cities locally supported and organized Ethnic Dance Center and also one of the organizers of SNOPA! - a Twin- Cities Winter Dance Weekend. She was on the dance committee of the folk dance group at Columbia University at Earle Hall in New York City. She was a member of modern & folk dance repertory companies at the University of Oregon, was a college dance Instructor and was a performer in the George Tomov Yugoslav Dance Ensemble. Mary has become addicted to Argentine tango in the last couple of years but stays loyal to her international dance roots. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 93 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 94 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 95 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 96 of 100

Paul Collins (Chicago, IL) (Co-Director, Planner, Dance & Course Instructor, Caller)

Paul Collins has danced since the age of eight and has been an ethnic folk dance leader & square/contra dance caller since high school in the mid 1960's. Paul has been a guest caller at dances from the North Country to the Deep South and has even called squares and taught folk dancing for the hearing impaired at Galledet University in Washington. DC. Between 1966 and 1979, Paul led the University of Chicago Folk Dance Club and introduced squares and contras into the group's repertiore. After directing the U of C Folk Dancers' Annual Fall "International Folk Festival" for twelve years, in 1980 Paul joined Gerhard Bernhard in producing the DCFF and two years later became co-director. In 1989, Paul and Bill Sasso started the Mid-North Folk Dance Club that has today evolved into Ethnic Dance Chicago. Paul has also presented dance programs for kids in Chicago area schools, tutoring programs and scouting organizations. Since 2000 Paul has spent a week in residency at the Spring Hill Middle School in Wisconsin Dells, Wisconson, helping the 8th grade classes prepare ethnic dance presentations for the School's International Festival. In the world outside of dance, Paul is an independent management consultant in web-based collaboration, group facilitation and personal network development and is a co-founder and director of the Midwest Facilitators' Network and is a student in Northwestern University's Leadership and Organization Behavior Program. GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 97 of 100

New Šest (Serbia)

Background: This is one of a number of slow Kolo U Šest dance forms that were once quite prevalent in areas south of Beograd. Since the 1950’s the faster Kolo U Šest forms have replaced the slower ones in popularity in the U.S. and in Serbia. I learned this dance from Dick Crum at a Folk Dance Associates workshop in Chicago in the middle 1960s. Another dance in this family is Pinosavka.

Translation: New Kolo Dance in Six – Dick Crum gave this dance the name “New Šest” to distinguish it from the more prevalent U Šest dances in the International Folk Dance scene.

Meter: 2/4 (1&­2&)

Music: Any slow Kolo U Šest tune: Levačko Kolo (Festival F­4004, Monitor MFS­312), Žabarka (National N­4517), Pinosavka (Mediterranean 4003, Dennis Boxell CDs FA­1 or FA­3)

Formation: Open circle, “escort” position with L hand on hip and R hand hooking under and around neighbor’s L elbow

Steps: Grapevine, hop, “Mixed Pickles” triplets, take small steps in general

Description: Dance is symmetrical, but moves more to the right, so take bigger steps to the right and smaller steps to the left.

Meas Counts Steps 1 1&2 Step R to R (ct 1), Step L behind R (ct &), Step R to R (ct 2) – (Grapevine with “normal” sized steps, R­L­R) & Hold (ct &)

2 1&2 Hop R (ct 1), step L (ct &2) in front of R and hold (Hop R, Step L) & Step R back in place

3 1&2& Step L to L (ct 1&), step R in front of L (ct 2), step L in place (ct &) ­ “Mixed Pickles” step (triplet) L­R­L with the R crossing in front (like a Pas De Basque step, but more flat footed and folk­like than ballet­like)

4 1&2& Step R to R (ct 1&), step L in front of R (ct 2), step R in place (ct &) ­ “Mixed Pickles” step (triplet) R­L­R with the L crossing in front (like a Pas De Basque step, but more flat footed and folk­like than ballet­like)

5­8 Repeat entire dance as a mirror image pattern to L, starting with L foot, but taking smaller steps to the L.

Presented by Paul Collins at the 2008 Door County Folk Festival GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 98 of 100 GO TO TABLE OF CONTENTS DCFF 2008 SyllabusPage 99 of 100

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