THE COUNTRY DANCER H 0 B B Y H 0 R S E S EDITOR-IN-CHIEF May Gadd, National Director, C.D.S
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Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
Why Stockton Folk Dance Camp Still Produces a Syllabus
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please -
Vernon Watkins Family Letters, (NLW MS 23185D.)
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Vernon Watkins family letters, (NLW MS 23185D.) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 09, 2017 Printed: May 09, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH Description follows NLW guidelines based on ISAD(G) 2nd ed.; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/vernon-watkins-family-letters archives.library .wales/index.php/vernon-watkins-family-letters Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Vernon Watkins family letters, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Nodiadau | Notes ............................................................................................................................................. 4 Pwyntiau mynediad | Access points ............................................................................................................... 5 -
Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years. -
Lyle Tompsen, Student Number 28001102, Masters Dissertation
Lyle Tompsen, Student Number 28001102, Masters Dissertation The Mari Lwyd and the Horse Queen: Palimpsests of Ancient ideas A dissertation submitted to the University of Wales Trinity Saint David in fulfilment of the requirements for the Degree of Master of Arts Celtic Studies 2012 Lyle Tompsen 1 Lyle Tompsen, Student Number 28001102, Masters Dissertation Abstract The idea of a horse as a deity of the land, sovereignty and fertility can be seen in many cultures with Indo-European roots. The earliest and most complete reference to this deity can be seen in Vedic texts from 1500 BCE. Documentary evidence in rock art, and sixth century BCE Tartessian inscriptions demonstrate that the ancient Celtic world saw this deity of the land as a Horse Queen that ruled the land and granted fertility. Evidence suggests that she could grant sovereignty rights to humans by uniting with them (literally or symbolically), through ingestion, or intercourse. The Horse Queen is represented, or alluded to in such divergent areas as Bronze Age English hill figures, Celtic coinage, Roman horse deities, mediaeval and modern Celtic masked traditions. Even modern Welsh traditions, such as the Mari Lwyd, infer her existence and confirm the value of her symbolism in the modern world. 2 Lyle Tompsen, Student Number 28001102, Masters Dissertation Table of Contents List of definitions: ............................................................................................................ 8 Introduction .................................................................................................................. -
June 26, 1995
Volume$3.00Mail Registration ($2.8061 No. plusNo. 1351 .20 GST)21-June 26, 1995 rn HO I. Y temptation Z2/Z4-8I026 BUM "temptation" IN ate, JUNE 27th FIRST SIN' "jersey girl" r"NAD1AN TOUR DATES June 24 (2 shows) - Discovery Theatre, Vancouver June 27 a 28 - St. Denis Theatre, Montreal June 30 - NAC Theatre, Ottawa July 4 - Massey Hall, Toronto PRODUCED BY CRAIG STREET RPM - Monday June 26, 1995 - 3 theUSArts ireartstrade of and andrepresentativean artsbroadcasting, andculture culture Mickey film, coalition coalition Kantorcable, representing magazine,has drawn getstobook listdander publishing companiesKantor up and hadthat soundindicated wouldover recording suffer thatKantor heunder wasindustries. USprepared trade spokespersonCanadiansanctions. KeithThe Conference for announcement theKelly, coalition, nationalof the was revealed Arts, expecteddirector actingthat ashortly. of recent as the a FrederickPublishersThe Society of Canadaof Composers, Harris (SOCAN) Authors and and The SOCANand Frederick Music project.the preview joint participation Canadian of SOCAN and works Harris in this contenthason"areGallup the theconcerned information Pollresponsibilityto choose indicated about from.highway preserving that to He ensure a and alsomajority that our pointedthere culturalthe of isgovernment Canadiansout Canadian identity that in MusiccompositionsofHarris three MusicConcert newCanadian Company at Hallcollections Toronto's on pianist presentedJune Royal 1.of Monica Canadian a Conservatory musical Gaylord preview piano of Chatman,introducedpresidentcomposers of StevenGuest by the and their SOCAN GellmanGaylord.speaker respective Foundation, and LouisThe composers,Alexina selections Applebaum, introduced Louie. Stephen were the originatethatisspite "an 64% of American the ofKelly abroad,cultural television alsodomination policies mostuncovered programs from in of place ourstatisticsscreened the media."in US; Canada indicatingin 93% Canada there of composersdesignedSeriesperformed (Explorations toThe the introduceinto previewpieces. -
The Mari Lwyd the Mari Lwyd
Lesson Aims • Learning about the Hen Galan tradition. • Discuss what people in the past did to celebrate and wish luck for the year to come. The Mari Lwyd The Mari It was a Lwyd was one This was part of the wassailinghorse’s of the strangest skull tradition.traditions People of the believed that the Mari Lwyd would bring goodcovered luck in Hen Galan a sheet, for (Newthe year Year). to come. They would celebrate during Decemberribbons and and January. bells. The skull was placed on a pole so that the person under the sheet would be able to open and close the mouth! The Battle The group would try to gain access to a house by singing a verse. This was called ՙpwnco՚. The homehold would then answer with their own rhyme in a fake battle to try to outwit the Mari Lwyd. Once the battle was at an end they would allow the Mari Lwyd and the crew into the house, where they would enjoy refreshments. They would then go from house to house, repeating these actions. Some Verses of the Mari Lwyd Song Outside Group Household Group Wel dyma ni’n dwad, O cerwch ar gered, gyfeillion diniwad, Mae’ch ffordd yn agored, I ofyn am gennad i ganu. Mae’ch ffordd yn agored nos heno. Outside Group Outside Group Os na chawn ni gannad, Nid awn ni ar gered, Rhowch glywad ar ganiad, Heb dorri ein syched, Pa fodd ma’r ‘madawiad nos heno. Heb dorri ein sychad nos heno. Outside Group Household Group Ma’ Mari Lwyd yma, Rhowch glywad, wyr ddoethion, A sêr a rhubana, Pa faint y’ch o ddynion, Yn werth i roi gola nos heno. -
Magazine Magazine
MAGAZINEMAGAZINE March 2004 ISSN 1366-0799 FocusFocus onon CommunicationCommunication From your editor It has been a very busy couple of months as Paul SImpson, my son Matthew and I have worked on the ‘new look’ website. Matthew has completed the design so that we can manage the site more easily independently and also so that it is easy for visitors to explore the pages. Thanks to those of you who have emailed us to say that you appreciate the changes and have found lots of new files and information to support you in your work. We now have an email address specifically for contacting us about the website - [email protected] - as we hope to keep the calendar up to date with brief details of courses and meetings. Just email the details of date, organisation, title and venue and we will add it (for free) to the calendar. Call for articles and suggestions for inclusion in future Magazines: Planning for forthcoming Magazines includes: The Teacher of the Deaf in the 21st Century; Deafness and Dyslexia; Creativity; Deaf Education in Europe and Worldwide; British Sign Language Consortium If you have short articles and photographs that will help expand the contents table please contact me and let me know as soon as possible. This doesn’t mean that articles about other topics and activities are not sought! PLEASE share your experiences and achievements with us - many of you are isolated as peris and to share ideas is an important form of personal professional development. The Magazine is a recognised leading vehicle for doing this. -
Be Square Caller’S Handbook
TAble of Contents Introduction p. 3 Caller’s Workshops and Weekends p. 4 Resources: Articles, Videos, etc p. 5 Bill Martin’s Teaching Tips p. 6 How to Start a Scene p. 8 American Set Dance Timeline of Trends p. 10 What to Call It p. 12 Where People Dance(d) p. 12 A Way to Begin an Evening p. 13 How to Choreograph an Evening (Programming) p. 14 Politics of Square Dance p. 15 Non-White Past, Present, Future p. 17 Squeer Danz p. 19 Patriarchy p. 20 Debby’s Downers p. 21 City Dance p. 22 Traveling, Money, & Venues p. 23 Old Time Music and Working with Bands p. 25 Square Dance Types and Terminology p. 26 Small Sets p. 27 Break Figures p. 42 Introduction Welcome to the Dare To Be Square Caller’s handbook. You may be curious about starting or resuscitating social music and dance culture in your area. Read this to gain some context about different types of square dancing, bits of history, and some ideas for it’s future. The main purpose of the book is to show basic figures, calling techniques, and dance event organizing tips to begin or further your journey as a caller. You may not be particularly interested in calling, you might just want to play dance music or dance more regularly. The hard truth is that if you want trad squares in your area, with few ex- ceptions, someone will have to learn to call. There are few active callers and even fewer surviving or revival square dances out there. -
A COMPARISON ANALYSIS of AMERICAN and BRITISH IDIOMS By
A COMPARISON ANALYSIS OF AMERICAN AND BRITISH IDIOMS By: NANIK FATMAWATI NIM: 206026004290 ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA 2011 ABSTRACT Nanik Fatmawati, A Comparison Analysis of American Idioms and British Idioms. A Thesis: English Letters Department. Adab and Humanities Faculty. Syarif Hidayatullah State Islamic University Jakarta, 2011 In this paper, the writer uses a qualitative method with a descriptive analysis by comparing and analyzing from the dictionary and short story. The dictionary that would be analyzed by the writer is English and American Idioms by Richard A. Spears and the short story is you were perfectly fine by John Millington Ward. Through this method, the writer tries to find the differences meaning between American idioms and British idioms. The collected data are analyzed by qualitative using the approach of deconstruction theory. English is a language particularly rich in idioms – those modes of expression peculiar to a language (or dialect) which frequently defy logical and grammatical rules. Without idioms English would lose much of its variety and humor both in speech and writing. The results of this thesis explain the difference meaning of American and British Idioms that is found in the dictionary and short story. i ii iii DECLARATION I hereby declare that this submission is my original work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text. -
Report of Proceedings of Tynwald Court
REPORT OF PROCEEDINGS OF TYNWALD COURT Douglas, Wednesday, March 23, 1966 Present: The Deputy - Governor one hundred years old. I asked him if (Deemster S. J. Kneale, C.B.E.) In the he would like to go and visit the houses Council: The Attorney-General (Mr D.D. with me and he declined—why? Lay), Messrs J. B. Bolton, C. C. McFee, Mr McFee: It was not necessary. J. H. Nicholls 0.B.E., J. C. Nivison, H. H. Radcliffe, with Mr W. B. Mr MacLeod: I do not know why he Kennaugh, Acting Clerk to the Council. declined, but if he knows the state of In the Keys: The Speaker (Mr H. C. the houses that the people are living in Kerruish, 0.B.E.), Messrs T. F. Corkhill, he will know perfectly well that they H. D. C. MacLeod, E. N. Crowe, R. E. S. are a lot worse than the warrens and Kerruish, P Radcliffe, E. R. Moore, W. E. dens that the Government offices are Quayle, J. R. Creer, J. M. Cain 0.B.E., supposed to be. I would have thought A. H. Simcocks, T. C. Faragher, T. H. the first priority was to provide houses. Colebourn, J. E. Callister, T. A. Corkish, decent houses for the people to live in. J. J. Bell, P. Coupe, W. B. Kaneen, These houses in Foxdale are in an G. V. H. Kneale, H. S. Cain, R. Mac- absolute shocking condition, very few of Donald, A. S. Kelly, Sir Henry Sugden, them have a water closet. The houses K.B.E., C.B., D.S.O., with Mr T. -
Kodály's Dances of Galánta
KSKS55 IB SL/HL 2017-19: Kodály’s Dances of Galánta Jonathan James by Jonathan James is a freelance music educator and teacher trainer who works with orchestras, concert venues and a variety INTRODUCTION of communities to explain classical It’s an odd pairing at first glance: Bach’s Brandenburg Concerto No. 2 (covered in its ownMusic Teacher and jazz music. resource, February 2016) with Kodály’s Dances of Galánta. And yet these prescribed works for IB’s music diploma (for first examination in June 2017, through to 2019) invite some cunning comparison. Both works involve dance music that draws on elements of national styles, and both rely on ingenious scoring for effect. They also offer a useful wormhole into each composer’s mind. The Galánta dances epitomise Kodály’s nationalist principles and are a brilliant example of his absorption of Hungarian folk style and particular brand of classicism. This investigation into Kodály’s masterpiece starts by setting some context: Who was Kodály and why is he so interesting? What did nationalism mean for Hungarian composers? What are the key features of the Hungarian folk style? How are these features reflected in the Dances of Galánta? This is followed by a detailed analysis of each section of the Dances of Galánta, where possible addressing the objectives given by IB in their specification for both Higher and Standard levels of the diploma. In the listening paper on music perception and analysis, students are expected to demonstrate: knowledge, understanding and perception of music in relation to time, place and cultures, appropriate musical terminology to describe and reflect their critical understanding of music, comparative analysis of music in relation to time, place and cultures.