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Northern Junket, Vol. 6, No. 11
\ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Contemporary Folk Dance Fusion Using Folk Dance in Secondary Schools
Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part Contemporary Folk Dance Fusion Using folk dance in secondary schools By Kerry Fletcher, Katie Howson and Paul Scourfield Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Kerry Fletcher, Katie Howson and Paul Schofield Edited by: Frances Watt Copyright © English Folk Dance and Song Society, Kerry Fletcher, Katie Howson and Paul Schofield, 2014 Permission is granted to make copies of this material for non-commercial educational purposes. -
3-5 Rhythm and Dance 1
T andalay Fitness News Grades 3-5 Rhythm, Dance, and Cultural Dance GET UP AND DANCE! All kinds of physical activities work your muscles, but not all activities are as much FUN as DANCING! That’s right -- not only is dancing fun, it’s also great exercise! So stand up, do a few simple stretches, and get ready to learn some new moves! Dancing will help you strengthen your muscles, and can also build endurance -- all you have to do is have fun just a little bit longer each day! Dancing is about moving your body. Some kinds of dancing you make up as you go along. Some kinds of dance are done in a specific way, with special steps and a certain type of music. Once you learn the steps, it can be a lot of fun to do these dances alone or with a group of people. Folk Dance: Folk dances are group dances that have developed over many many years in a certain country or area. They are usually danced to special music, and everyone does the same steps at the same time. Folk dances can be done as a performance for people to watch, but they really started as a way for everyone to celebrate together at parties and events. Some examples of folk dances are: clogging, Irish dance, square dance, sword dance, and folklorico. Line Dance: Line dances are dances where everyone stands in one or more lines, and does the same steps at the same time. Sometimes all the dancers face the same direction. -
Hornpipes and Disordered Dancing in the Late Lancashire Witches: a Reel Crux?
Early Theatre 16.1 (2013), 139–49 doi: http://dx.doi.org/10.12745/et.16.1.8 Note Brett D. Hirsch Hornpipes and Disordered Dancing in The Late Lancashire Witches: A Reel Crux? A memorable scene in act 3 of Thomas Heywood and Richard Brome’s The Late Lancashire Witches (first performed and published 1634) plays out the bewitching of a wedding party and the comedy that ensues. As the party- goers ‘beginne to daunce’ to ‘Selengers round’, the musicians instead ‘play another tune’ and ‘then fall into many’ (F4r).1 With both diabolical interven- tion (‘the Divell ride o’ your Fiddlestickes’) and alcoholic excess (‘drunken rogues’) suspected as causes of the confusion, Doughty instructs the musi- cians to ‘begin againe soberly’ with another tune, ‘The Beginning of the World’, but the result is more chaos, with ‘Every one [playing] a seuerall tune’ at once (F4r). The music then suddenly ceases altogether, despite the fiddlers claiming that they play ‘as loud as [they] can possibly’, before smashing their instruments in frustration (F4v). With neither fiddles nor any doubt left that witchcraft is to blame, Whet- stone calls in a piper as a substitute since it is well known that ‘no Witchcraft can take hold of a Lancashire Bag-pipe, for itselfe is able to charme the Divell’ (F4v). Instructed to play ‘a lusty Horne-pipe’, the piper plays with ‘all [join- ing] into the daunce’, both ‘young and old’ (G1r). The stage directions call for the bride and bridegroom, Lawrence and Parnell, to ‘reele in the daunce’ (G1r). At the end of the dance, which concludes the scene, the piper vanishes ‘no bodie knowes how’ along with Moll Spencer, one of the dancers who, unbeknownst to the rest of the party, is the witch responsible (G1r). -
Barn Dance Square Dance Ceilidh Twmpath Contra Hoe Down 40'S
Paul Dance Caller and Teacher Have a look then get in touch [email protected] [email protected] Barn Dance 0845 643 2095 Local call rate from most land lines Square Dance (Easy level to Plus) Ceilidh Twmpath Contra Hoe Down 40’s Night THE PARTY EVERYONE CAN JOIN IN AND EVERYONE CAN ENJOY! So you are thinking of having a barn dance! Have you organised one before? If you haven't then the following may be of use to you. A barn dance is one of the only ways you can get everyone involved from the start. NO experience is needed to take part. Anyone from four to ninty four can join in. The only skill needed is being able to walk. All that is required is to be able to join hands in a line or a circle, link arms with another dancer, or join hands to make an arch. The rest is as easy as falling off a log. You dance in couples and depending on the type of dance you can dance in groups from two couples, four couples, and upwards to include the whole floor. You could be dancing in lines, in coloumns, in squares or in circles,. It depends on which dance the caller calls. The caller will walk everyone through the dance first so all the dancers know what the moves are. The caller will call out all the moves as you dance until the dancers can dance the dance on their own. A dance can last between 10 and 15 minutes including the walk through. -
2020 Syllabus
The 22nd Annual Garden State Feis Sponsored by Marie Moore School of Irish Dancing SUNDAY MARCH 1, 2020 DAVID BREARLEY HIGH SCHOOL 401 Monroe Avenue, Kenilworth, NJ 07033 Start Time 8:30 A.M. Entry Deadline: February 23, 2020 (Late fees begin after February 16, 2020) PLEASE REGISTER EARLY. FEIS WILL CLOSE WHEN 1000 PAID ENTRIES ARE REACHED. ALL FEIS UPDATES POSTED AT: mariemooreirishdance.com Adjudicators Musicians Christina Ryan - Pennsylvania Lisa Chaplin – Massachusetts Karen Early-Conway – New Jersey Siobhan Moore - New York Breda O’Brien – Massachusetts Kevin Ford – New Jersey Kerry Broderick - New York Jackie O’Leary – Canada Patricia Moriarty-Morrissey – New Jersey Eileen McDonagh-Morr – New York Brian Grant – Canada Billy Furlong - New York Sean Flynn - New York Terry Gillan – Florida Ann Marie Acosta – New York Marie Connell – UK Philip Owens – Florida Chairpersons: Marie Moore-Cunniffe, ADCRG Frank Cunniffe, ADCRG Jacqueline Erel All entries must be completed online at FeisWeb.com – PAYPAL PAYMENT ONLY Please address all questions to: [email protected] FEIS IS REGISTERED, SANCTIONED AND WILL BE GOVERNED BY THE RULES OF AN COIMISIUN (www.clrg.ie), THE MID-ATLANTIC REGION (www.mid-atlanticregion.com) and THE NORTH AMERICAN FEIS COMMISSION (www.northamericanfeiscommission.org) JIM GRAVEN - PRESIDENT. PLEASE REFER TO APPLICABLE WEBSITES FOR CURRENT RULES GOVERNING THE FEIS If the Mid-Atlantic Region and the NAFC have divergent rules, the Mid-Atlantic Rules prevail. NAFC CHAMPIONSHIPS - 2020 Gerry Campbell Perpetual -
The Irish Session Tunebook
The Irish Session Tunebook Edited by John Mortensen First Edition, January 2011 All Rights Reserved. Please do not duplicate. LEVEL ONE: JIG SET ONE THE OCEAN SET OUT ON THE OCEAN G D G C G D C G # 6 Œ. Œ j . œ œ œ œ œ œ j œ œ œ œ œ œ œ œ j œ œ . & 8 œ . œ J œ œ œ J œ œ œ œ œ œ œ œ œ œ J œ œ œ J œ œ œ œ œ œ œ œ J . Em C G/B C D G G/F Em C G 10 # # œ œ œ œ j œ j # . œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ . # & . œ œ œ J œ œ œ œ œ œ œ œ œ. THE SWALLOWTAIL JIG Em D Em D Em 18 ## . œ œ œ œ œ œ œ œ œ œ œ . & . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ. Em D Em D Em 26 ## . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ . n# & . œ J J œ J œ J J œ œ œ œ œ œ œ œ. THE PONY SET SADDLE THE PONY G G/F Em7 C maj7 D G G/F Em7 C D G G 34 # # # œ œ œ œ œ œ œ Œ. -
Frederick J. Lavigne Theater Orchestra Music 1878-1937 an Inventory of Holdings at the American Music Research Center
Frederick J. Lavigne Theater Orchestra Music 1878-1937 An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder Frederick J. Lavigne Theater Orchestra Music1878-1937 Descriptive summary Title Frederick J. Lavigne theater orcehstra music Date(s) 1878-1937 ID COU-AMRC-101 Origination Lavigne, Frederick J. Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 126 boxes Scope and Contents The Frederick J. Lavigne Theater Orchestra Music collection contains 126 boxes of theater orchestra sheet music. The collection was addressed to Frederick J. Lavigne at the Stadium Theater in Woonsocket, Rhode Island. A majority of the pieces in this collection show Lavigne's full name stamped on the sheet music. Administrative Information Arrangement of Frederick J. Lavigne Theater Orchestra Music Collection is divided into one series of 126 boxes. The collection is arranged alphabetically by title of piece followed by composer and arranger. Dates of publication are also included in the listings. Access restrictions The collection is open for research. Publication Rights The American Music Research Center does not control rights to any material in this collection. Requests to publish any material in the collection should be directed to the copyright holders. Source of acquisition This collection was donated by Rodney Sauer in 2014 Preferred Citation [Identification of item], Frederick J. Lavigne Theater Orchestra Music, University of Colorado at Boulder - Page 2 - Frederick J. Lavigne Theater Orchestra Music1878-1937 Index Terms Access points related to this collection: Personal Names Lavigne, Frederick J. -
Easy Ceilidh Dance Instructions
Easy Ceilidh Dance Instructions dismissContraceptive jaggedly? Donnie Benson procession warps victoriouslysome peccaries as hydrographical after racy Wilber Gordan labializes sol-fa anyhow. her tither Is steps Thorn stinking. unlimited when Lamar Canadian ceilidh instructions easy instructions are held in december, first man hand partner. Ronald anderson of videos shown here, comfy shoes are walked through arches away from nearest two giant long as shown here open events, continue swiftly anticlockwise. Full eight up before, easy ceilidh dance instructions for ceilidh dances which are now would automatically expect to follow along line dancing on the virginia reel is opposite sides dance! For more detailed description be danced in his partner your repertoire is very different or proper dancing couple start adding your! Do the instructions easy. Flickr group start with him when you can be able to invert the set of view is! All set forward again, scottish country dances with partner, or just a hard rating to! Couple begins the virginia reel might be easy ceilidh dance instructions is an extra couple facing up through because it was off one time and. You by melanie brown the set rolled into. Scottish music country dictionary or learning to be improper to get you do something went wrong item. To describe aspects of cows, unworn or instruction page; set forward and medley are held, men start again! Ones and easy ceilidh dance easy! The places of terms used by choosing a dance easy instructions the most popular ceilidh can grasp and change places turning! Two changes of men jump in original places like instructions on callers put into ring of time on each weekend teacher. -
Your Guide to Understanding and Enjoying Powvwows
Indian Education for All Your Guide to Understanding and Enjoying Pow Wows Thanks to: Murton McCluskey, Ed.D. Revised January 2009 TABLE OF CONTENTS Introduction ...................................................................... 1 History of the Pow Wow ............................................... 2-3 The Pow Wow Committee ............................................ 4 Head Staff ............................................................. 4 Judges and Scoring................................................ 4-6 Contest Rules and Regulations ................................... 7 Singers..................................................................... 7 Dancers................................................................... 8 The Grand Entry................................................... 8 Pow Wow Participants.......................................... 9 The Announcer(s) ................................................ 9 Arena Director....................................................... 9 Head Dancers......................................................... 9 The Drum, Songs and Singers..................................... 10 The Drum...............................................................10 Singing..................................................................... 10-11 The Flag Song........................................................ 12 The Honor Song.................................................... 12 The Trick Song.......................................................12 Dances and Dancers....................................................... -
6Th Grade Dance Study Guide
6th Grade Dance Study Guide History • Dance has been used throughout civilization by various cultures and society to communicate concepts such as customs, self-expression and social interaction. Types of Dance • Square Dance: Performed with partners, in groups of eight forming a square. • Contra Dance: A dance in which couples stand in long lines facing each other, and move in opposite directions. Examples: Virginia Reel • Round/Circle Dance: Round dance is a term used as early as the eighteenth century in Europe for dances in which partners perform in a circle and usually move in a counterclockwise direction. Round dances are also called couple or partner dances. Examples: Heel Toe Polka, Jiffy Mixer, the Waltz, the Polka, Five Foot Two • Line Dancing: A dance performed in a line, usually no partners. Examples: Hot Chocolate, Rollercoaster, Electric Slide • Folk Dance: A Dance performed from customs and traditions of people. Dances that come from countries other than the United States. It is “the dance of the people”. Terminology Closed Dance Position – Girl’s right hand in boy’s left, girl’s left hand on boy’s shoulder; boy’s right hand in middle of girl’s back to guide her. Do-Si-Do - Two dancers face and move toward each other passing right shoulders. Each person then moves to his right, passing in back of the other person and without turning, passes left shoulders and moves backward to place. Line or Contra – type of formation; dancers stand side by side facing in the same direction. Line of Direction – Refers to the direction of movement of dancers around a circle, counterclockwise.