2012 Door County Folk Festival Syllabus.Pdf

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33rd Annual Door County Folk Festival

Get Your Foot in the Door!

Wednesday – Sunday, July 11 – 15, 2012

Sister Bay, Ephraim, and Baileys Harbor, Wisconsin

Website: www.dcff.net E-mail: [email protected] Facebook Group: www.facebook.com/groups/dcffmail

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Dance Syllabus

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2012 Door County Folk Festival (DCFF), Wisconsin

2012 Door County Folk Festival (DCFF), Wisconsin 2012 Door County Folk Festival Schedule v02 NOTE: Schedule Subject to Change Get Your Foot in the Door! Wednesday - Sunday, July 11-15, 2012 - Baileys Harbor, Sister Bay, Ephraim and Fish Creek, Wisconsin DCFF Home Phone: (847)-846-8139 [email protected]

Wednesday Start End Where Event Who Morning 10:00am 12:00pm SBSC Northern Door YMCA Youth Dance Program Paul Collins & Patti Cohen 10:00am 12:00pm SBSC Northern Door YMCA Youth Activity Program Miriam & Dick Miller 12:00pm 2:00pm SBSC Northern Door YMCA Youth Dance Program Paul Collins & Patti Cohen 12:00pm 2:00pm SBSC Northern Door YMCA Youth Activity Program Miriam & Dick Miller Afternoon 12:00pm BHTH Staff Arrives Staff & Volunteers 3:00pm BHTH Setup Begins Staff & Volunteers Evening 6:00pm BHTH Registration Begins Staff & Volunteers 8:00pm 1:00am BHTH Opening Night Party with Recorded Music Forrest Johnson & Other Regional Leaders 1:00am 2:30am BHTH Late Night Party Paul Collins & Rick King Thursday Start End Where Event Who Morning 9:45am SBVH Setup & Registration Continues Staff & Volunteers 10:00am 11:45am SBVH Fascinating Rhythms of Balkan Dance Workshop Michael Kuharski, Daniel Wells, Mary Garvin Michael: Svornato Horo (Bulgarian) Daniel W: Krivo Horo (Bulgarian) Mary: Piyan Ot Merak (Bulgarian) 9:30am 10:00am SCA Setup For Mini-Concert Staff 10:00am 11:00am SCA Mini-Concert @ Scandia Retirement Community Shelley Orbach Shelley Orbach Northern Door YMCA Youth Program Dancers Nick Bratkovich Ethnic Dance Chicago Afternoon 11:45am 1:15pm Lunch Break Dance Challenge Workshop: 1:15pm 3:00pm SBVH Paul Collins & George Davis Dances of Increasing Complexity Paul C: Stankino (Greek Macedonian), U Sest Koraka (Serbian) Ludo Kopano (Bulgarian), Ardelean (Romanian) Trite Puti (Bulgarian) George: Kapuvari Verbunk (Hungarian), Forgatos (Hungarian) 3:00pm 3:15pm Break Dance Challenge Workshop: 3:15pm 5:00pm SBVH George Davis & Paul Collins Dances Requiring Teamwork George: Hit and Miss (English), Dorset Reel (English) Grimtock (English), Bourree Pastourelle (French) Greensleeves and Yellow Lace (English) Paul C: Tai Tai (Greek), Rutchenitza Po Troiki (Bulgarian) Evening 8:00pm 11:00pm SBVH Ethnic Dance Party - with Recorded & Live Music Forrest Johnson & Other Regional Leaders 9:00pm BHTH Silent Auction Begins Mercedes Dzindzeleta & Company 11:00pm until AC Tap Late Night After Party Hwy 57, between Sister Bay & Baileys Harbor Friday Start End Where Event Who Morning 7:45am SBVH Setup & Registration Continues Staff & Volunteers 8:00am 9:45am SBVH Contra/Square Dance Workshop Roger Diggle & Paul Collins - Music by Last Gaspé 9:45am 10:00am Break 9:45am EVH Setup & Registration Continues Staff & Volunteers 10:00am 11:45am SBVH Israeli Dances - Old and New Workshop Penny Brichta Penny: Rachamim (Israeli), Sheli Shelcha (Israeli) Siasamba (Israeli), Horati (Israeli) 10:00am 11:45am EVH Fascinating Rhythms of Balkan Dance Workshop Michael Kuharski, Rick King, Dan Garvin Michael: Paidusca (Romanian) Rick: Devollice (Albanian) Dan G: Barbatesc (Romanian) 10:00am 11:45am FBC Singing Workshop Impromptu Festival Chorale by Shelley Orbach TBD 10:00am 11:45am SBWP Youth Activities Dick & Miriam Miller Afternoon 11:45am 1:15pm Lunch Break 12:00pm 1:00pm SBVH Culture Session - "New Traditions in the Balkans" Daniel Wells 12:00pm 1:00pm FBC Dance & Stress Relief Mercedes Dzindzeleta 12:00pm 12:30pm BHTH Setup For Concert Staff

2012 Door County Folk Festival (DCFF), Wisconsin 12:30pm 2:30pm BHTH DCFF Concert At Baileys Harbor Town Hall Shelley Orbach

Shelley Orbach Northern Door YMCA Youth Program Dancers Last Gaspe Nick Bratkovich Orkestar Sloboda Ethnic Dance Chicago 1:15pm 3:00pm SBVH Beginning/Intermediate Ethnic Dance Workshop Leslie Hyll, Daniel Wells, Nancy Jo Lame Leslie: Ajde Jano (Serbian), Ya Da Kalinushku Lomala (Russian) Daniel W: Sarajevka Kolo (Bosnian), Starobosansko Kolo (Bosnian)

Nancy Jo: Snoshti Vecher Rade (Bulgarian), Hora Banaţeana (Romanian) 1:15pm 3:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Rick King & Patti Cohen Rick: Dzhinguritsa (Bulgarian), Gaida (Macedonian) Patti: Koulouriastos (Greek), Letsi/Letsina (Pontian) 1:15pm 3:00pm SBWP Youth Activities Dick & Miriam Miller 1:15pm 3:00pm FBC Singing Workshop Tri Bratovchedki

TBD 3:00pm 3:15pm Break 3:15pm 5:00pm SBVH Beginning/Intermediate Ethnic Dance Workshop Caren Grantz Keljik, Ellen Rice, Dit Olshan Caren: Hora Veche (Romanian), Podaraki (Greek - Pontos) Ellen: Kostursko (Macedonian), Kune (Bulgarian) Laz Bar (Armenian) Dit: Lazarska Racenica (Bulgarian), Turning by Threes (English) 3:15pm 5:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Mary Garvin & Paul Wagner Mary: Kojcovata (Bulgarian), Radomirsko Horo (Bulgarian) Paul W: Chef (Gypsy/Roma) 3:15pm 5:00pm SBWP Musicians & Singers Informal Jam Session Shelley Orbach Musicians, singers & observers are welcome to meet @ the Gazebo in Sister Bay Waterfront Park for an informal jam session Mara Kins, Janet Higgs & Team Evening 5:45pm 8:00pm VIM Pot-Luck Picnic @ Voyager Inn - BYO Voyager Inn Motel in Sister Bay Bring food and beverages to share and bring your appetite for good eating and a good time. This group picnic includes grilling, eating, drinking, singing, dancing, playing music, and access to the Motel's swimming pool and hot tub. Reservations & Food/Beverage Contribution Required! Forrest Johnson - Live Music by Orkestar Sloboda & Nick 8:30pm 1:00am BHTH "Friday the 13th" Ethnic Folk Dance Party Bratkovich 8:30pm 11:00pm EVH Contra & Square Dance Party Roger Diggle & Paul Collins - Music by Last Gaspé 1:00am 2:30am BHTH Late Night Party Paul Collins & Rick King Saturday Start End Where Event Who Morning 7:45am SBVH Setup & Registration Continues Staff & Volunteers 8:00am 9:45am SBVH Contra/Square Dance Workshop Roger Diggle & Paul Collins - Music by Last Gaspé 9:30am GAMS Setup & Registration Continues Staff & Volunteers 9:45am 10:00am Break 9:45am EVH Setup & Registration Continues Staff & Volunteers 10:00am 11:45am SBVH Israeli Dances - Old and New Workshop Penny Brichta & Phil Moss Penny: Shanti (Israeli), Darkenu (Israeli) Phil: Hanigun (Israeli), Lecha Karati (Israeli) Penny & Phil: Sheyavo (Israeli), Mei Nahar (Israeli) 10:00am 11:45am EVH Fascinating Rhythms of Balkan Dance Workshop Michael Kuharski, Paul Wagner, Mary Garvin Michael: Trakiiski (Bulgarian) Paul W: Bistriska Kopanica (Bulgarian) Mary: Krivo Ihtimansko Horo (Bulgarian) 10:00am 11:45am FBC Singing Workshop Impromptu Festival Chorale by Shelley Orbach TBD 10:00am 11:45am SBWP Youth Activities Dick & Miriam Miller, Patti Cohen, Marsha Swenson 10:00am 11:45am GAMS TBA TBA Afternoon 11:45am 1:15pm Lunch Break 12:00pm 1:00pm SBVH Culture Session - "New Traditions in the Balkans" Daniel Wells 12:00pm GAMS Cleanup Staff & Volunteers 12:00pm 1:00pm FBC Dance & Stress Relief Mercedes Dzindzeleta

2012 Door County Folk Festival (DCFF), Wisconsin 1:15pm 3:00pm SBVH Beginning/Intermediate Ethnic Dance Workshop Leslie Hyll, Daniel Wells, Nancy Jo Lame Leslie: Ajde Jano (Serbian), Ya Da Kalinushku Lomala (Russian) Daniel W: Sarajevka Kolo (Bosnian), Starobosansko Kolo (Bosnian) Nancy Jo: Snoshti Vecher Rade (Bulgarian), Hora Banaţeana (Romanian) 1:15pm 3:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Rick King & Patti Cohen Rick: Dzhinguritsa (Bulgarian), Gaida (Macedonian) Patti: Koulouriastos (Greek), Letsi/Letsina (Pontian) 1:15pm 3:00pm SBWP Youth Activities Dick & Miriam Miller 1:15pm 3:00pm FBC Singing Workshop Tri Bratovchedki TBD 3:00pm 3:15pm Break 3:15pm 5:00pm SBVH Beginning/Intermediate Ethnic Dance Workshop Caren Grantz Keljik, Ellen Rice, Dit Olshan Caren: Hora Veche (Romanian), Podaraki (Greek - Pontos) Ellen: Kostursko (Macedonian). Kune (Bulgarian) Laz Bar (Armenian) Dit: Lazarska Racenica (Bulgarian), Turning by Threes (English) 3:15pm 5:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Mary Garvin & Paul Wagner Mary: Kojcovata (Bulgarian), Radomirsko Horo (Bulgarian) Paul W: Chef (Gypsy/Roma) 3:15pm 5:00pm SBWP Musicians & Singers Informal Jam Session Shelley Orbach

Musicians, singers & observers are welcome to meet @ the Gazebo in Sister Bay Waterfront Park for an informal jam session 5:00pm SBVH Cleanup Staff & Volunteers 5:00pm EVH Cleanup Staff & Volunteers 5:00pm FBC Cleanup Staff & Volunteers 6:00pm Fish Boil Dinner - Seating 1 Evening 6:30pm BHP Fish Boil Dinner - Seating 2 Kim Caisse & Team - Baileys Harbor Park 7:00pm Fish Boil Dinner - Seating 3 7:00pm Sunset BHP Dancing, Music & Singing in the Park and Pier Baileys Harbor Park & Waterfront Forrest Johnson - Live Music by Orkestar Sloboda & Nick 8:30pm 1:00am BHTH Ethnic Folk Dance Party Bratkovich 11:45pm BHTH Silent Auction Ends Mercedes Dzindzeleta & Company 1:00am 2:00am BHTH Larry Hoey Memorial Folk Dance Olympics 2:00am 2:30am BHTH Late Night Party Paul Collins & Rick King Sunday Start End Where Event Who

Morning 9:00am 11:00am BHTH Contra/Square Dance Workshop Roger Diggle & Paul Collins - Music by Last Gaspé 11:00am 11:15pm Break 11:15am 12:30pm BHTH Review Workshop 1 Karen Tutkowski Organizes Dance Review Schedule

TBD

Afternoon 12:30pm 1:30pm Lunch Break 1:30pm 3:15pm BHTH Review Workshop 2 Karen Tutkowski Organizes Dance Review Schedule

TBD

3:15pm 3:30pm Break 3:30pm 5:00pm BHTH Review Workshop 3 Karen Tutkowski Organizes Dance Review Schedule

TBD

Evening 5:00pm Break 6:00pm TBD Survivors' Dinner(s) Random Groups Meet and Organize at BHTH 8:30pm 2:30am BHTH Survivors' Dance Party Participants Run the Program Monday Start End Where Event Who 9:00am BHTH Cleanup Staff & Volunteers 2012 Door County Folk Festival Schedule

LEGEND SBVH = Sister Bay Village Hall - (Hwy 42, Bay Side, about 4 blocks N of Hwy 57 end) EVH = Ephraim Village Hall - (Just S of intersection of Hwys 42 & Q) BHTH = Baileys Harbor Town Hall - (Intersection of HWYs 57 and F, 9 mi S of SBVH, W side of 57) BHP = Baileys Harbor Park - (Intersection of HWYs 57 and F, 9 mi S of SBVH, W side of 57, Adjacent to BHTH) SBWP = Sister Bay Waterfront Park - (Hwy 42, Bay Side, about 3 blocks N of Hwy 57, Adjacent to SBVH) FBC = First Baptist Church of Sister Bay - (Hwy 42, Bay Side, 1 mi S of SBVH) GAMS = Gibraltar Area Middle School Gymnasium in Fish Creek - (Hwy 42 in Fish Creek, 5 miles S of EVH) VIM = The Voyager Inn Motel (Sister Bay) - (Hwy 57, 1 mi S of SBVH, W side of 57) SCA = Scandia Retirement Community (Sister Bay) - (Hwy 57, .5 mi S of SBVH, W side of 57) SBSC = Sister Bay Sports Complex - Mill Road & Woodcrest Road (from HWY 42) TBD = To be determined

2012 Door County Folk Festival (DCFF), Wisconsin

2012 Door County Folk Festival (DCFF), Wisconsin Table of Contents 2012 Door County Folk Festival Syllabus

Presented by Penny Brichta 6 Presented by Caren Grantz Keljik 81 Darkenu 7 Hora Veche 82 Horati 8 Podaraki 84 Rachamim 10 Shanti 11 Presented by Rick King 85 Sheli Shelcha 12 Devollice 86 Siasamba 13 Dzhinguritsa 88 Gaida 89 Presented by Patti Cohen 15 Koulouriastos 16 Presented by Michael Kuharski 90 Letsi/Letsina 19 Paiduşca 91 Svornato 92 Presented by Paul Collins 22 Trakiiski 94 Ardelean 23 Ludo Kopano 25 Presented by Nancy Jo Lame 95 Rutchenitza Po Troiki 29 Hora Banaţeana 96 Stankino 32 Snoshti Vecher Rade 97 Tai Tai 35 Trite Puti 37 Presented by Phil Moss 98 U Sest Koraka 40 Hanigun 99 Lecha Karati 100 Presented by George Davis 44 Mei Nahar 101 Bourree Pastourelle 45 Sheyavo 102 Dorset Reel 48 Forgatos 49 Presented by Dit Olshan 103 Greensleeves and Yellow Lace 53 Lazarska Râcenica 104 Grimstock 54 Turning by Threes 106 Hit and Miss 55 Kapuvari Verbunk 56 Presented by Ellen Rice 107 Navigating Set Dances 59 Kostursko Oro 108 Kune 109 Presented by Dan Garvin 65 Laz Bar 110 Bărbătesc 66 Presented by Paul Wagner 111 Presented by Mary Garvin 67 Bistriška Kopanica 112 Kojcovata 68 Chef 114 Krivo Ihtimansko Horo 70 Piyan Ot Merak 71 Presented by Daniel Wells 119 Radomirsko Horo 75 Krivo Horo 120 Sarajevka Kolo 121 Presented by Leslie Hyll 77 Starobosansko Kolo 122 Ajde Jano 78 Ya Da Kalinushku Lomala 79

2012 Door County Folk Festival (DCFF), Wisconsin Penny Brichta (Wilmette, IL)

Penny has been teaching the beginner’s session at the popular Northwestern Israeli Dance group for over 20 years. Contrary to popular belief, she was over 19 when she started co-leading the group. Since spending her junior year of college living in Israel and dancing far more often than studying, Penny has been hooked on dance. She is responsible for introducing many of the modern Israeli dances to the Midwest International Dance communities. While Israeli remains her favorite, Penny has also earned certification as a Jazzercise aerobic dance instructor.

2012 Door County Folk Festival (DCFF), Wisconsin Darkenu Our Path

Dance: Gadi Bitton Music: Izhar Ashdot, Yankele Rotblit Singer: Sarit Vino Elad, Chani Firstenberg

Part 1 Face CCW

1-4 R, L, R-L-R 5-8 L cross, R side to face center, L behind, R side, L front in L-R-L rhythm 9-11 R open, L cross, R in place 12-14 L open, R cross, L in place 15-16 Full turn right R, L 17-20 R side, L behind R-L-R turning right to face out 21-24 L side, R behind L-R-L turning left to face in 25-28 Box step: R fwd, L cross, R back, L side 29-32 Step twds center R, touch L, L touch R 33-34 Rock R fwd, L in place 35-36 Full turn to right R, L

Repeat Part 1

Part 2 Face center

1-2 R-L-R to side 3-4 Cross L, cross R 5-6 Moving twds center with L-R-L 7-8 Rock R fwd, L bwd 9-10 facing CCW: R-L-R to outside circle 11-12 Cross L over, R in place to face center 13-14 L-R-L on the line to the left 15-16 Cross R over, L in place 17-18 Sway R, Sway L as right arm sweeps 19-20 R crosses over L to side, R crosses over in R-L-R rhythm 21-22 Full turn left L, R 23-24 L-R-L on the line to the left 25-26 Cross R, L back 27-30 Grapevine moving to right: R side, L cross, R side, L behind 31-32 Full turn R, L

Repeat Part 2

Notes: PJ Brichta Presented by Penny J Brichta at DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin Horati My Dance

Dance: Tuvia Tishler Music: Uri Cohen Formation: Circle, hold hands when you can

Part 1 Facing CCW

1-4 Walk R, L, R, L 5-8 Face center R side, L behind, R side, L front 9-16 Repeat counts 1-8 17-20 Facing CCW moving twds center R behind, L side, R-L-R crossing front 21-24 Sway L, sway R, step L, stamp R 25-28 Moving out of circle R side, L cross, R side, L cross 29-32 Full turn right R-L-R-L

Repeat Part 1

Interlude Chassidic style

1-4 Step R, L behind, R side, stamp L 5-8 Step L, R behind, L side, stamp R 9-12 Moving twds center R, L, R lift and begin crossing left over 13-16 Backing up L, R, L, stamp R 17-23 Repeat 1-16

Repeat Part 1 2x

Interlude: Step R pull arms down, Step L pull arms down

Part 2A Facing center

1-4 Twist heels R, L, step L, cross R over 5-8 Run L, run R, L hop 9-12 Run R, Run L, land both, L front 13-16 Repeat 9-12 17-20 Twds center R hop, L hop 21-24 R cross in front, L Yemenite 25-28 R, L stamp, L, R stamp 29-32 Back from center R, L, R, L

Repeat 2A

Part 2B Face CCW

2012 Door County Folk Festival (DCFF), Wisconsin

1-4 R, L, R, L raising right arm 5-8 Pivot right to back up on circle R, L, R, L 9-12 Step R, stamp L and clap, Step L, stamp R and clap 13-16 Full turn right R, L, R. L 17-20 Run twds center R, L, R, L 21-24 R cross over L and rock in place R, L, R, L 25-28 Moving out of circle: R hop swinging left leg around, L hop swinging right leg 29-32 Back up R, L, R, L

Repeat 2B

2A 2B Part 1 counts 1-32

End

1-2 Turn to right R, L, 3-6 R-L-R-L double time 7-10 R Yemenite, L Yemenite 11-12 Back on R, fwd L, R fwd

Notes by PJ Brichta

Presented by Penny J Brichta at DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin Rachamim Mercies

Dance: Avi Levy Music: Shlomi SHabat, Leah Shabat Formation: Circle

Part 1 Face center

1-2 R-tog-R 3-4 L behind R, R to R, L across R 5-6 Rock R fwd, L in place, R bwd 7-8 Full trun to L with LRL 9-10 R- tog-R and pivot to right to face out 11-12 Repeat 9-10 with opposite foot and directon 13 Jump with feet apart, bending knees 14& Touch R heel fwd, step R fwd 15& Sway L, R 16 Step L hold 17-32 Repeat 1-16

Part 2

1& Rock R bwd, L fwd pulling arms back 2& Touch R heel fwd, step R fwd 3& Sway L, R 4& Touch L heel fwd, step L fwd 5-6 Right shoulder leads towds center R-L-R, 7-8 Repeat 9-10 with left 9-10& Jump both turning slightly to left, hold, hop on L and turn to right stepping R 11-12& Grapevine out on radius L cross, R to side, L to face center, hop L 13-14& Turn R, L, R to right 19-20 Left Yeminite backwards 17-32 Repeat 1-16

Transition

1-4 Box step R, L cross, R back, L side with palms up

Notes: Honey Goldfein and Penny Brichta Presented by Penny J Brichta at DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin

Shanti

Dance: Avi Levy Music: Liora Formation: Circle facing CCW

Part 1

1- 4 Walk R, L, R, L 5-8 Facing center: R to right, L cross behind, R to right, L cross front 9-12 Yemenite R, Yenenite L 13-14 Jump to right both feet, hop R 15-16 L behind, R to side, L cross 17-28 Repeat counts 1-12 29-30 R fwd, chug R fwd 31-32 L back Yemenite

Part 2

1-4 R fwd, touch L, L fwd, touch R 5-8 Full turn right with pivot steps (R, L ball of foot) 3x, R 9-12 L fwd, touch R, R fwd, touch L 13-14 ½ turn to left: L, R 15-16 Left Yemenite 17-32 Repeat counts 1-16 facing out from center ending facing center

Transition

1-4 R to right, close L, L to left, close R with claps on counts 2 and 4 5-8 R fwd, chug fwd on R 9-12 Turn to left with L-R-L

Notes: Roberto Haddon and Penny Brichta

Presented by Penny Brichta at DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin

SHELI SHELCHA Mine is Yours

DANCE: Shmulik Gov-Ari MUSIC: Eyal Avidor & Meir Banay FORMATION: Circle facing centre

Counts Part I

1 – 4 Step R to R, cross L over R with a snap 5 – 8 R to R, cross L behind R, R to R, cross L over R 9 - 12 Slow R, L-back on R (slow-quick-quick) 13 – 16 Slow L to left, R-back on L (slow-quick-quick) to face CW 17 – 20 Moving to centre with R shoulder to centre, R to R, cross L over R 21 – 24 Yemenite R 25 – 28 L, R, bwd on line of circle 29 – 32 L-R-L to turn to L 33 – 64 Repeat 1 - 32

Transition

1 - 4 R to R, cross L behind R, R to R, cross L over R

Part II Moving to centre

1 - 4 R, L, R, brush L 5 – 8 L to L, cross R over L-back on L (slow-quick-quick) 9 – 12 R to R, cross L over R-back on R (slow-quick-quick) 13 Sway L 14 - 16 ½ turn to right with R, L 17 - 20 Sway R, sway L, cross R over L, putting R hand in front of heart 21 - 24 Repeat 17-20 with opposite footwork and hands 25 - 28 Rock R fwd, L in place, R back, L in place 29 – 32 ½ turn to R, L, R,L 33 – 64 Repeat 1 – 32

Transition II

1 – 4 Cherikissiya: Rock R fwd, L in place, R back , L in place

Dance is done twice and then repeat Part II, transition II and Part I, 1 – 8 and step R to end

Notes: Laurie Markus

Presented by Penny Brichta DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin Siasamba Lord of the Dance

Dance: Sagi Azran, Doron Valensi Music: Lord of the Dance soundtrack Formation: Lines

Part 1 Face towards music. Most steps are done in double time, hands on waist

1-4 Step R, LRLRL Right to side, Gravevine with L behind 5-6 R Yeminite 7-8 Bounce Bounce 9-16 Repeat 1-8 with opposite footwork and direction 17-32 Repeat counts 1-16

Part 2

1-2 RLR Moving fwd step R, L cross in front with straight leg, R in place 3-4 Repeat with LRL 5-6 Repeat counts 1-2 7-8 L-R-L with ½ turn to left 9-16 Repeat in other direction ending where you started 17-32 Repeat 1-16

Pepeat Part 1 and Part 2

Part 3

1-2 R-L Walk walk moving in ¼ circle to right 3-4 R-L-R continuing in ¼ turn to right 5-6 L-R Walk walk continuing ¼ circle to right 7-8 L-R-L continuing to right ending facing front 9-16 Repeat same steps moving to left Pattern is a Figure Eight 17-32 Repeat counts 1-16

Part 4

1-2 Balance R, balance L 3-6 R sweep in front, R back to left leg, R front, R step 7-8 L-R-L full turn over left 9-10 Balance R, balance L with right arm sweeping across 11-12 Cross R, L side, cross R 13-14 Balance L, balance R with left arm sweeping across

2012 Door County Folk Festival (DCFF), Wisconsin 15-16 L-R-L turning ½ to left 17-32 Repeat counts 1-16 facing back, end front

Repeat Part 3

Part 5 Syncopated beat

1-4 Balance R, Balance L, R heel, step R 5-6 Balance L, Balance R double time 7-8 Step fwd R, L, R, L double time 9-16 Repeat with opposite foot

Part 1 Part 2

Notes: Martin Imber and Penny Brichta Presented by Penny J Brichta at DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin Patti Cohen (Winnipeg, MB, Canada)

Patti is a teacher at MIFDA in Winnipeg. Patti danced for many years in Chicago and is a former member of International Dancers. She was also very active in the folk dance group at the University of Illinois at Urbana-Champaign. She used to run a folk dance group for children at her school who performed for the annual Multicultural event and for other schools. Patti used to teach dances to the Romanian dance group in Winnipeg for the annual Folklorama Festival each August. She has also taught at SNOPA. Patti has recently become immersed in Greek dance, attending seminars in Prespes, Greece, Klironomia in Toronto and Greek dancing in Jerusalem. She is thrilled to have learned with some of the finest Greek dance teachers brought in from Greece to Toronto as well as Winnipeg, where she dances with the Kefi Dancers Adult group. A Kindergarten teacher for many years, she presently teaches Reading Recovery in the Winnipeg Public School System. Patti is thrilled to be returning to the Door County Folk Festival.

2012 Door County Folk Festival (DCFF), Wisconsin Koulouriastos (Evros-Thrace-Greece)

This dance is very popular in throughout the Evros region of Greece which is along the Black Sea. The dance has an organic feel as it curves in and out.

Formation: Line, shoulder hold, leads to right.

Part 1 Pravo – done during singing and when leader needs a rest

1 Step R to R, facing centre of circle 2 L crosses over R. 3/4 R. to R 5/6 L behind R. Repeat 1-6 until leader calls a change

Transition: Leader signals change of step by emphasizing last set of pravo steps as follows. It is done in an exaggerated fashion so that the line can see. The second in line may also perform this manoeuvre with the leader.

1 Step R to R 2 Swing L forward and up 3 Step back on L (exaggerate somewhat and move further back than normal) 4,5,6 R-L-R – triplet, in place

Part 2 – Fast - Done during instrumental part – it becomes a running sequence

1-6 line faces forward in LOD as follows

1. Step R in LOD, facing LOD 2. Step L in LOD 3 Step R in LOD 4 Leap fwd onto L in LOD 5 Step R in LOD 6 Leap fwd onto L in LOD

2012 Door County Folk Festival (DCFF), Wisconsin

7-12 line follows LOD moving backwards as follows

7 Pivot to L on L, step on R with in LOD 8 Step bkwards on L in LOD 9. Step bkwards on R in LOD with a small hop on R foot while lifting Lt 10. Step L 11 Step R 12 Step L (10-11, triplet, small and under body)

In Part 2, the leader curves the line, with the first 6-10 people. This circle must maintain a tension. The leader can move the group backwards and forwards as the leader wishes. The leader can then go back to the Pravo when tired after opening up the circle into a line. The leader decides when to initiate this step and also determines the length of time he continues it. When there is singing, the leader returns to pravo.

The remainder of the line continues Part 2 going forward. If a dancer can’t keep up, the dancer can keep going forward using steps 1-6 only.

As learned from Kyriakos Moisidis-Kefi Conference 2009 and Irena Karyofillidou-Klironomia, 2012

Dance description by Patti Cohen (my apologies if it isn’t clear)

Presented by Patti Cohen at Door County Folk Festival, 2012

2012 Door County Folk Festival (DCFF), Wisconsin Kououriastos Song Lyrics

Pses eida galana ksantha kai mavra mou matakia Pses eida sto oneiro mou Pses eida sto oneiro mou Mavra matia sto plevro Kai ksipno galana ksantha kai mavra mou matakia Kai ksipno kai den ta vrisko Kai ksipno kai den ta vrisko Mou' rhete na ksepsihiso Me ta rou- galana ksantha kai mavra mou matakia Me ta rouha mou malonw Me ta rouha mou malonw Ta kseskizw, ta mpalonw Rouha mou- galana ksantha kai mavra mou matakia Rouha mou, kala mou rouha Rouha mou kala mou rouha Pou'n'ta mavra matia pou'ha Pigan ma- galana ksantha kai mavra mou matakia Pigan makria sta ksena Pigan makria sta ksena Ki'alizmonisan emena

2012 Door County Folk Festival (DCFF), Wisconsin Letsi/Letsina - Pontos

Letsi/Letsina (Pontian – Kars-Greek)

Letsi and Letsina are two separate dances which are usually danced one after the other in a social situation. A band may play one without the other. The music provided will begin with Letsi followed by Letsina without pause. Letsina means “little Letsi”. The dances come from the area of Kars which is in the northeast of traditional Pontos, near the Armenian border. Many Pontians moved to the area of Kars for work in the mines. The Pontians now live in northern Greece after the forced population exchange of the early 1900’s.

Letsi

Formation: Broken circle; hands down at sides

Meter: 7/8 (1-2, 1-2, 1-2-3 or QQS)

Style: Travelling: body bent over at the waist, shoulders shaking gently with music, face looking at ground. In Place: body straightens, hands are overhead, arms a bit higher than a U position with elbows slightly bent. Look straight ahead, proud air. Arm Movement: Elbows bent in nearly 90 degree angle. Feet: Steps on the beat, feet are turned in, as if pigeon-toed, with a dig on the front ball of foot. It is an intentional placement with some force.

Men and Women traditionally dance together and are not separated by sex.

I suggest that for this recording that you wait 8 counts as in introduction, then do 8 of the Letsi sequences to make the transition into Letsina smoothly.

Count Step

and Facing RLOD (left), Step on L ft to L 1 Touch R ft in front, heels turned out, with a dig and Step on R ft 2 Touch L ft in front, heels turned out with a dig 19

2012 Door County Folk Festival (DCFF), Wisconsin Letsi/Letsina - Pontos and Step on L ft 3 Touch R ft in front, heels turned out, with a dig and Step on R ft behind body, turning to face opposite direction

4 Facing LOD (right). Touch L ft in front heels turned out, with a dig and Step on L ft, turning body to face center, 5 Touch R in front and Step on R ft, arms swing forward, arms are bent 6 Touch L in front, heels turned out, with a dig, arms swing back and Step on L ft, arms swing forward 7 Touch R in front, heels turned out with a dig, arms swing back and Step on R ft, arms swing fwd and up, to reach above heads by count 8 8 Touch L ft in front, same as 6, body straightens up; arms stay up and Step on L ft; arms stay up 9 Touch R ft in front, same as 7; arms stay up and Step on R ft; arms stay up 10 Touch L ft in front, same as 6; arms stay up and Step L to L, going in RLOD, ready to begin sequence again. This ‘and’ is the same as the ‘and’ at the top, bring arms down. This ‘and’ becomes the first step in Letsina which follows when the music speeds up.

Repeat above sequence, until the music speeds up.

Letsina

This dance moves to the left, moving in and out of the circle in a wedge. Steps can be translated into leaps when going fast. The characteristic bouncing is caused by a tik-tak movement of the knees: Tik=knees bend part way, tak=knees bend further.

Styling: Men may make larger foot movements than women. Women are smaller and stay closer to the ground.

and Step L to L, moving to the left, and diagonally into centre 1 Step R to L, with a tik/tak and Step L to L, moving to the left 20

2012 Door County Folk Festival (DCFF), Wisconsin Letsi/Letsina - Pontos 2 Step R to L, with a tik/tak and Step L to L, moving to the left 3 Step R to L, with a tik/tak and Step bkwards with L, moving straight back out of circle 1 Step bkwards with R, arms swing bkwds (1) and Step bkwards with L, arms swing fwds (2) 2 Step bkwards with R, arms swing bkwds (3) and Hold with weight on R, lifting L ft up ready for next step, arms swing up, they stay up until end of this sequence, in place 1 Touch L ft in front, with heel out, with a dig and Step on L ft 2 Touch R ft in front, with heel out, with a dig and Step on R ft 3 Touch L ft in front, with heel out, with a dig

Continue from the top, bringing arms down at sides.

See the dance performed on youtube by Paradosi Hellenic Dance Company of Toronto, Canada….Letsi/Letsina http://www.youtube.com/watch?v=A86cRGGie1U

As learned from Panagiotis Apostolidis at Greek Dance Seminar, Prespes, 2008, Kyriakos Moisithis of Greece at Klironomia, 2012 and Fr. Ted Paraskevopolous, Kefi Dancers of Winnipeg and Paradosi HDC of Toronto, Canada. Thanks to Fr. Ted for all his help.

Dance notes by Patti Cohen.

Presented by Patti Cohen at DCFF, 2011.

2012 Door County Folk Festival (DCFF), Wisconsin Paul Collins (Chicago, IL)

Paul C 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 Gallaudet 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 repertoire. 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 1999 Paul has done an annual week in residency at the Spring Hill Middle School in Wisconsin Dells, Wisconsin, 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 consultant in interpersonal and group communications strategies IT outsourcing strategies and is a co-founder and director of the Midwest Facilitators' Network.

2012 Door County Folk Festival (DCFF), Wisconsin Ardelean (Romanian, Transylvanian) Page 1 of 2

Translation: Transylvania

Dance Source: Mihai David

Music Source: London LP-SW-99456 (Music from Romania), Mihai David Tape (Romania, Romania)

Positions: “T” Position

Footwork: All patterns begin with a step on the R ft

Meter: 2/4, 1&-2&

Pronunciation: are-dell-eh-yahn

Background: Learned from Mihai David at a special workshop in the late 1960s in Ann Arbor, MI

Steps: Bouncing Step, Long and Short Traveling Steps

PATTERNS

Bounce Step (2-Measures) Measure Count Movement 1 1 Step R ft to R & Hold 2& Bring L ft next to R and bounce twice on heels 2 1 Step L ft to L & Hold 2& Bring R ft next to L and bounce twice on heels Cues: (1) Right-Bounce-Bounce, (2) Left-Bounce-Bounce

Short Traveling Step (4-Measures) Measure Count Movement 1 1 Step R ft moving to R & Hop on R ft 2 Step on L ft moving fwd and slightly to L & Step R ft across L moving to L 2 1 Step L ft moving to L & Stamp R across L ft 2 Step L ft moving to L & Stamp R across L ft 3 1 Step on L ft stepping slightly back & Hop on L ft moving to the R 2 Step R ft to R & Step L ft across R ft 4 1 Step R ft to R moving to R (run) & Step L ft to R moving to R (run) 2 Step R ft to R Moving to R (run) & Small Jump on both feet Cues: (1) Right-Hop-Step-Step, (2) Left-Stamp-Left-Stamp, (3) Left-Hop-Step-Step, (4) Run-Run-Run-Jump

Original Notes by Paul Collins with the assistance of Mihai David Edited and updated by Paul Collins – DCFF 2012 23 2012 Door County Folk Festival (DCFF), Wisconsin Ardelean (Romanian, Transylvanian) Page 2 of 2

Long Traveling Step (6-Measures) Measure Count Movement 1 1 Step R ft moving to R & Hop on R ft 2 Step on L ft moving fwd and slightly to L & Step R ft across L moving to L 2 1 Step L ft moving to L & Stamp R across L ft 2 Step L ft moving to L & Stamp R across L ft 3 1 Step L ft moving to L & Stamp R across L ft 2 Step L ft moving to L & Step R ft behind L ft (grapevine) 4 1 Step L ft moving to L & Stamp R across L ft 2 Step L ft moving to L & Stamp R across L ft 5 1 Step on L ft stepping slightly back & Hop on L ft moving to the R 2 Step R ft to R & Step L ft across R ft 6 1 Step R ft to R moving to R (run) & Step L ft to R moving to R (run) 2 Step R ft to R Moving to R (run) & Small Jump on both feet Cues: (1) Right-Hop-Step-Step, (2) Left-Stamp-Left-Stamp, (3) Left-Stamp-Left-Behind, (4) Left-Stamp-Left-Stamp, (5) Left-Hop-Step-Step, (6) Run-Run-Run-Jump

SEQUENCE OF STEPS

Measure Movement 1-2 1 Bounce Step (R & L) 4-6 1 Short Traveling Step 7-12 1 Long Traveling Step 13-16 1 Short Traveling Step

17-32 Repeat Entire Dance Sequence

33-48 Repeat Entire Dance Sequence

49-50 1 Bounce Step (R & L) 51 1/2 Bounce Step (R only)

Original Notes by Paul Collins with the assistance of Mihai David 24 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Ludo Kopano (Bulgarian - Shope) Page 1 of 4

Translation: Crazy Guy (Kopan)

Dance Source: Dick Crum, Ron Wixman, Steve Kotansky.

Music Source: Lexicon Band CD, Ziya CD, many other choices.

Positions: “Na Lesa” position, Belt Hold

Footwork: Springy

Meter: 11/16, QQSQQ, 12-12-123-12-12

Pronunciation: loo-dough KO-pah-no

Background: This is a choreographed Kopanitsa rhythm dance done in the Shope style.

Steps: Steps of varying complexities and number of measures

PATTERNS

Zaigraj (literally “Let’s Get Dancing”) (3-Measures) Measure Count Movement 1 Q (1) First time: Step R ft to R, moving diag R. On repeats: Slight lift on R ft, moving diag R. Q (2) Step L ft, moving diag R. S (3) Kick R ft across ("hook"), with chukche on L ft. Q (4) Step R ft moving R "Across front of stage". Q (5) Step L ft moving to R "Across front of stage". 2 Q (1) Step R ft moving to R "Across front of stage". Q (2) Step L ft moving to R "Across front of stage". S (3) Step back on R ft, landing on both feet in 4th position. Q (4) Slight hop backward on R ft. Q (5) L ft steps backward. 3 Q (1) Hop backward on L ft. Q (2) Step backward on R ft. S (3) Step diagonally fwd L with L ft. Q (4) Hop on L ft moving diag. fwd L. Q (5) Step fwd L on R ft. Cues: (1) Step-Step-Thrust-Step-Step, (2) Step-Step-Back-Lift-Step, (3) Lift-Step- Forward-Lift-Step (triangular movements)

Original Notes by Dick Crum, Ron Wixman, Steve Kotansky, Paul Collins Edited and updated by Paul Collins – DCFF 2012 25 2012 Door County Folk Festival (DCFF), Wisconsin Ludo Kopano (Bulgarian - Shope) Page 2 of 4

Chukni – (literally “strike” or “hit”) (Stamps) (3-Measures) Measure Count Movement 1 Q (1) First time: Step R ft in place On repeats: Slight lift on R ft in place Q (2) Step L ft in place. S (3) Kick R ft fwd, hitting heel on floor. (stamp) Q (4) Leap onto R ft, kicking L leg up behind R leg and Q (5) Hold. 2 Q (1) Leap onto L ft, kicking R leg up in front of L leg. Q (2) Hold. S (3) Leap onto R ft, swinging L ft fwd and out in an arc. Q (4) Hop on R ft in place, continue L ft's arc out to side. Q (5) Finish arc by stepping on L ft behind R ft. 3 Q (1) Hop slightly back on L ft. Q (2) Step backward on R ft. S (3) Step fwd on L ft. Q (4) Hop fwd on L ft. Q (5) Step fwd on R ft. Cues: (1) Step-Step-Stamp-Leap-Hold, (2) Leap-Hold-Leap-Lift-Step, (3) Lift-Step- Forward-Lift-Step

Chukni-Hlopni – (literally “strike the bells”) (Stamp-Jump) (5-Measures) Measure Count Movement 1 Q (1) Jump, landing on both feet apart and parallel. Q (2) Jump, landing on both feet together and parallel. S (3) Jump, landing on both feet apart and parallel. Q (4) Jump, landing on both feet together and parallel. Q (5) Jump, landing on both feet apart and parallel. 2 Q (1) Jump, landing on both feet together and parallel. Q (2) Jump, landing on both feet apart and parallel. S (3) Jump, landing on both feet together and parallel. Q (4) Hold Q (5) Hold 3 Q (1) Rock back on R ft. Q (2) Rock forward on L ft. S (3) "Hook" R ft up in front, with hop on L ft. Q (4) Rock back on R ft. Q (5) Rock forward on L ft. 4 Q (1) Step fwd with R ft. Q (2) Step in place with L ft. S (3) With slight preliminary hop on L ft, step R ft behind, L ft.(Twizzle). Q (4) Hop on R ft. Q (5) Step L ft behind R ft. 5 Q (1) Hop on L ft. Q (2) Step R ft behind L ft. S (3) Kick L heel fwd. (stamp) Q (4) Step L ft in place. (leap) Q (5) Kick R heel fwd. (stamp) Cues: (1) Jump-Jump-Jump-Jump-Jump, (2) Jump-Jump-Jump-Hold-Hold, (3) Back- Fwd-Hook-Back-Fwd, (4) Step-Step-Twizzle-Hop-Step (5), Hop-Step-Stamp-Leap-Stamp Original Notes by Dick Crum, Ron Wixman, Steve Kotansky, Paul Collins 26 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Ludo Kopano (Bulgarian - Shope) Page 3 of 4

Skurshi – (literally “bend”) (Leg Lifts) (5-Measures) Measure Count Movement 1 Q (1) First time: Step R ft in place On repeats: Slight lift on R ft in place Q (2) Step L ft in place. S (3) Step R ft in place, bending L knee up across and turning slightly R from the waist down. Q (4) Hop on R ft in place, wrenching knee to L. Q (5) Step L ft in place 2 Repeat Measure 1 3 Repeat Measure 1 4 Q (1) Step R ft in place. Q (2) Step L ft in place. S (3) Step R ft in place. Q (4) Hop on R ft, bringing straight L leg around in front. Q (5) Strike L heel across in front of R, L knee straight. 5 Q (1) Hop on R ft, bringing straight L leg to L side in front. Q (2) Strike L heel on floor out to L side. S (3) Strike L heel across in front of R again. Q (4) Hop on R ft. Q (5) Step on L ft behind R ft. 6 Q (1) Hop slightly back on L ft. Q (2) Step backward on R ft. S (3) Step fwd on L ft. Q (4) Hop fwd on L ft. Q (5) Step fwd on R ft. Cues: (1) Step-Step-Step-Hop-Step, (2) Step-Step-Step-Hop-Step, (3) Step-Step-Step- Hop-Step, (4) Step-Step-Step-Hop-Heel, (5) Hop-Heel-Heel-Hop-Step, (6) Hop-Step- Step-Hop-Step

Nabi-Plesni (literally “beat-clap”) (Stamp-Brush) – 4-Measures Measure Count Movement 1 Q (1) Step L with L ft. Q (2) Step R ft behind L ft. S (3) Step L ft in place. Q (4) Hop on L ft in place, raising R knee. Q (5) Strike R heel on floor. (stamp) 2 Q (1) Step R ft in place. Q (2) Strike L heel on floor. (stamp) S (3) Step on L ft in place, extending straight R leg to L. Q (4) Facing slightly L, hop on L ft, R leg still extended up. Q (5) Brush R ft backward. 3-4 Repeat Measures 1-2 but with opposite footwork Cues: (1) Step-Back-Step-Hop-Stamp, (2) Step-Stamp-Step-Hop-Brush

Original Notes by Dick Crum, Ron Wixman, Steve Kotansky, Paul Collins Edited and updated by Paul Collins – DCFF 2012 27 2012 Door County Folk Festival (DCFF), Wisconsin Ludo Kopano (Bulgarian - Shope) Page 4 of 4

Hvurli (literally “throw”) (Toe Taps with Thrust) – 4-Measures Measure Count Movement 1 Q (1) Hop on R ft, turning body to face L. Q (2) Rock back onto L ft behind R ft. S (3) Rock fwd onto R ft. Q (4) Hop on R ft. Q (5) Tap tip of L toe behind R ft 2 Q (1) Hop on R ft. Q (2) Tap tip of L toe behind R ft again. S (3) Hop on R ft, abruptly turning and kicking L ft across in front of R leg. Q (4) Hop on R ft. Q (5) Strike L heel fwd. (stamp) 3-4 Repeat Measures 1-2 but with opposite footwork, beginning with a step onto L ft, turning to face R, etc. Cues: (1) Hop-Step-Step-Hop-Touch, (2) Hop-Touch-Kick-Hop-Stamp

Last Figure (No Name Given) – 3-Measures Measure Count Movement 1 Q (1) First time: Step R ft to R, moving diag. fwd L. On repeats: Slight lift on R ft, moving diag. fwd L. Q (2) Step fwd with L ft. S (3) Stamp R ft next to L ft. Q (4) Step on R ft to the R side. Q (5) Step on L ft in place. 2 Q (1) Step fwd with R ft. Q (2) Step in place with L ft. S (3) With slight preliminary hop on L ft, step on R ft behind L ft (twizzle). Q (4) Hop on R ft. Q (5) Step L ft behind R ft. 3 Q (1) Hop slightly back on L ft. Q (2) Step backward on R ft. S (3) Step fwd on L ft. Q (4) Hop fwd on L ft. Q (5) Step fwd on R ft. Cues: (1) Step-Step-Stamp-Step-Step, (2) Step-Step-Twizzle-Hop-Stamp, (3) Hop-Step- Step-Hop-Step

SEQUENCE OF PATTERNS

Free form: The patterns in this description are in no particular order. The patterns are presented in the order in which we learned them. Line leaders may call for any of the steps to be executed in any sequence for any number of times.

Original Notes by Dick Crum, Ron Wixman, Steve Kotansky, Paul Collins 28 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Rutchenitza Po Troiki (Bulgarian – Strandjan) Page 1 of 3

Translation: Rutchenitza for Three

Dance Source: Dick Crum, Michel Cartier

Panagyurska Rutchenitza – XOPO LP 2, Strandjanska Rutchenitza – XOPO 324 (45), any Music Source: moderate-to-fast "Rutchenitza may be used

Trios facing CCW. M in the ctr with 2 ptrs on each side of him. Inside hands joined at shoulder Positions: level to start dance.

The basic step used throughout (with exceptions in Fig IV) is the so-called Rutchenitza step, a lively RLR, LRL sequence in the above rhythm (Q-Q-S), with an occasional stamp to punctuate Footwork: the beginning or end of a phrase. The basic Rutchenitza step is danced in place, backward, forward, sideways, turning, etc., and is subject to many individual variations. In this dance, all figures begin with the R ft.

Meter: 7/16, 12-12-123, QQS

Pronunciation: Ruh-cheh-NEE-tsah Poh Troy-key

This is an unusual dance from the Strandja district in southeast Bulgaria. Dick Crum originally learned it from the late Ilija Rizov, lead dancer with the Kutev Bulgarian State Ensemble. In a very elaborate form, the dance served as a basis for a portion of that group's show-piece, "Rutchenitza". On the basis of later research into Rutchenitza for Three, Crum arbitrarily selected the four figures below and put them into a fixed sequence for use and enjoyment by Background: American and Canadian folk dancers. Figs I, II and III are original "village" figures; Fig IV is a stylized pattern, for convenience of learning, meant to give an idea of the improvised, non- structured solo dancing typical of the dance in its village setting. Michele Cartier learned this dance from native dancers and through the Koutev Ensemble (Sofia). The Rutchenitza for three is rare dance and Cartier suggests that some Bulgarian ethnologists presumed that it derived from the lack of men in villages during war time.

Steps: Forward & Back, Trio Turn (Figure 8), Circles, Solos

PATTERNS

Figure I - Forward & Back Measure Count Movement 1-4 Basic steps fwd, RLR, LRL, RLR, LRL 5-8 Basic steps bkwd, RLR, LRL, RLR, LRL 9-16 Repeat actions of meas 1-8 Cues: Fwd 4 and Back 4

Original Notes by Dick Crum, Michel Cartier Edited and updated by Paul Collins – DCFF 2012 29 2012 Door County Folk Festival (DCFF), Wisconsin Rutchenitza Po Troiki (Bulgarian – Strandjan) Page 2 of 3

Figure II – Trio Turn – Figure 8 Measure Count Movement W dance Basic step in place, raising their joined hands high.

M does a prysiadka (deep knee-bend) in meas 1, (down on ct 1, up on ct 3.), moving fwd under W' raised arms. Coming up from prysiadka his wt is on R ft, and the L ft is brought 1-2 across in front of R ft with L knee slightly bent.

On meas 2, M does a Basic step LRL, turning a bit to L and bringing his R hand (holding R-hand W's R hand) fwd over his head. He is now facing the L-hand W. All do 2 more Basic steps; M turns further to L, at same time pulling L-hand W, who uses 3-4 her 2 Basic steps to pass fwd under arch and bear R. All do 2 more Basic steps: L-hand W, having passed under arch, bears R, keeps her L hand (holding M L hand) high and turns a little R, allowing these joined hands to pass fwd over her head; R-hand W moves fwd with 2 Basic steps, passing under this arch, bearing R and following L-hand W. 5-6 M follows R-hand W through arch, turning gradually L and bringing his L hand back over his head. At the end of these two meas, dancers are roughly in the same pos as in Fig I, but W’s joined hands are held high rather than crossed in front of M. 7-8 In 2 Basic steps, re-assume original pos, M ducking back under. 9-16 Repeat action of meas 1-8, Fig II. Cue: (1) Under the arch and turn the W in a figure 8, back under the arch at the end

Figure III – Circles Measure Count Movement At the end of Fig II, release all hands momentarily, then re-join them in a circle of 3. Do not

let go of hands during the circling: 8 Basic steps around to R in free style - turning, dancing sideways, etc. (optional 1-8 grapevine) 9-16 8 Basic steps around to L (optional grapevine)

Cue: (1) Circle R for 8 cnts, circle L for 8 cnts

Original Notes by Dick Crum, Michel Cartier 30 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Rutchenitza Po Troiki (Bulgarian – Strandjan) Page 3 of 3

Figure IVa – Women’s Solos Measure Count Movement All release hands and place on own hips. Ms’ and Ws' steps differ in this Fig.

M faces twd ctr, W are facing each other about 6 ft apart, having stepped away from each other at the end of Fig III. R-hand W's R shoulder and L-hand W's L shoulder are twd ctr. W Variation 1: Note: Meas 1-8 are done with hands on hips. 1 Beginning with R ft, W move twd each other with 1 Basic step, each making a 1/4 turn CW, ending with their L elbows pointed twd each other. Looking at each other over L shoulders, W do the following "bounce step": Place L ft out to 2 side (twd other W) putting wt on both ft, and bounce twice (cts 1,2), bounce again, but release R ft (ct 3). Do a Basic step, RLR, backing away from each other, making a 1/2 turn so that when W 3-4 reach their home their R elbows are pointing twd each other. Looking at each other over R shoulders, do the bounce step described in meas 2. (L ft is pointed away from other W). 5-8 Repeat action of meas 1-4, Fig IVa W Variation 2: Note: Meas 9-16 are done changing places and returning and are

accompanied by special hand movements. Hands are held out in front, high, palms out, fingers not spread, though thumbs are Q-Q (1-2) opened out; bring hands downward with an abrupt, flat movement as if smoothing a flat wall or surface. Quickly flick hands under and out. In slow motion this would be: bend fingers twd palms and turn palms twd you; then, with outside edge of hand "leading down" and away from S (3) you, flick hands out and into the pos of cts 1-2. Hands do not touch; if they did, middle knuckles would be in contact during the down-and-away flick. A total of 8 of these gestures are done, one per Basic Rutchenitza step. 9-16 W move 4 across to opp place and 4 back to own place. W Cue: (1) Turn-2-3, (2) Bounce-Bounce-Bounce, (3) Turn-2-3, (4) Bounce-Bounce-

Bounce, (5) Fwd-2-3, (6) Fwd-2-3, (7) Back-2-3, (8) Back-2-3

Figure IVb – Men’s Solos Measure Count Movement All release hands and place on own hips. M’s and W’s steps differ in this Fig.

M faces twd ctr, W are facing each other about 6 ft apart, having stepped away from each other at the end of Fig III. R-hand W's R shoulder and L-hand W's L shoulder are twd ctr. M Variation 1: In place, hop on L ft, kicking R ft across in front (ct 1). Step on R ft in place 1 (ct 2). Hop on R ft in place, kicking L ft across (ct 3) Scissors in place as follows: step on L ft, kicking R ft fwd (ct 1). Step on R ft in place, 2 kicking L ft fwd (ct 2). Step on L ft, kicking R ft fwd (ct 3). 3-8 M Repeat action of meas 1-2, Fig IVb, three more times in place. M Variation 2: 4 Basic steps as follows: RLR fwd, LRL back to place, then RLR, LRL fwd 9-12 quickly passing between girls and gradually making 1/2 turn R (CW), ending on other side of set, facing the place he started from. 13-16 M Repeat action of meas 9-12, Fig IVb, returning to original pos. M Cue: (1) Hop-Step-Kick, (2) Scissors-2-3, (3) Hop-Step-Kick, (4) Scissors-2-3, (5) Fwd-

2-3, (6) Back-2-3, (7) Cross-2-3, (8) Back-2-3 At the end of Figure IV, all dancers quickly re-form the trios in order to repeat the dance again, beginning with Fig I.

Original Notes by Dick Crum, Michel Cartier Edited and updated by Paul Collins – DCFF 2012 31 2012 Door County Folk Festival (DCFF), Wisconsin Stankino (Greek-Macedonian) Page 1 of 3

Translation: “Stanka” (a woman’s name), Stanko (a man’s name) – hence Stanko’s or Stanka’s dance.

Dance Source: Dennis Boxell, Dick Crum, Pece Atanasovski, Kete Ilievski, Simos Konstantinou

Music Source: Folkraft LP 15, Kolo Festival 2009 CD, Kud Makedonia Tape

Open circle. During the slow part, hands held high (“W” position). During the fast part, hands Positions: held low (“V” position). If done in segregated lines (old style), men hold shoulders (“T” position) and women hold hands high (“W” position).

Slow part, heavy and deliberate, all patterns begin w/step on R ft. Fast part, springy, all patterns Footwork: begin w/hop on L ft.

Meter: Slow part: 11/8; Fast part: 11/16; Both counted: QQSQQ, 12-12-123-12-12

Pronunciation: STAHN-key-no

Stankino (a.k.a. Stankina, Stankine, Stankena, Stankinoto) originated in Lerin (Florina), but the dance has spread out all over the north Aegean Macedonia: Voden (Edessa), Kostur (Kastoria). Prior to the early 1900s, the dance was known as a men's dance. It was later danced by Background: woman but in segregated lines. More recently is it is done with woman and men in the same semicircle. The beginning of the dance is slow and very emotional. The second half is fast and moves in a snaking pattern around the dancing area following the leader.

Steps: Slow step w/variations, fast step w/variations

PATTERNS

Basic Step – Slow Part (3-Measures) Measure Count Movement 1 Q (1) Step R ft to R, moving to R along the line Q (2) Hold S (3) Small lift of L ft Q (4) Step L ft slightly in front of R ft Q (5) Hold 2 Q (1) Step R ft to R Q (2) Hold S (3) Touch L slightly in front of R Q (4) Hold Q (5) Hold 3 Q (1) Step back on L ft Q (2) Hold S (3) Lift R ft behind L leg Q (4) Hold Q (5) Hold Cues: (1) Step-&-a-Lift-&-Step-&, (2) Step-&-a-Touch-&-Hold-&, (3) Step-&-a-Lift-&- Hold-&

Original Notes by Dennis Boxell, Dick Crum, Kete Ilievski, Paul Collins 32 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Stankino (Greek-Macedonian) Page 2 of 3

Basic Step Variation for Measure 1 – Slow Part Measure Count Movement 1 Q (1) Step R ft to R, moving to R along the line Q (2) Hold S (3) Touch L ft slightly fwd Q (4) Step L ft slightly in front of R ft Q (5) Hold 2 Same as Basic Step 3 Same as Basic Step Cues: (1) Step-&-a-Touch-&-Step-&, (2) Step-&-a-Touch-&-Hold-&, (3) Step-&-a-Lift-&- Hold-&

Basic Step Variation for Measure 2 – Slow Part Measure Count Movement 1 Same as Basic Step 2 Q (1) Step R ft to R Q (2) Hold S (3) Step L slightly to L (into center) Q (4) Step R slightly to R (away from center) Q (5) Hold 3 Same as Basic Step Cues: (1) Step-&-a-Lift-&-Step-&, (2) Step-&-a-Step-&-Step-&, (3) Step-&-a-Lift-&-Hold- &

Basic Step Variation for Measure 3 – Slow Part Measure Count Movement 1 Same as Basic Step 2 Same as Basic Step 3 Q (1) Step back on L ft Q (2) Hold S (3) Step R slightly to R (away from center) Q (4) Step L slightly to L (into center) Q (5) Hold Cues: (1) Step-&-a-Lift-&-Step-&, (2) Step-&-a-Touch-&-Hold-&, (3) Step-&-a-Step-&- Step-&

SEQUENCE OF PATTERNS

Free form: The patterns of the slow part in this description are presented in a logical sequence. The dance starts with basic step and then the leader adds variations as desired. There is no implied sequence to variations on the slow part and they may be added at any time and in any combination – i.e. any one, or two or all three variations are ok. I’ve seen videos of the dance where individuals in the line have added variations on their own volition – i.e. regardless of what the leader is doing. As the music accelerates from slow into fast tempo, dancers tend to do the variations on measures 2 and 3, sometimes also adding hop to the first part of all measures. There is no set rule for when the music is “fast enough” for the fast part – it’s a matter of style and taste.

Original Notes by Dennis Boxell, Dick Crum, Kete Ilievski, Paul Collins Edited and updated by Paul Collins – DCFF 2012 33 2012 Door County Folk Festival (DCFF), Wisconsin Stankino (Greek-Macedonian) Page 3 of 3

Basic Step – Fast Part (Moving Forward & Back) (3-Measures) Measure Count Movement 1 &Q (&1) Hop on L ft and Step R ft to R, moving to R along the line (kerplunk) Q (2) Hold S (3) Small hop on R ft along the line Q (4) Step L ft slightly in across of R ft Q (5) Hold 2 &Q (&1) Hop on L ft and Step R ft to R, moving to R along the line (kerplunk) Q (2) Hold S (3) Leap on L ft across R ft Q (4) Step R ft to R Q (5) Hold 3 &Q (&1) Quick-Step back on L ft followed by another quick-step back on R ft (L-R, kerplunk) Q (2) Hold S (3) Step L ft back Q (4) Hop on L ft in place Q (5) Hold Cues: (1) Hop-Step-&-a-Hop-&-Step-&, (2) Hop-Step-&-a-Leap-&-Step-&, (3) Step-Step- &-a-Step-&-Hop-&

Alternate Cues: (1) Kerplunk-&-a-Hop-&-Step-&, (2) Kerplunk -&-a-Leap-&-Step-&, (3) Kerplunk-&-a-Step-&-Hop-&

Variation on Fast Part (Moving Continuously Forward) Measure Count Movement 1 Same as Basic Step – Fast Part 2 Same as Basic Step – Fast Part 3 &Q (&1) Quick-Step forward on L ft followed by another quick-step forward on R ft (L-R, kerplunk) Q (2) Hold S (3) Step L ft forward in front of R ft Q (4) Hop on L ft moving slightly forward Q (5) Hold Cues: (1) Hop-Step-&-a-Hop-&-Step-&, (2) Hop-Step-&-a-Leap-&-Step-&, (3) Step-Step- &-a-Step-&-Hop-& (fwd)

Alternate Cues: (1) Kerplunk-&-a-Hop-&-Step-&, (2) Kerplunk -&-a-Leap-&-Step-&, (3) Kerplunk-&-a-Step-&-Hop-& (fwd)

SEQUENCE OF PATTERNS

Free form: There is no set rule for when the music is “fast enough” for the fast part – it’s a matter of style and taste. The leader starts the fast part and does it a while and then may elect to do the continuously forward variation.

While Stankino seems very simple in structure, there is quite a bit of complexity on the style of the slow part and in the continuous travel of the fast part.

Original Notes by Dennis Boxell, Dick Crum, Kete Ilievski, Paul Collins 34 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Tai Tai (Greek - Thessaly) Page 1 of 2

The dance Tai-Tai takes its name from the accompanying song refrain and is a contraction of Translation: "t'a(i)nevene" meaning "ascending" in Thessaly dialect.

Dance Source: Dick Crum, Joe Graziosi

Music Source: Folkraft LP-6, Joe Graziosi Tape

Open circle, alternate W-M; "plektos" hold, i.e., two open circle dance lines with the W in the front, and the M in the rear; the first M is spaced between the first and second W (there being two more persons in the front line than the rear). The dancers of each circle are linked by the Positions: simple "V" hand hold and in forming a single circle, the M raise their hands over the heads of the W, then lower them down with the first and last M holding the handkerchiefs of the first and last W. The opening up into two circles occurs during cts 1&2 of meas 1 of the Second Part and the uniting into one circle occurs during the same cts of the First Part.

Footwork: Flat footed, starting with L ft crossing over R ft

Meter: 2/4, 1&-2&

Pronunciation: tie tie

The performance of the dance is associated with the festival of Easter, especially in the village of Aidhonohori in western Thessaly.The basic step pattern is a variant of "Sta Tria", which is the most common dance type of Thessaly. Characteristic of the Tai-Tai is the alternate formation of one and Background: two dance circles. Though not very common, this formation type is also found in other dances such as Koutso-Stamatistos (Kefalonia), Arahovitikos (Morea), "Pion Eidhe Prasino Dhendri" (Thasos), et. al. This is the version of the dance as taught by Dick Crum. Joe Graziosi has taught a version of Tai Tai with different step patterns.

Steps: Crossing Steps, Step-hops

PATTERNS

Part 1 (Slow Part – One Circle) 3-Measures Measure Count Movement One circle, alternating M & W, in “V” position, M hands on top. 1 1& Moving to R, step L ft over R ft, flexing knee 2& Step fwd on R ft 2 1& Step L ft over R ft, flexing knee, again 2& Step fwd on R ft, again 3 1 Shift weight onto L ft ("rock to L'') & Return weight to R ft (“rock to R”) The slow pattern is done for a total of four times.

Note 1: The 3rd measure is truncated (not completed) and the repeat actually starts in the middle of a 2/4 phrase with step L across. So during the 2nd and 4th times through this pattern, dancers will have the sensation of being off the musical beat, but that’s the way the dance goes…

Note 2: On the 4th time through this pattern, last “&” count is also truncated and becomes the 1st count of the fast part (step-hop R).

This takes some getting used to! Cue words: (1) Cross-Step, (2) Cross-Step, (3) Rock-Rock Original Notes by Dick Crum and Joe Graziosi Edited and updated by Paul Collins – DCFF 2012 35 2012 Door County Folk Festival (DCFF), Wisconsin Tai Tai (Greek - Thessaly) Page 2 of 2

Part 2 (Fast Part – Two Circles) 5-Measures Measure Count Movement Two circles, alternating M & W, in “W” position, W duck under M raised hands. 1 1& Moving to R, Step-Hop on R ft 2& Moving to R, Step-Hop on L ft 2 1& Moving to R, Step-Hop on R ft 2& Moving to R, Step-Hop on L ft 3 1& Moving to R, Step-Hop on R ft 2& Moving to R, Step-Hop on L ft 4 1& Moving to R, Step-Hop on R ft 2& Moving to R, Step-Hop on L ft 5 1 Facing Ctr, bringing R ft over L ft R, Step on R ft & Still facing Ctr, step slightly back on L ft a In place hop on L ft, moving R ft to R in preparation for beginning this pattern again The above pattern is done for a total of four times.

Note 1: The hop in measure 5 shifts the dance off the beat (again) so that during the 1st and 3rd times through this pattern, dancers will have the sensation of being off the musical beat (again), but that’s the way the dance goes…

This also takes some getting used to! Transition between the fast step and the slow step 6 1& Moving to R, Step-Hop on R ft 7 2& Moving to R, Step-Hop on L ft 8 & Moving to R, Step R ft to R Cues: (1) Step-Hop, (2) Step-Hop, (3) Step-Hop, (4) Step-Hop, (5) Leap-Step-Hop… Transition: (1) Step-Hop, (2) Step-Hop, (3) Step

Alternate Cues: 1-&, 2-&, 3-&, 4-&, 5-&-a… Transition: 1-&, 2-&, &

Tai Tai Tai Tai (Greek Words) (English Translation) Tis Alexandras, to vre toi vouno Alexandra's mountain, Kanis, kanis den t' aineveni, No one, no one climbs it, Kanis, kanis den t' aineveni, No one, no one climbs it, Ki' i kor', tai tai more 'mbros, more vi ti ti, And the girl, tai tai oh forward, oh vi ti ti, Ki' i kor', apo t' aineveni. And the girl climbing it. I kori apo, t' aine-, t' ainevene And the girl climb-, climbing it, Plego-, plegondas to gaitani, Plait-, plaiting the braid, Plego-, plegondas to gaitani, Plait-, plaiting the braid, Plego-, tai tai more 'mbros, more vi ti ti, Plait-, tai tai oh forward, oh vi ti ti, Plego-, plegondas to gaitani. Plait-, plaiting the braid. Plegondas k' argople-, mor' plegondas, Plaiting and slowly plait-, oh plaiting Ke psi-, ke psilotragoudondas, And sing-, and singing high, Ke psi-, ke psilotragoudondas, And sing-, and singing high, Ke psi-, tai tai more 'mbros, more vi ti ti, And sing-, tai tai oh forward, oh vi ti ti, Ke psi-, ke psilotragoudondas. And sing-, and singing high.

Original Notes by Dick Crum and Joe Graziosi 36 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Trite Puti (Bulgarian - Thracian) Page 1 of 3

The name "Trite Pulti" means three times, but is also the name for a family of dances. See dance notes Translation: by Dick Crum on Nama II. Not to be confused with the Greek-Macedonian Trite Pati (Savlitsena).

Dance Source: Dennis Boxell, Dick Crum, Dimitar Manov

Music Source: Lexicon Band CD (The Best from Bulgaria), many other choices.

Positions: “V” position, arms swinging slightly forward and back, except where noted

Footwork: Flat footed, all patterns begin with a step on the R ft or a hop on the L ft

Meter: 2/4, 1&-2&

Pronunciation: tree-tay Puh-TEE

Trite Puti is danced all over Thrace but especially in villages near Sliven. The following variations (there are many) are typical of this dance. Trite Puti is danced with an upward hop on Background: ct one (on the upbeat) of each measure which is a little tricky at first, but highly enjoyable once learned.

Steps: Traveling Steps, Forward-Backward Steps, In-Place steps

PATTERNS

4-Measure Traveling Step (Single Step) Measure Count Movement 1 1 Facing and moving slightly R, hop on L ft & Step fwd on R ft 2 Hop on R ft & Step fwd on L ft 2 1 Hop on L ft & Step fwd on R ft 2 Step L ft across R & Step bkwd on R ft in place 3 1 Hop on R ft in place & Step on L ft in place next to R 2 Cross and step on R ft in front of L & Step bkwd on L ft in place 4 1 Step on R ft directly bkwd parallel to L & Step on L ft in place 2 Cross and step on R ft in front of L & Step bkwd on L ft in place Cues: (1) Hop-Step-Hop-Step-Hop-Step-Cross-Step, (2) Hop-Step-Cross-Step-Step-Step- Cross-Step

7-Measure Traveling Step (Double Step) - Basic Trite Puti Pattern in IFD* Measure Count Movement 1-4 Repeat Measures 1-4 of 4-Measure Basic Step 5 Repeat Measure 2 of 4-Measure Basic Step 6-7 Repeat Measures 3-4 of 4-Measure Basic Step Cues: (1) Hop-Step-Hop-Step-Hop-Step-Cross-Step, (2) Hop-Step-Cross-Step-Step-Step- Cross-Step, (3) Hop-Step-Cross-Step, (4) Hop-Step-Cross-Step-Step-Step-Cross-Step Original Notes by Dennis Boxell, Dick Crum, Paul Collins Edited and updated by Paul Collins – DCFF 2012 37 2012 Door County Folk Festival (DCFF), Wisconsin Trite Puti (Bulgarian - Thracian) Page 2 of 3

4-Measure Forward & Back Step Measure Count Movement 1 1 Facing and moving to the ctr, hop fwd on L ft & Step fwd on R ft 2 Hop on fwd R ft & Step fwd on L ft 2 1 Hop on fwd L ft & Step fwd on R ft 2 Step L ft fwd, pointing L ft slightly fwd as you step & Step bkwd on R ft 3 1 Hop on R ft in place (reel steps bkwd) & Step bkwd on L 2 Hop on L ft in place & Step bkwd on R 4 1 Hop on R ft in place & Step bkwd on L 2 Step bkwd on R ft & Step fwd on L ft Cues: (1) Hop-Step-Hop-Step-Hop-Step-Fwd-Step [fwd], (2) Hop-Step-Hop-Step-Hop- Step-Back-Step [bkwd]

4-Measure Forward & Back Step with Hop-Stomps Measure Count Movement 1 1 Facing and moving to the ctr, hop fwd on L ft & Stomp fwd on R ft 2 Hop on fwd L ft & Stomp fwd on R ft 2 1 Hop on fwd L ft & Step fwd on R ft 2 Step L ft fwd, pointing L ft slightly fwd as you step & Step bkwd on R ft 3-4 Repeat Meas 3-4 of Forward & Back Step Cues: (1) Hop-Stamp-Hop-Stamp-Hop-Stamp-Fwd-Step [fwd], (2) Hop-Step-Hop-Step- Hop-Step-Back-Step [bkwd]

Original Notes by Dennis Boxell, Dick Crum, Paul Collins 38 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin Trite Puti (Bulgarian - Thracian) Page 3 of 3

4-Measure in-Place Step (Circles & Clicks) Measure Count Movement 1 1 Facing the ctr, hop fwd on L ft, swinging R ft in front of L, arms swinging fwd & bkwd & Step R ft in front of L 2 Step L ft slightly to L & Step R ft slightly back, but next to L 2 Repeat Meas 1-4 with opposite footwork, arms swinging fwd & bkwd 3 1 Leap on R ft in front of L, turning body to face L, NO arm swings after this point & Pause 2 Leap on L ft continuing to face to L & Pause 4 1 Sharply close (click) R ft to L, transferring wt to R & Still facing L, step (fall) onto L ft, moving slightly away from ctr 2& Repeat Meas 4, cts 1& Cues: (1) Hop-Step-Step-Step-Hop-Step-Step-Step, (2) Leap [pause]-Leap [pause]-Click- Step-Click-Step

7-Measure in-Place Step (Half-Turns & Clicks) Measure Count Movement 1 1& Turning sharply to L, Leap R ft in front of L ft, NO arm swings on this step 2& Hop R, beginning a turn to the R and swinging L leg over R 2 1& Hop R, continuing to turn to the R and swinging L leg over R 2& Now facing to R, leap onto L ft 3 1& Now hop on L ft while starting to turn back to the L and swinging R leg over L ft 2& Leap onto R ft, facing back to the L, with R hip facing ctr 4 1& Facing L, jump, landing with feet apart 2& Still facing L, jump, landing with feet together 5 1 Still facing L, leap onto L ft & Still facing L, stamp R ft next to L ft 2 Still facing L, leap onto R ft & Still facing L, stamp L ft next to R ft 6 1 Still facing L, leap onto L ft to L & Still facing L, Sharply close (click) R ft to L, transferring wt to R 2& Repeat Meas 6, cts 1& 7 1& Repeat Meas 6, cts 1& 2 Repeat Meas 6, ct 1 only & Pause Cues: (1) Cross-Hop-Hop-Leap-Hop-Leap-Apart-Together, (2) Leap-Stamp-Leap-Stamp- Leap-Click-Leap-Click-Leap-Click-Leap [pause]

SEQUENCE OF PATTERNS

Free form: The patterns in this description are in no particular order. The second variation (7-Measure Traveling Step) is the pattern most commonly done by International Folk Dancers. Line leaders may call for any of the steps to be executed in any sequence for any number of times.

Original Notes by Dennis Boxell, Dick Crum, Paul Collins Edited and updated by Paul Collins – DCFF 2012 39 2012 Door County Folk Festival (DCFF), Wisconsin U Šest Koraka (Serbian - Šumadian) Page 1 of 4

Translation: In six steps

Dance Source: Dick Crum, Dennis Boxell, others

Music Source: Uzičko Kolo (Sloboda CD 1), Moravac Kolo (Sloboda CD 1), many others

Positions: Open circle or line, hands joined and held down at sides in “V” position.

Footwork: Beginning on R ft when moving to the R and with the L ft when moving to L

Meter: 2/4, 1-2-&, S-Q-Q, MIXED-pic-kles, (but also Q-Q-S)

Pronunciation: oo shest ko-RAH-kah

Kolo U Šest Koraka is a highly improvised dance, with many personal variations to the basic patterns. The patterns referenced here are but a few that have been gleaned from dancers in the Serbian community. This dance is the single most popular Kolo among Serbs today. It is Background: also popular among Bosnians, Croatians and Montenegrans. There are thousands of melodies for it, and new ones are always being composed, just as is the case with polkas or waltzes in the U.S.

Syncopated threes (optional). This step appears all through the variations, and is done as follows: (beginning, for example, with the R ft)

Measure Count Movement 1 1 Step R ft in place & Hold 2 Step L ft beside R & Step R ft in place or Measure Count Movement 1 1& Step R ft in place 2 Step L ft beside R & Step R ft in place

Also done in opposite direction, beginning with L ft. The important thing is the "slow-quick-quick" rhythm. For convenience, count 1&-2-3 or S-Q-Q. Stress dancing on the balls of the feet Steps: throughout and do the steps with great elasticity in the knees.

Note 1: Because this is a highly improvised and personal dance, many dancers do not do the syncopated threes, but instead do un-syncopated threes: Q-Q-S or 1-2-3&.

Note 2: While the dance structure is symmetrical, dancers tend to take bigger steps when moving to the R and smaller steps when moving to the L, hence the net movement of each step is more to the R line of direction (counter-clock wise).

Note 3: Dick Crum coined the phrase “Mixed Pickles” to help folk dancers understand the rhythm of the syncopated threes – S-Q-Q or 1&-2-3, with a delay (hold) on the first count. Hence the “syncopated threes” has been known as the “Mixed Pickles Step”. Again many dancers do the un-syncopated threes, so both types of threes are correct.

Note 4: Have fun with the patterns and learn new variations by watching the “Natives”. There is not set pattern to this dance and attempts by a line leader to call the steps go against the spirit of the dance. There are many choreographed “U Šest” type dances with established patterns such as Prekid Kolo, Gocino Kolo, Senjačko Kolo, Staro Ratarsko Kolo. Original Notes by Dick Crum 40 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin U Šest Koraka (Serbian - Šumadian) Page 2 of 4

PATTERNS

Basic Step (Walking Step) Measure Count Movement 1 1& Step on R ft to R (facing and moving to R) 2& Step L ft across R ft (facing and moving to R) 2 1& Step on R ft to R 2& Close L ft to R ft (no weight) 3 1& Step on L ft to L 2& Close R ft to L ft (no weight) 4 1& Step on R ft to R 2& Close L ft to R ft (no weight) 5-8 Repeat meas 1-4 but with the opposite ft and direction (smaller steps) Cues: (1) Walk-Walk, (2) Step-Close, (3) Step-Close, (4) Step-Close

Step-Hop with Syncopated Threes Measure Count Movement 1 1& Step on R ft to R (facing and moving to R) & hold 2 Hop R ft to R (facing and moving to R) & Step on L ft across R ft 2 1& Step R ft in place & hold (Mixed Pickles) 2 Step L ft beside R & Step R ft in place 3 1& Step L ft in place & hold (Mixed Pickles) 2 Step R ft beside L & Step L ft in place 4 1& Step R ft in place & hold (Mixed Pickles) 2 Step L ft beside R & Step R ft in place 5-8 Repeat meas 1-4 but with the opposite ft and direction (smaller steps) Cues: (1) Right-Hop-Step, (2) Right-Left-Right, (3) Left-Right-Left, (4) Right-Left-Right Alternate Cues: (1) Right-Hop-Step, (2) Mixed-Pic-kles, (3) Mixed-Pic-kles, (4) Mixed- Pic-kles

Note: Can also be done with un-syncopated threes – Q-Q-S or 1-2-3&

Four Steps with Syncopated Threes Measure Count Movement 1 1 Step on R ft to R (facing ctr and moving to R) & Step on L ft behind (or across) R ft 2 Step on R ft to R & Step on L ft behind (or across) R ft 2-4 Three Syncopated Threes (Mixed Pickles) (R-L-R) 5-8 Repeat meas 1-4 but with the opposite ft and direction (smaller steps) Cues: (1) Step-Behind-Step-Behind, (2) Right-Left-Right, (3) Left-Right-Left, (4) Right- Left-Right (you can also step in front)

Original Notes by Dick Crum Edited and updated by Paul Collins – DCFF 2012 41 2012 Door County Folk Festival (DCFF), Wisconsin U Šest Koraka (Serbian - Šumadian) Page 3 of 4

Seven Steps with Syncopated Threes Measure Count Movement 1 1 Step on R ft to R (facing ctr and moving to R) & Step on L ft behind (or across) R ft 2 Step on R ft to R & Step on L ft behind (or across) R ft 2 1 Step on R ft to R & Step on L ft behind (or across) R ft 2 Step on R ft to R & Hold 3-4 Two Syncopated Threes (Mixed Pickles) (L-R) 5-8 Repeat meas 1-4 of this step but with the opposite ft and direction (smaller steps) Cues: (1) Step-Behind-Step-Behind, (2) Step-Behind-Step-Hold, (3) Left-Right-Left, (4) Right-Left-Right

Cuts (Skoči) with Syncopated Threes Measure Count Movement 1 1& Small jump keeping wt on R ft to R (facing ctr and moving to R) Hop on R ft, at the same time brushing (scraping) L ft fwd, then swinging it around behind 2 R ft in a tight circular motion. (skoči) & Step on L ft behind R ft 2 Repeat meas 1 (skoči) 3 Repeat meas 1 (skoči) 4 One Syncopated Three (Mixed Pickles) (R) 5-8 Repeat meas 1-4 of this step but with the opposite ft and direction (smaller steps) Cues: (1) Jump-Hop-Step, (2) Jump -Hop-Step, (3) Jump -Hop-Step, (4) Right-Left- Right

Combination – 2 Cuts (Skoči) + 4 Steps with Syncopated Threes Measure Count Movement 1-2 Two Cuts (skoči) to the R 3 One 4-Step Pattern (R-L-R-L) 4 One Syncopated Three (Mixed Pickles) (R) 5-8 Repeat meas 1-4 of this step but with the opposite ft and direction (smaller steps) Cues: (1) Jump-Hop-Step, (2) Jump -Hop-Step, (3) Step-Behind-Step-Behind, (4) Right- Left-Right

Combination – 4 Steps + 2 Cuts (Skoči) with Syncopated Threes Measure Count Movement 1 One 4-Step Pattern (R-L-R-L) 2-3 Two Cuts (skoči) to the R 4 One Syncopated Three (Mixed Pickles) (R) 5-8 Repeat meas 1-4 of this step but with the opposite ft and direction (smaller steps) Cues: (1) Step-Behind-Step-Behind, (2) Jump -Hop-Step, (3) Jump-Hop-Step, (4) Right- Left-Right

Original Notes by Dick Crum 42 Edited and updated by Paul Collins – DCFF 2012 2012 Door County Folk Festival (DCFF), Wisconsin U Šest Koraka (Serbian - Šumadian) Page 4 of 4

Čujes Mala Step (from Čujes Mala Kolo) Measure Count Movement 1 1& Step on R ft to R (facing and moving to R) & hold 2 Hop R ft to R (facing and moving to R) & Step on L ft across R ft 2 1& Step R ft to R and hold (Mixed Pickles Rhythm) 2& Close L ft to R and bounce twice 3 1& Step L ft to L and hold (Mixed Pickles Rhythm) 2& Close R ft to L and bounce twice 4 1& Step R ft to R and hold (Mixed Pickles Rhythm) 2 Close L ft to R and bounce twice 5-8 Repeat meas 1-4 but with the opposite ft and direction (smaller steps) Cues: (1) Right-Hop-Step, (2) Right-Bounce-Bounce, (3) Left-Bounce-Bounce, (4) Right-

Bounce-Bounce

Kokonješte Step (from Kokonješte Kolo) – Un-Syncopated Threes Measure Count Movement 1 1& Small running step on R ft to R (facing and moving to R) 2& Small running step on L ft across R ft (facing and moving to R) 2 1 Step R ft in place (Un-Syncopated Threes) & Step L ft beside R 2& Step R ft in place and hold 3 1 Step L ft in place (Un-Syncopated Threes) & Step R ft beside L 2& Step L ft in place and hold 4 1 Step R ft in place (Un-Syncopated Threes) & Step L ft beside R 2& Step R ft in place and hold 5-8 Repeat meas 1-4 but with the opposite ft and direction (smaller steps) Cues: (1) Right-Left, (2) Right-Left-Right, (3) Left-Right-Left, (4) Right-Left-Right

Original Notes by Dick Crum Edited and updated by Paul Collins – DCFF 2012 43 2012 Door County Folk Festival (DCFF), Wisconsin George Davis (Chicago, IL)

George, editor of the short-lived journal, Folktravesties, has been dancing since the days of the Great Society in the bright lights of Chicago. Learning dances from all of the legends: Crum, Palfi, David, Hebert, Moreau, Koenig, Filcich, Page, Czompo, Wixman, Ozkok, Drury, Mr. J. and Greene, he has managed to be known to none of them. A veteran of numerous performances at street fairs, old people's homes, testimonial dinners (before the belly dancers), and benefits for various handicapped groups; he has danced for international, Turkish, Israeli, Romanian, Latvian and Hungarian folklore groups. Dance research has taken George to exotic locales such as Milan's Lounge, the Rafters, Vi & Coy's and Tulipanos Lada. George is also a co-founder of the Franz Josef Verein, a central European cultural appreciation group.

2012 Door County Folk Festival (DCFF), Wisconsin BOURREE PASTOURELLE

France

A circle bourree from the region of Pouligny-Notre-Dame in Lower Berry is one of the most popular dances in Berry. Bourrees are the quintessential, “real” French dances. The origins are unknown, though they are widely spread on French territory especially in the Centre, Massif Central, Auvergne, Rouerque, Limousin, and especially Berry. In Berry, bourrees are danced in a very sober style -- no gesture with hands. M carry most of the typical style with his knee action, which is strictly forbidden for W, who dance in a very delicate way. Learned from Germain and Louise Hebert.

MUSIC: Rhythme 4002, “Bourree Pastourelle”

FORMATION: A circle of 6 to 10 cpls, W at M’s R, all facing ctr, free hands at sides for M. W hold skirt.

BASIC STEPS: Pas de bourree (bourree step) Starting on L ft, step fwd with the full wt of the body touching the ground and bend both knees (ct 1); step-close on ball of R ft, straightening the knees slightly (ct &); step on ball of L ft, straightening the knees slightly (ct 2); (All steps should be kept “under” the body and close to the ground)

Avant-deux droit Meas 1 Both starting with L ft, dance one bourre step fwd and meet your ptr with th R shoulder. (Note: the first step is a large one.) Meas 2 Dancing on the spot, do one bourree step if you are a W. M bend both knees on the 1st count of the meas. Meas 3 Move bkwd with one bouree step, starting with L ft. Meas 4 Do one bourree step in place.

Bransiller These steps are basically bourree steps done on the spot. Steps for M are done very neatly, crossing on the second ct. Step on Lft sdwd L (ct 1); cross R over L (ct &); step on L ft in place (ct 2). Reverse. (W do not cross on ct &.)

MUSIC 2/4 MOVEMENT DESCRIPTION

8 INTRODUCTION

FIGURE 1 -- Avant-deux A 1-4 All M move fwd with steps of “Avant-deux droit”. W do the same starting 2 meas later. 5-8 Repeat meas 1-4. 1-8 Repeat meas 1-8.

FIGURE 2 -- Chaine As Figure 2 starts, W are on the inside circle. They will not complete their avant-deux, but will do ½ turn CCW to fact their ptr. B 1-2 Join R hands with ptr and move and change place with ptr, using the first 2 meas of avant-deux droit” 3-8 Keep moving diag out and in, like in a Grand R and L. 1-8 Repeat Meas 1-8, Figure 2.

2012 Door County Folk Festival (DCFF), Wisconsin FIGURE 3 -- Avant-Deux At the end of Figure 2, M finish on the outside circle. A 1-4 All move twd the next ptr meeting with R shoulder using “Avant-deux droit” steps (W face out, M face in). 5-8 Repeat meas 1-4, Figure 3, meeting the same ptr at L shoulder. 1-8 Repeat meas 1-8, Figure 3.

FIGURE 4 -- Souriciere (Mouse-Trap) During this figure W dance on the spot with “bransiller steps” (Lower Berry Style). B 1-2 Staring with L ft, M using same steps as in Figure 2, move behind ptr past her L shoulder. After 2 meas, M are behind W. 3-4 Continuing past W’s R shoulder, M moves on to next W. 5-8 Repeat meas 1-4, Figure 4. 1-8 Repeat meas 1-8, Figure 4. On last meas, M grabs W’s inside hand and all fact ct. All join hands and hold them down.

FIGURE 5 -- Avant-deux A 1-8 All starting with L, W & M move twd ctr with “Avant-deux droit” steps. 1-6 Repeat meas 1-6, Figure 5. 7 M join inside hand with W on their R, drop the other, m turn ½ CW to face out of ctr. W turn a full turn CCW under joined hand. 8 M dance on the spot with a “bransiller step” as W moves on the outside circle to the next M, moving CW.

FIGURE 6 -- Pastourelle B 1-2 M & W join R hands. Balancing the hands sdwd to M’s R, then L, 2 “bransiller steps”. 3-4 W turn CCW und the joined hands and move CW to the next M. All do 2 “bransiller steps 5-8 Repeat meas 1-4, Figure 6 with new ptr. 1-8 Repeat meas 1-8, Figure 6. On the last 2 meas, M do 1 full turn CW. All finish facing ctr.

Presented by George Davis at DCFF 2012

Location of Berry

2012 Door County Folk Festival (DCFF), Wisconsin

Location of Pouligny-Notre-Dame

2012 Door County Folk Festival (DCFF), Wisconsin DORSET FOUR HAND REEL

England

A West of England country dance collected in Bridport, Dorset. There are many variations in types of steps used in this dance, however, the basic structure of reels and “stepping” solos is a common feature.

MUSIC: Greensleeves Country Dance Band: EFDSS Barndance, “Dorset Reel”

FORMATION: Two couples in a line: Man 1 Woman 1 Woman 2 Man 2

Dance can also be done with two sets perpendicular to one another to form 1 set.

MUSIC 2/4 MOVEMENT DESCRIPTION

THE DANCE 1‐32 All begin by passing R shoulders and walk a reel for four to places plus one extra change with M facing each other in center and W facing center as well. Couples end up thus: Woman 1 Man 1 Man 2 Woman 2 33‐48 M step to each other 49‐64 M turn around to face partners and every couple step to each other. 1‐32 Repeat reel to original position with W facing each other in center and M facing center. 33‐48 W step to each other 49‐64 W turn around to face partners and every couple step to each other. Repeat above only using a polka step during the reels. 1‐16 Finish with a buzz turn.

Presented by George Davis DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin FORGATOS

Hungary - Transylvania

Forgatos (FOR-gah-tosh) is couple dance from the Szekely area of Transylvania. Learned from Laszlo Dioszegi. This dance is a freestyle dance combining the various motifs at the Lead’s whim. A specific sequence of steps has been suggested to make the learning of the dance and motifs less stressful.

MUSIC: Szekely Lassu Csardas; Forgatos

FORMATION: Couples, W on M’s R, M holds W’s L upper arm with R hand, hold joined hands (M’s L, W’s R) in front at waist height.

MUSIC 2/4 MOVEMENT DESCRIPTION

BASIC STEPS

Men Women Together‐Apart (steps for W on M’s R ‐‐ reverse for W on M’s L) 1 Step R to R toward ptr Step L to L toward ptr 2 Slight bounce on R Slight bounce on L 3 Step L to L away from ptr Step R to R away from ptr 4 Slight bounce on L Slight bounce on R

Cross Over (steps for W on M’s R -- reverse for W on M’s L) 1 Step R to R Step L in front of ptr, turning CCW 2 Close L to R Step R in front of ptr, continuing to turn CCW 3 Step R to R Step L finishing CCW turn 4 Close L to R, no weight

MOTIFS

Motif 1 Together-Apart 1-16 4 Together-Apart Steps

Motif 2 TCTC 1-4 Together Apart Step 5-8 Cross Over 9-12 Together Apart 13-16 Cross Over

Motif 3 TCCT 1-4 Together-Apart Step 5-8 Cross Over 9-12 Cross Over 13-16 Together-Apart

Motif 4 TTCC 1-4 Together-Apart Step 5-8 Together-Apart Step 9-12 Cross Over 13-16 Cross Over

49 2012 Door County Folk Festival (DCFF), Wisconsin Motif 5 Rotate 1-8 4 Together-Apart Steps turning as a couple once around.

Motif 6 Rocks 1-4 Cross Over L to R. 5-6 Leap to both ft, wt on heels, turn toes to L, hold 7-8 Move toes to R, hold If Rocks are to be repeated: 9-12 Cross Over R to L. 13-14 Leap to both ft, wt on heels, turn toes to R, hold. 15-16 Move toes to L, hold.

Motif 7 Woman Behind 1-4 Cross Over R to L, M holds W’s R hand low with his L 5-8 M steps L, R, L to his L, pulling W into a CW turn beg with her R ft, R, L, R.

Motif 8 Woman in Front 1-4 Together-Apart Step, ending with M’s R hand, holding W’s L hand low 5-8 W turns across in front of M turning CCW in 4 Steps; M steps R, L, R to his R

Motif 9 Zippity 1-4 M turns CW L,R, L under joined hands M’s R, W’s L; at the same time W crosses over R, L, R 5-8 M crosses over R, hop, L, hop; W turns in place CCW L, R, L, R. 9-12 M continues L, hop, R, hop; W continues to turn in place L, R, L.

Motif 11 W Spin 1-4 M holds W’s R hand high with his L. W turns CCW under joined hands L, R, L (If multiple spins, W alternates turning CCW and CW reversing footwork.)

Motif 12 Rida 1-16 8 Rida steps, beg L.

Motif 13 Ballroom 1-4 M steps back slightly on R, L in place, R in place while shifting to ballroom position and moving W in CW direction. W moves fwd L, R, L. 5-8 M moves bwd L, R, L moving W CCW back to place. W moves bwd R, L, R. 9-12 Repeat 1-4.

Motif 14 Mesoseg 1-4 M turns in place L,R CCW while wrapping W around turning her CW R, L, R. 5-8 W turns CCW L, R, L, R in place; while M moves CW in circle around W, L, R. 9-12 W continues to turn CCW in place while M continues CW around W, L, R. 13-16 W continues to turn CCW in place while M continues CW around W, L, R.

FAST TEMPO Same as slow tempo except for accents done by Men. In Together-Apart step the M may leap to both feet together on ct 1 and hold on ct 2. When turning W behind or in front, M may substitute a jump click step for the step together step: ct 1 – Jump apart on both ft, ct 2 – jump and click heels in air, ct 3 – land on both ft together, ct 4 – hold. (If repeating jump, on ct 3 – land on both ft apart.)

50 2012 Door County Folk Festival (DCFF), Wisconsin DETAILED SEQUENCE

Sequence A:

Together Together Cross Cross Together Together Rotate CW Together Together Woman Behind Together Together Woman In Front Together Together Rotate CCW Rida Turn CCW Together Rocks Rocks

Sequence B:

Together Together Cross Together Zippity Together Together

The Dance is as follows: Slow Music (Lassu) Sequence A Sequence A Fast Music (Forgatos) Sequence A Sequence A Sequence B

Presented by George & Diana Davis DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin

2012 Door County Folk Festival (DCFF), Wisconsin GREENSLEEVES AND YELLOW LACE

England

An English country dance from Playford’s Dancing Master

MUSIC: Step Stately, “Greensleeves and Yellow Lace”

FORMATION: For Three couples in longways set.

MUSIC 2/4 MOVEMENT DESCRIPTION

THE DANCE PART I 1‐4 1st Couple set and cast into 2nd place, 2nd Couple move up. 5‐8 1st Couple set and cast into 3rd place, 3rd Couple move up. 9‐12 2nd Couple set and cast into 2nd place, 3rd Couple move up. 13‐16 2nd Couple set and cast into 3rd place, 1st Couple move up.

PART II 1‐4 1st M figure-8 through Couple in 3rd position (anticlockwise around W), 1st W (starting after her partner) figure-8 through couple in 1st position (clockwise around M). 5-8 1st M and 1nd W change ends passing R shoulders, figure-8 at opposite ends of the set.

PART III 1-4 1st M hands-3 with 3rd Couple 1 ½, while 1. W the same with 2nd Couple 5-8 1st Couple pass R should, hands 3 at opposite ends of set, 1st Couple pass R shoulders and go into 2nd place.

PART IV 1-4 1st M hey with 3rd couple (passing 3 W L shoulders), 1st W hey with 2nd Couple (Passing 2nd M L shoulders. 5-8 1st Couple cross and hey at opposite ends and return to 2nd place.

Repeat twice more with 3rd and 2nd Couples taking the lead.

Presented by George Davis DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin GRIMSTOCK

England

An English country dance from Playford’s Dancing Master MUSIC: Orange & Blue, EFDSS: English Dancing Master, “Grimstock”

FORMATION: For three couples in a longways set.

MUSIC 2/4 MOVEMENT DESCRIPTION

THE DANCE 1-4 Lead up a double and back 5-8 Set & turn single 1-8 Repeat 1-8

1 1 & 2 C change places, first couple going down between the second 2 1 & 3 C change places, 3. C coming up between the 1. C 3-4 2. & 3. C change places, third couple coming up between the first 5 1 & 2 C change places, first couple coming up between the second 6 1 & 3 couples change places , third couple going down between the first 7-8 2. And 3. C change places, second couple coming up between the third.

1-4 Side R & L 5-8 Set and turn Single 1-8 Repeat 1-8

1-8 As in first part, but partners face each other and slip , those inside taking both hands.

1-4 Arm R 5-8 Set and turn Single 1-8 Repeat 1-8 arming L

1 First M changes places with first W, passing by the L 2-4 Half the straight hey for three on each side 5 First M changes places with 1. W, passing by the R 6-8 Half the straight hey for three on each side to places.

Presented by George Davis at DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin HIT AND MISS

England

An English country dance from Playford’s Dancing Master

MUSIC: The Pemberly Players: The Pride and Prejudice Collection, “Hit and Miss”

FORMATION: For Two couples in three parts.

Couples face, W on M’s R.

MUSIC 2/4 MOVEMENT DESCRIPTION

THE DANCE PART I A 1‐4 Couples move forward a double, meet, and fall back a double to places. 5‐8 That again. B 1‐2 Couples move forward a double and meet. 3‐4 1.M leads 2.W up a double, while 2.M leads 1.W down a double. 5‐6 Both couples turn and face. 1.M leads 2.W down a double while 2.M leads 1.W up a double. 7‐8 1.M and 1.W joining hands fall back a double to places while 2.M and 2.W do the same. C 1‐6 Partners facing, 4 changes of a circular hey, beg R hands and shoulders.

PART II A 1‐4 Sides All. 5‐8 That again. B & C As in Part I.

PART II A 1‐4 Partners arm with the right. 5‐8 Partners arm with the left. B & C As in Part I.

Presented by George Davis DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin KAPUVARI VERBUNK

Hungary

This is a Hungarian verbunk dance from Kapuvar in western Hungary. These steps are based on films made by M. Jambor and George Martin in 1957 and presented by Andor Czompo.

MUSIC: LPX Qualiton 18007

FORMATION: Semi-circle or full circle of individual men.

MUSIC 2/4 MOVEMENT DESCRIPTION

Motif I - Heel Clicks: Ct. & In preparation, lift R ft slightly off the floor with turned out heel. 1 Close the R ft to the L ft with accent (heel click) keeping the feet parallel. Take weight on the R ft and do the same preparation with the L ft. 2 Repeat Ct 1 with opposite footwork. 3 Same as Ct 1, but omit the preparation of the L ft. 4 Hold

Motif II - Csardas: 1 Step with R ft to R. 2 Close L ft to R ft with heel-click. 3 Step with R ft to R. 4 Close L ft to R ft with heel-click (partial weight) Symmetrical repeat

Motif III - Csardas with Claps Same as Csardas, but on the first 3 counts, clap the hands in front about eye level.

Motif IV - Single Boot Slap 1 Hop on L ft. At the same time, hit the raised R leg (bent and turned out knee) inside below the knee with the R hand. 2 Take a small step with R ft backward. 3 Take a small step with L ft backward. 4 Step with R ft in place. 5 Step with L ft fwd with accent (stamp) 6 Take a small step with R ft fwd. 7 Stamp with L ft slightly fwd (turned out knee) without taking weight. 8 Step with L ft flightly fwd with accent (stamp).

Motif V - Single Boot Slap and Claps Same as Single Boot Slap with extra claps (in front about eye level) on cts 3, 4, and 5.

Motif VI - Three Boot Slaps 1 Hop on the L ft. At the same time, hit with R hand the raised R leg (bent and turned out knee) inside, below the knee. 2 Step with R ft slightly to R. 3-4 Repeat cts 1-2 with opposite footwork, handwork, and direction. 5 Repeat Ct 1 6 Step with R ft slightly back 7 Step with L ft slightly back 8 Step with R ft in place 9 Step with L ft slightly forward 10 Step with R ft slightly forward 11 Stamp with L ft slightly fwd without taking weight. 12 Step with L ft slightly to L

2012 Door County Folk Festival (DCFF), Wisconsin

Motif VII - Three Boot Slaps and Claps 1-6 Same as cts 1-6 of Three Boot Slaps 7 Step with L ft slightly to L. At the same time clap hands in front about eye level. 8 Step with R ft slightly fwd. Clap hands again. 9 Hop on the R ft. At the same time hit with L hand the raised L leg (bent and turned out knee) inside, below the knee. 10 Step with L ft slightly back 11 Step with R ft slightly to the R 12 Step with L ft slightly to the L.

Motif VIII - Three Boot Slaps with Closing 1-5 Same as cts 1-5 in Sequence #VI (Three Boot Slaps) 6 Step with R ft slightly to the R. In the meantime, raise L ft slightly to the L side. 7 Close the L ft to the R ft with a heel-click. 8 Pause

Motif IX - Cifra 1 Leap with R ft to the R. & Step with L ft in place closing it to the R ft with a heel-click. 2 Step with R ft in place with a slight knee bend.

Motif X - Single Boot Slap and Csardas 1 Same as ct. 1 in Motif 6 (Three Boot Slaps) 2 Step with R ft in place 3 Step with L ft to L side 4 Close R ft to L ft with heel-click. (You may clap hands on cts 3-4

Motif XI - Single Boot Slap with Heel-Click Jumps 1 Same as ct 1 of Motif 6 (Three Boot Slaps) 2 Step with R ft slightly to R side, in the meantime lift L ft slightly to L side with bent knee. 3 Close L ft to the R ft with a jump, clicking the heels together. 4 Close the R ft to the L with a jump, clicking the heels together. (You may clap the hands together on cts 3-4, in front at eye level)

Presented by George Davis DCFF 2012

57 2012 Door County Folk Festival (DCFF), Wisconsin THE DANCE

Melody A1 1-4 Introduction 5-8 Motif I Heel Clicks ( 4X) 9-12 Motif II Csardas (4X) 13-16 Motif III Csardas with Claps (4X)

Melody A2 1-2 Motif II Csardas (2X) 3-16 Motif IV Single Boot Slap (7 X)

Melody A3 1-2 Motif II Csardas (2X) 3-16 Motif V Single Boot Slap and Claps (7X)

Melody A4 1-2 Motif II Csardas (2X) 3-8 Motif VI Three Boot Slaps (2X) 9-14 Motif VII Three Boot Slaps and Claps (2X) 15-16 Motif VIII Three Boot Slaps with Closing (1X)

Melody B (Fast) 1-4 Motif IX Cifra (4X) 5-8 Motif X Single Boot Slap and Csardas (2X) 9-12 Motif XI Single Boot Slap with Heel-Click Jumps (2X) Repeat this sequence until the end of the music.

2012 Door County Folk Festival (DCFF), Wisconsin NAVIGATING SET DANCES

Teamwork is essential in set dances (English and Scottish Country Dances, contra dance, square dances, etc.) to ensure smooth navigation through the various figures. One of the more perplexing situations is navigating figure eights and heys (or reels). The following excerpts provide a good overview of the subject to provide the “theory” which will be applied in the 4 country dances described below:

Hit and Miss Greensleeves and Yellow Lace Grimstock Dorset 4 Hand Reel

Heys Also known as Reels. There are umpteen varieties of heys, mostly obscure and irrelevant, and all defying explanation. The basic principle is that a line of dancers face in alternate directions up and down the line and move along passing each other alternately by the right and left in a serpentine path. When you get to the end you turn round (counting that as passing someone) and work your way back down the line starting with the same shoulder again. As described this rather implies lots of dancers doing the hey for ages; in practice heys are usually for three or four dancers, and frequently for only two or three changes.

Heys should usually be danced to a skip change (or skip) step rather than walked (or plodded); a common failing is to finish them ahead of the music.

Circular Heys

Circular heys are even easier than straight ones because there are no ends to cause confusion. In a proper longways set a circular hey for four changes means pass your partner right, crossing the set, your neighbour left up or down the set, your partner right again across and finishing up by passing your neighbour left to get home. This usually takes sixteen steps, four for each change which is fairly leisurely. Three changes of a circular hey leaves you in your neighbour's place, and is a common way to make you progress up or down the set. Usually you are only given eight steps for the three changes, which makes it impossible to treat it as three distinct changes. People quite often offer hands in four changes so anyone in doubt can tell which side to pass (and be steered in the right direction), but this is much less common in the brisker and less well phrased three changes.

A common failing is to turn 270° instead of 90° the shorter way; this may work, but it costs unnecessary time and effort and worries other dancers that you might be lost.

Straight Heys

Three couple longways dances often have straight heys on the sides. In these the top and middle dancers face up and down, and pass right, then while the original middle person turns round to the right the original top and bottom dancers pass left, then while the original top turns round to the left at the bottom the other two pass right. In some dances the hey stops at that point (half a hey on the side) with the end dancers having swapped places and the middle one back home. In other dances the hey continues until everyone is back where they started.

Other Heys

Heys are a good way of moving so you meet other dancers, so it is not surprising that they are common, and come in assorted varieties. All the ones described below are for a three couple longways set.

2012 Door County Folk Festival (DCFF), Wisconsin -

Grimstock Hey

If both the men's line and women's line do straight heys together then the whole set is dancing, but you don't see much of your partner. If the men's line starts by the top two men passing right shoulders (as is conventional), but the top two women start by passing left then as you come in to the hey from the end you have a chance to hold your partner's hand. This is not as romantic as it might sound because as soon as you have collected your partner's hand you have to push it away hard as you separate to let the next couple in from the other end. Grimstock heys are so called because they appear in a dance of that name. They are also referred to as symmetric or mirror-image heys.

Morris Hey

A Morris hey is the exact opposite of a Grimstock one: instead of leading in from the end the middle couple lead up the middle while the tops cast out to meet in the middle and lead down as the bottom couple cast up. This is exactly the same path used in the Grimstock hey, but danced in the reverse direction. Morris heys are extremely rare in English (non-Morris) dances.

Cross Hey

So far as the bottom two couples are concerned this is the same as a Grimstock hey, but the top couple start by giving right hands and crossing over as they go down through the twos so that they go between the bottom two dancers of the opposite sex. As the hey is completed the first couple will find themselves back at the top, but on the wrong side, so most dances with cross heys have two in succession (the top couple giving left hands the second time: ladies first).

Figure Eight Generally one couple dances a figure eight path round another couple. You and your partner lead through that couple, crossing with your partner as you do, go round behind the person who was next to your partner, into your partner's place. Thus far is a half figure eight; for a full figure eight you continue, crossing again with your partner to get home. Ladies first is the convention in the crossings, senior first if it is two people of the same sex doing the figure eight.

A variation of the figure eight is a double figure eight; as one couple crosses through the other, the other couple casts into their place and then leads through crossing so that both couples follow the same track with everybody moving. Bored couples having a full figure eight done round them can confuse the others by turning it into a double figure eight.

Half figure eights are a common way of getting improper couples back onto their own sides.

Figure eights are generally danced to a skip or skip-change step, though it is a nice touch to slow down to a walk for the last four steps.

(From “Elements of English Country Dance” by Hugh Stewart)

THE HEY. The Hey may be defined as the rhythmical interlacing in serpentine fashion of two groups of dancers, moving in single file and in opposite directions.

The figure assumes different forms according to the disposition of the dancers. These varieties, however, fall naturally into two main types according as the track described by the dancers - disregarding the deviations made by them in passing one another - is (1) a straight line, or (2) the perimeter of a closed figure, circle or ellipse.

2012 Door County Folk Festival (DCFF), Wisconsin The second of these species, as the simpler of the two, will be first explained.

Figure 10.

THE CIRCULAR HEY In the analysis that follows the circle will, for the sake of convenience, be used throughout to represent the track described by the dancers in this form of the figure. In the round dance the track will of course be a true circle; while in the square dance it will become one as soon as the movement has begun. On the other hand, in a longways dance, the formation will be elliptical rather than circular, but this will not affect the validity of the following explanation. In the circular-hey the dancers, who must be even in number, are stationed at equal distances around the circumference of a circle, facing alternately in opposite directions, thus:-

Odd numbers face and move round clockwise; even numbers counter-clockwise. All move at the same rate and upon meeting, pass alternately by the right and left.

The progression is shown in diagram 5, the dotted and unbroken lines indicating the tracks described respectively by odd and even numbers. It will be seen that in every circuit the two groups of dancers, odd and even, thread through each other twice; that is, there will be eight simultaneous passings, or changes, as we will call them, in each complete circuit:-

2012 Door County Folk Festival (DCFF), Wisconsin This movement is identical with that of the Grand Chain, except that in the familiar Lancers figure the performers take hands, alternately right and left, as they pass; whereas in the Country Dance hey, "handing," as Playford calls it, is the exception rather than the rule.

In this form the hey presents no difficulty. No misconception can arise so long as (1) the initial disposition of the pairs, and (2) the duration of the movement, measured by circuits or changes, are clearly defined; and instructions on those two points will always be given in the notation. It should be understood that in the absence of directions to the contrary (1) the first pass is by the right, and (2) the dancers pass without handing.

Figure 11.

PROGRESSIVE CIRCULAR HEY. Sometimes the hey is danced progressively, the dancers beginning and ending the movement pair by pair, instead of simultaneously, as above described. This is effected in the following way:- The first change is performed by one pair only, say Nos. 1 and 2 (see diagram 4, Fig.10); the second by two pairs, Nos. 1 and 3, and Nos. 2 and 8; the third in like manner by three pairs, and the fourth by four pairs. At the conclusion of the fourth change Nos. 1 and 2 will be face to face, each having traversed half a circuit, and all dancers will be actively engaged, thus:-

The movement now proceeds in the usual way. At the end of every complete circuit the position will be as follows:-

The figure is concluded in the following manner:- Nos. 1 and 2, upon reaching their original places (see diagram 7), stop and remain neutral for the rest of the movement. The others continue dancing until they reach their proper places, when they, in like manner, stop and become neutral. This they will do pair by pair, in the following order, Nos. 3 and 8, 4 and 7, 5 and 6. The initial and final movements thus occupy the same time, i.e., four changes.

2012 Door County Folk Festival (DCFF), Wisconsin Whenever the progressive hey occurs (1) the initial pair will be named; and (2) the duration of the movement, measured by changes or curcuits, will be given in the notation.

Figure 12.

THE STRAIGHT HEY. The dancers stand in a straight line at equidistant stations, alternately facing up and down, thus:-

Odd numbers face down; even numbers up. As in the circular hey the dancers move at an even rate, and pass each other alternately by the right and left. The movement is shown in diagram 9, the dotted and unbroken lines indicating, respectively, the upward and downward tracks described by the dancers:-

It will be seen that the dancers after making the last pass at either end make a whole-turn - bearing to the right if the last pass was by the right, or to the left if the last pass was by the left - and re-enter the line, now in reverse direction, the first pass after re-entrance being by the same shoulder, right or left, as the preceding one.

When the Straight-hey is performed by three dancers only, we have the form in which the hey occurs most frequently in the Country Dance. On this account it will perhaps be advisable to describe this particular case in detail.

THE STRAIGHT HEY-FOR THREE

No.1 faces down, Nos. 2 and 3 up.

All simultaneously describe the figure eight, as shown in the above diagram, and return to places, passing along the unbroken line as they move down, and along the dotted line as they move up. At the beginning of the movement, therefore, No. 1 will dance along line a b, No. 2 along d c, and No. 3 along g e, i.e., Nos. 1 and 2 will pass by the right, Nos. 1 and 3 by the left.

2012 Door County Folk Festival (DCFF), Wisconsin In order that the dancers may not obstruct one another the two lobes of the figure should be made as broad as time and space will permit.

This is presumably the correct way in which the hey-for-three should be executed in the Country Dance, although we have no direct evidence that it was in fact so danced in Playford's day. Hogarth, however, in his Analysis of Beauty (1753), after defining the hey as "a cypher of S's, a number of serpentine lines interlacing and intervolving one another," prints a diagram of the hey-for-three which, although it might have been clearer, seems to show that the way the figure was danced at that period was substantially the same as that described above.

Moreover, Wilson (Analysis of Country Dancing, 1811) also describes the figure and prints a diagram, of which the following - except for clearness' sake the tracks are differentiated by means of varied lines - is a faithful reproduction:-

No. 1 moves along the broken line a; No. 2 along the line b; and No. 3 along the dotted line c.

Except that the two half-heys are inverted - the two lower dancers beginning the movement and passing by the left - the method shown in the diagram is precisely the same as we have above described.

The straight hey may be performed progressively. It is unnecessary, however to describe in detail the way in which this is effected, because, in principle, the method is the same as that already described in Fig.11.

Playford makes frequent use of the expressions "Single Hey" and "Double Hey." It is difficult to say with certainty what he means by these terms, because he uses them very loosely. Very often they are identical with what we have called the straight- and circular-hey. As, however, this is not always the case, I have, with some reluctance, substituted the terms used above, which are self-explanatory and free from ambiguity.

(From “English Country Dance Book – Part 6” by Cecil Sharp)

Compiled by George Davis DCFF 2012

2012 Door County Folk Festival (DCFF), Wisconsin Dan Garvin (Vadnais Heights, MN)

Dan has taught at the Door County Folk Festival, Chicagoland Spring Fling and other dance groups and festivals around the country. He is a leader at Tapestry - the Twin-Cities locally supported and organized Ethnic Dance Center and one of the organizers of SNOPA! - a Twin-Cities Winter Dance Weekend. He was on the dance committee of the folk dance group at Columbia University at Earle Hall in New York City. He danced in Madison Folk Dance Ensemble when he attended the University of Wisconsin in Madison. Despite being from St Paul [area], he is a member of Tri Bratovchedki, a Balkan singing group from Madison, Wisconsin.

2012 Door County Folk Festival (DCFF), Wisconsin Bărbătesc (Romania)

Bărbătesc, from Bogdan Vodă in Maramureş, Transylvania, means “men’s dance;” bărbăt means “man.”

Pronunciation: bahr-bah-TEHSK

Music: Theodor Vasilescu Romanian Folk Dances, Stockton ’97 2/4 meter

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

Meas Pattern No introduction.

PART A

1 Facing ctr, stamp on L to L with wt (ct 1); step on R beside L (ct &); stamp on L beside R with wt (ct 2); moving in LOD, stamp on R with wt (ct &). 2 Hold (ct 1); leap onto L beside R (ct &); stamp on R with wt (ct 2). 3 Stamp on L to L with wt, raising R leg fwd with knee bent (ct 1); hop on L, swinging R ft across L (ct 2); stamp on R to R with wt (ct &). 4 Hold (ct 1); leap onto L beside R (ct &); stamp on R to R with wt (ct 2). 5-8 Repeat meas 1-4, turning on last ct of meas 8 to face LOD. 9 Facing and moving in LOD, stamp on L with wt (ct 1); stamp on R fwd without wt (ct &); stamp R beside L with wt (ct 2); stamp on L with wt (ct &). 10 Stamp R fwd without wt (ct 1); stamp on R beside L with wt (ct &); stamp on L without wt (ct 2). 11-14 Repeat meas 9-10 twice (three times total). 15 With ft together and body erect, clap hands in front of face while bouncing on both ft (ct 1); bounce and clap again, rotating slightly CCW (ct 2); bounce and clap, again rotating slightly CCW (ct &). 16 Hold (ct 1); repeat bounce and clap, rotating slightly CCW (ct &); repeat bounce and clap, rotating CCW again to end facing ctr (ct 2). 17-32 Repeat meas 1-16.

PART B

1 Facing ctr and moving diag fwd R, jump onto both ft (ct 1); moving diag bkwd R, small leap onto L (ct 2); continuing diag bkwd R, step on R (ct &). 2 Continue back stepping L, R, L (cts 1,&,2). 3-8 Repeat meas 1-2 three times (four times total). 9 Jump on both ft apart (ct 1); click ft together in air (ct &); repeat cts 1,& (cts 2,&). 10 Land on L (ct 1); stamp on R with wt (ct &); stamp on L with wt (ct 2). 11 Facing ctr and moving LOD, stamp on R with wt (ct 1); stamp on L beside R with wt (ct &); stamp R, L, R with wt (cts 2,ee,&). 12 Stamp on L beside R with wt (ct 1); stamp R, L, R with wt (cts &,ah,2). 13-16 Repeat meas 9-12.

Dance repeats twice for a total of three times.

Presented by Theodor Valisescu

FOLK DANCE CAMP – 1997

Presented by Dan Garvin at DCFF 2012 66

2012 Door County Folk Festival (DCFF), Wisconsin Mary Garvin (Saint Paul, MN)

Mary has taught at the Door County Folk Festival, Chicagoland Spring Fling, Mountain Playshop and other dance groups and festivals around the country. She is a leader at Tapestry Folkdance Center in the Twin-Cities and is one of the organizers of SNOPA! - a Twin-Cities Winter Dance Weekend. She was on the Earl Hall Folk Dance Circle committee at Columbia University 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. A proud feather in her cap is having been asked by Bulgarians to teach them Bulgarian dances. Mary has become addicted to Argentine tango in the last several years but stays loyal to her international dance roots.

2012 Door County Folk Festival (DCFF), Wisconsin Kojcovata (Bulgaria)

This dance, Kojco's dance, comes from the region ofVeliko Tamovo in North Bulgaria. It belongs to the "Dajcovo" family. Learned from Ivan Donkov in 1979. Similar versions of this dance have also been taught by Jaap Leegwater and Bianca de Jong. Koj~o is a man's name.

Pronunciation: KOY-tchoh-vah-tah

Music: Yves Moreau cassette YM-UOP-97, Side A/2; BMA-002 Side A/4; Zlatne Uste (Rounder C 6054), Side A/5.

Rhythm: 9/8 counted as l-2, 1-2, 1-2, 1-2-3, or 1,2,3.4. or Q, Q, Q, S.

Formation: Open circle or line, hands joined down in V -pos. Face ctr, wt on L.

Steps and Dajtovo Step (in place): Hop on L, raising R leg with knee slightly bent (ct 1); in place, step R, L, R) Styling: (cts 2,3.~) . Ftwk alternates.

Dajtovo Step (travelling): Hop on L, raising R leg with knee slightly bent in anticipation of movement _(ct 1); step on R in desired direction (ct 2); step on L near, but not beyond R (ct 3); step on R in desired direction (ct 1). Ftwk alternates.

Hands: Swing joined hands fwd, elbows straight (ct 1); swing hands bkwd (cts 2,3); start to swing hands fwd (ct 1).

Steps are quick and light; movements are strong.

Pattern

8 meas INTRODUCTION. No action.

I. DAJCOVO

I-8 Facing ctr with wt initially on L ft, dance eight Dajtovo Steps in place.

II. LULAJ (rocking or wave) elliose diag L of 1-4 Dance four Dajtovo Steps moving in a CW _.. : face~d move A cfr (meas 1); face to R of c t~ and move in LOD (meas 2); face ctr and moS~t~wd (meas 3); face slightly L of ctr and mosi~n RLOD (meas 4). End in starting pos or slightly to the R of it. Swing hands as described. 5-8 Repeat meas 1-4.

III. KOJCOVO (sideways)

Facing ctr and swinging joined hands, hop on L (ct I); large step on R toR (ct 2); step on L next toR (ct 3); large step on R toR (ct 1). 2 Step on L next toR (ct I); step on R toR (ct 2); step on L next toR (ct 3); step on R toR (ct 4). 3 Arms come up to W-pos, hop on R, kicking L leg sharply fwd (ct I); swing L leg in a CCW arc (ct 2); hop on R (ct 3); step on L behind R (ct 1).

68 FOLK DANCE CAMP - 1997 2012 Door County Folk Festival (DCFF), Wisconsin Kojtovata--continued

4 Repeat meas 3 with opp ftwk. 5-8 Repeat meas 1-4 with opp ftwk and direction. 9-16 Repeat meas 1-8.

IV. HALF CIRCLE (WAVE) AND MOVE BACKWARD

1-2 Co{lti.nuim> tn f~r.P. r.tr ~nci swinging joined hands, repeat Fig ll, meas 1-2. onng hands to. W -OO;'i_ and . 3 Facmg ctr~op on L (ct 1 ); step on R behind L (ct 2); hop on R (ct 3); step on L behmd R (ct 1). 4 Repeat meas 3. 5-8 Repeat meas 1-4.

Y. TRA YELLING - Note: Anns do same as in Fig Ill.

1-2 Facing and travelling in LOD, dance two Dajtovo Steps. 3 Facing ctr, Hop on L, bending R leg and thrusting R sharply fwd twd floor, as arms come up to W-pos (ct 1); swing R leg in a CW arc (ct 2); hop on L (ct 3); step on R behind L (ct ,1). 4 Repeat meas 3 with opp ftwk and direction. 5-8 Repeat meas 1-4, travelling in RLOD with ftwk unchanged. 9-16 Repeat meas 1-8

Repeat dance from beginning.

Presented by Yves Moreau

FOLK DANCE CAMP - 1997 69 2012 Door County Folk Festival (DCFF), Wisconsin KRIVO IHTIMANSKO HORO (Bulgaria- West Trakia)

A type of "Krivo" (mixed rhythm) dance from the region of Ihtiman in West Thrace close to the Shope area where such dances are also widespread. The steps are similar to the ones found in such forms as Petrunino Horo, Cone Milo tedo and Jove. The tune used here is a well-known song called "Sede Sedenkja".

Music: Yves Moreau workshop cassette Rhythm: Combinations of 8/8 (qSS), 5/8 (qS) and 13/8 (qSSqS) Formation: Short lines , belt hold, Lover R. Wt on L. Face slightly R of ctr. Style: Small and light steps

Measure Pattern

Intro: No intro start with instrumental music *

1. LONG basic (qSS, qSqq, qSS, qSS) 1 Hop on L (q) step on R_ in front of L (S) hop on R, simultaneously kicking L ft around and across R (S) 2 Hop on R (q) step Lon in LOD (S) two quick steps R-L (qq) 3 Step on R (q) step on L (S) facing ctr, step back onto R, simultaneously "twisting" onto ball of L ft, pointing L (S) 4 Facing ctr, step on L to L (q) step onto R behind L (S) step on L to L (S) 5-8 Repeat pattern of meas 1-4, Fig. 1 2. SHORT basic (qSS, qS, qSS, qSS) 1 Repeat pattern of meas. 1, Fig. 1 2 Hop on R (q) step Lon in LOD (S)

3-4 Repeat pattern of meas 3-41 Fig 1

5-6 Repeat pattern of meas 1-21 Fig. 2 7 Two quick steps R-L (qs) hop on L swinging and kicking R leg around in front of L(S) 8 Step on R to L ( q) step on L to L, twisting R across to point R (S)

.3. Travel part (singing) (qSSqS, qSSqS, qSSqS, qSS, qSS) Facing ctr, step on R toR (q) step on L (S) hop on L extending R leg fwd (&S) hop onto R (q) step on L (S) 2 Repeat pattern of meas 1, Fig. 3 3 Step on R to R (q) step on L behind R (S) step on R to R (S) point L heel out to L (q) point L heel fwd (S) 4 Step on L to L (q) step on R behind L (S) step on L to L (S) point R heel toR (q) point R heel fwd (S) point R heel toR (S) 5-8 Repeat pattern of meas 1-4, Fig. 3

Description by Yves Moreau

2012 Door County Folk Festival (DCFF), Wisconsin PIYAN OT MERAK Rhythm - 13/8 - SQQQQ

From Pirin mountains

This is a dance for Men & Women with hands held in W position. LOD-right side in the circle. The dance consists of2 figures.

Figure l - 12 meas. Meas.l - facing LOD !.Lift on L ft while kicking very softly with R ft fwd and straight R knee 2.Lift on L ft 3.Step on R ft fwd 4.Step on L ft fwd 5.Step on R ft fwd Meas.2 l.Step on L ft fwd 2.Lift on L ft 3.Step on R ft fwd 4.Lift on R ft fwd 5.Step on L ft Meas.3-same as Meas. l Meas.4-facing center l.Lift on R ft while kicking very softly with L ft fwd and draw a circle to left 2.Lift on R ft while turning to facing center 3.Step on L ft behind R ft 4.Step on R ft to R side 5.Step on L ft behind R ft Meas,5,6-same as Meas.l ,2,but going fwd-to center Meas. 7-facing center l.Step on R ft fwd 2.Lift on R ft, but keep L ft bkwd 3.Step on L ft bkwd 4.Step on R ft next to L ft bkwd 5.Step on L ft fwd Meas.8 !.Bouncing step on R ft bkwd 2.Close L ft next to R ft 3.Hold 4.Twist softly both heels toR side 5.Twist both heels to L side Meas.9-same as Meas.5,but from beats 3,4,5 we are going bkwd Meas.l 0, ll , 12-samc as Meas.6, 7, 8,but going bkwd

Figure 2 - 8 rneas. Meas.l -facing center l.Step on R ft to R side 2.Lift on R ft 3 .Step on L ft across R ft Presented by Iliana and Lyuben - IBLD # 11 - 2006

2012 Door County Folk Festival (DCFF), Wisconsin 4.Step on R ft to R side S.Step on L ft across R ft Meas.2 -facing center !.Step on R ft to R side 2.Lift on R ft J.Step on L ft behind R ft 4.Step on R ft to R side S.Step on L ft behind R ft Meas.J -facing LOD !.Step on R ft fwd to LOD 2.Lift on R ft J.Step on L ft fwd to LOD 4.Lift on L ft 5.Step on R ft fwd Meas.4-facing LOD !.Small step on L ft fwd + Small step on R ft fwd 2.Step on L ft fwd J.Step on R fl fwd 4.Lift on R ft S.Step on L ft fwd Meas. 5 to 8-same as Meas.l to 4, but Meas.l ,2 are danced fwd to LO D and facing LO D

Sequence: Introduction-S meas. Figure 1 - 12 meas.-1 time Figure 2 - 8 meas. I time. Alternate the figures to the end of the tune. Figure I goes with the song and Figure 2 with the instrumental part.

Presented by lliana and Lyuben- IBLD # 11- 2006

2012 Door County Folk Festival (DCFF), Wisconsin Piyan ot merak From the Pirin mountain area

-Tri nokya ne sum zaspalo, iz selo sum se shetalo, momite velat piyan sum, piyan ot lyuta rakiya, a yaz sum piyan ot merak toi pusti merak za tebe.

Utre e rano nedela, starata mi maika ke doide, so tvoyo tatko da sbori dali ke te dadat na mene. Ako te, Sevde, ne dadat - po-arno zhiv dane bidam.

-Mene me, Dimcho, ne davat starata mi maika i tatko oti si, Dimcho, sirornah, oti se nosish skinato. /2

-Ako sum, Sevde, siromah surtseto mi e bogato, golyama svatba ke pravam, site selani ke kanam /2 nek piyat, nek se veselat.

I haven't slept for three nights; I've walked arow1d through the village. The girls say that I'm drunk on too much very strong brandy, but I am drunk on love for you - this damned love for you. Tomorrow, early on Sunday, my old mother will come to ask your father if they will give you to me. If they don't give you to me, Sevda, it would be better for me not to be alive.

They won't give me to you, Dimcho, my old mother and father. Because you're:: poor, Oimcho, because you wear torn and simple clothes.

If I'm poor, Sevda, my heart is rich. I will fmd money to make a big wedding. I am going to invite all the villagers, so they can drink, and have a good time.

Pres ented by Iliana and Lyuben - IBLD # 11 - 2006

2012 Door County Folk Festival (DCFF), Wisconsin [] Break I

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I2J Break IV I . ~ I I: :J J] iJ 8 B R I J ; 1J JJ J 1 ; II J J@ tfr ~ ~; ~ \...... ::::1 ._/ '-" '--' \.__.; .....___.., ..\...._.., .._./

2. '"" , ~ Song IV iii JS J }JJ i] J ;~ H~J J '!£9 {J til £;; 13 }JJ lJ J ) dl: - , ~ \.__.; .._.; ~ ~ \._; \.__.; .._.; ~ . Presented by lliana and Lyuben -IBLD # 11 - 2006 2012 Door County Folk Festival (DCFF), Wisconsin RADOMIRSKO HORO ( Bulgaria

Background: This Sop dance comes from the small town of Radomir in Kjustendil District, western Bulgaria. It was learned by Yves Moreau in April, 1970, from Petar Grigorov, leader of an amateur folk dance group in Sofia, Bulgaria.

Recordings: Balkanton BRA 734 Side A Band 4 "Radomirsko" [LP] Balkanton ADD-060089 Band 3 'Graovskata" [CD] Rhythm: 2/4. styling: Steps in Sop dances are very light & fairly small. They possess, however, a certain heavy character & are executed sharply. The body is erect, the carriage proud. There is much knee flexion throughout the dance, especially Part II. Hold: Belt hold, left over right. If no belt, hands joined down. Formation: Short lines, usually mixed, but can be done segregated. Face slightly right of center to begin.

PART I.

Me as Count Pattern 1 1 Moving LOD, lift on L. & Step forward R. 2 Step forward L.

2 1 Step forward R. 2 step forward L.

3 1 Hop on L, touching R heel forward. 2 Hop on L, bringing R foot across L shin.

4 1 Hop on L. & Step forward R. 2 step forward L.

5 1 Turning toward center, jump onto both feet together. 2 Hop on R, bringing L foot across R shin.

6 1 Moving RLOD, lift on R. & Step L to left . 2 Step R across in front of L.

7 1 Lift on R. & Step L to left. 2 Step R across in back of L. 8 1&2 Close L to R, bouncing 3 times on heels.

9-16 [ Repeat action of meas. 1-8 of Part I. )

page 1 of 2

2012 Door County Folk Festival (DCFF), Wisconsin RADOMIRSKO HORO page 2

PART II.

Meas Count Pattern 1 1 Facing center, step forward R. 2 Bounce on R, touching ball of L next to R. & Bounce again on R, lifting L sharply in preparation

2 Repeat meas. 1 of Part II, reversing footwork & direction

3-4 Repeat meas 1-2 of Part II, t wisting bent R knee slightly across L leg on final "&" count. )

5 1 In place, leap onto R, twisting bent L knee across R leg. 2 Leap onto L, twisting bent R knee across L leg.

6 1 Leap onto R, twisting bent L knee across R leg. 2 Leap forward onto L .

7 1 Hop on L, swinging R leg sharply fwd from hip to about knee height, keeping R knee straight. 2 Leap forward onto R.

8 1&2 Close L to R, bouncing 3 times on heels.

9-16 Repeat action of meas. 1- 8 of Part II.

entire dance repeats from beginning )

Description by Yves Moreau

2012 Door County Folk Festival (DCFF), Wisconsin Leslie Hyll (Dayton, OH)

Leslie 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. www.daytonfolkdance.com

2012 Door County Folk Festival (DCFF), Wisconsin AJDE JANO (AYDAY YANO) SERBIA RECORDING: FOLKRAFT #1533 x 45 A. Shanachie, Spiorad, Talitha MacKensie, 1996, Track 5 - Come On, Jano RHYTHM: 7/8 or Slow-quick-quick; 1 and ah, 2 and, 3 and. FORMATION: Open circle, hands joined at shoulder height, leader on right. STYLING: Small light steps throughout. When doing knee lift the free foot is held naturally, the toes pointing slightly toward the floor.

Measures SLOW QUICK QUICK 1 Facing diagonally step to Continue moving to right crossing left foot in front of right on right foot. right. 2 Step to right on right. Step left across right. Step to right on right. 3 Step left across right. Turning to face center Do another slight lift on raise on left toe lifting left toe. right knee. 4 Step toward center on Touch left toe toward center bending slightly from right lowering arms. waist with arms pointing toward toe. 5 Step back on left foot Facing diagonally step to Cross left in front of swinging arms back right on right raising arms. right finishing raising slightly. arms. CONTINUE ABOVE ROUTINE UNTIL END OF MUSIC. NOTE THAT THE DANCE STEP DOES NOT COME OUT EVEN WITH THE MUSICAL PHRASE.

Ajde Jano, kolo da igramo, Come on, Jana, let's dance the kolo. / ajde Jano, ajde dušo, kolo da igramo. / Ajde Jano, konja da prodamo, Come on, Jana, let's sell the horse. / ajde Jano, ajde dušo, konja da prodamo. / Ajde Jano, kuću da prodamo, Come on Jana, let's sell the house. / ajde Jano, ajde dušo, kuću da prodamo. / Da prodamo, samo da igramo, We'll sell them just so we can dance. / da prodamo, Jano dušo, samo da igramo. /

Presented by Leslie Hyll (Dayton, Ohio) at the 2012 Door County Folk Festival (Wisconsin)

2012 Door County Folk Festival (DCFF), Wisconsin Ya da kalinushku lomala – Я да калинушку ломала (Russia)

The song to which this dance is set is a ceremonial song of the Nekrasov Cossacks, although the music of this recording is performed in the style of the Don Cossacks of Southern Russia (of which the Nekrasov Cossacks are believed to be descendants). This girls’ round dance (khorovod) was choreographed by Hennie Konings based on traditional dance material. It was first presented in Switzerland in 2006. Translation: “I was breaking the snowball tree,” from the first line of the accompanying song.

Pronunciation: yah dah kah-LEE-noosh-koo lah-MAH-lah

Music: Russian Folk Dances @ Stockton 2008, Band 8; Syncoop 5766 CD 293, Band 11. 2/4 meter

Formation: Closed circle holding hands in V-pos.

Meas Pattern

12 meas INTRODUCTION,

I. PART 1

1-4 8 walking steps fwd starting R fwd in CCW dir, ending to face ctr. 5 Step slightly sdwd CCW (ct 1); soft stamp on L next to R (no wt) (ct &); step on L in place next

to R (ct 2). 6-8 Repeat meas 5 three more times (4 times total). 9 2 walking steps (R,L) moving fwd to the ctr while raising hands slowly up to W-pos

(cts 1,2). 10 3 heavy steps (R,L,R) in place slightly inclining head and bending the upper body fwd

(cts 1,&,2). 11 2 walking steps (L,R) moving bkwd from the ctr taking hands slowly down to V-pos

(cts 1,2). 12 3 small steps (L,R,L) in place (cts 1,&,2).

II. PART 2

1 Moving CCW, 3 steps fwd R-L-R (ct 1,&, 2). 2 Repeat meas 1 with opp ftwk fwd continuing CCW. 3-8 Repeat meas 1-2 three more times (4 times total). 9-12 Repeat ftwk of Part 1, meas 5-8, releasing hands and bringing them on the waist (fingers closed, thumbs pointing bkwd) while making a full turn L in place, ending to face CCW. On each ct 1, the waist moves very slightly and softly to R, moving back on ct 2.

2012 Door County Folk Festival (DCFF), Wisconsin

Ya da kalinushku lomala—continued

III. PART 3

1 Facing CCW, keeping hands on the waist, touch R heel fwd (L knee slightly bent) (ct 1); step

fwd on R (ct &); step fwd on L (ct 2). 2 Repeat meas 1. 3 Touch R heel fwd (ct 1); step fwd on R (ct &); step fwd on L (ct 2); touch R heel fwd (ct &) 4 3 slightly heavy steps in place (R, L, R). 5-8 Repeat meas 1-4 with opp ftwk continuing CCW. 9-12 Repeat Part 2, meas 9-12, making a full turn and opening arms down and to the sides and taking V-pos on meas 12.

Repeat the dance from the beginning.

Presented by Radboud Koop at Stockton Folk Dance Camp, 2008 Presented by Leslie Hyll (Dayton, Ohio) at the 2012 Door County Folk Festival (Wisconsin)

Lyrics: Translation: Lyrics (Russian):

Ya da kalinushku lamala I have picked the snowball-tree Я да калинушку ломала, V puchochiki vyazala, da Bundled them up В пучочики вязала, да.

Izpad vili vili don don don Izpad vili vili don don don Из-под вили-вили дон,дон, дон, Skray darozhki klala, da Put them beside the road Скрай дорожки клала, да Izpad vili vili don don don Izpad vili vili don don don Из-под вили-вили дон,дон, дон, Skray darozhki klala. Put them beside the road Скрай дорожки клала.

Skray darozhen’ki klala Put them beside the road Скрай дороженьки клала, Primet primechala, da I looked out for the sign Примет примечала, да...

Ya primetu primechala I looked out for the sign Я примету примечала, Druzhka varachala, da I called back my friend Дружка ворочала, да...

Vernis’, vernis’ya nadyozha Come back, come back, my love Вернись, вернися, надёжа, Dusha maya serdtse, da My soul, my heart Душа моя, сердце, да....

A ne vernesh’ya nadyozha If you don’t return, my love А не вернешься, надёжа, Makhni chornay shlyapay, da Wave your black hat Махни чёрной шляпой, да...

Chorna shlyapa pukhavaya Black downy hat Чёрна шляпа пуховая, Lenta galubaya, da Light blue ribbon Лента голубая, да...

Shto ni shlyapay pukhavoyu If not with your downy hat Что ни шляпой пуховою, Levayu rukoyu, da Then with your left hand. Левою рукою, да...

2012 Door County Folk Festival (DCFF), Wisconsin Caren Grantz Keljik (Minneapols, MN)

Caren dances and teaches at Tapestry Folkdance Center in Minneapolis. She started dancing when she was she was six years old and has managed to thread dance into her life since then. She began college as a music major intending to be a classical flutist, finished with a degree in Environmental Science, but her career of more than twenty years was as an IT Professional. Two years ago Caren started a business conducting dance sessions for senior and disabled adults and is happily sharing dances around the Twin Cities with those that wouldn't otherwise have an opportunity to enjoy this type of activity. She has performed with the Armenian Dance Ensemble of Minnesota and as a member of several local choirs.

2012 Door County Folk Festival (DCFF), Wisconsin Hora veche From Muntenia, Romania

Presented by Sonia Dion & Cristian Florescu at Madison Folk Ball in 2012 Formation: mixed close circle Position: body facing slightly diag. to the right, hands joined up in W pos. Pronunciation: HOH-rah VEH-keh Music: Sonia Dion & Cristian Florescu Romanian Realm Vol. 6, 9

------Meter: 4/4 Description of Hora veche ------Meas. Count Introduction

1-2 No action

Figure 1 (body facing slightly diag. to the right)

1 1 Step fwd on R 3 Step fwd on L

2 1 Step fwd on R 2 Step fwd on L 3 Step fwd on R

Rhythm of meas. 1-2: S-S-Q-Q-S

3 1 Step fwd on L 3 Step swd on R to the right and turn to be facing center

4 1 Cross behind on L 2 Step swd on R to the right 3 Cross L in front, body slightly diag. to the right

Rhythm of meas. 3-4: S-S-Q-Q-S

5-6 Repeat measures 1-2, but add a touch with L ft (no wt) on the last count of measure 6.

7 1 Step on L twd center and facing center while swinging arms down 2 Touch on R ball of ft (no wt) near L heel (arms very slightly back) 3 Step bkwd on R while raising arms up in original position (W pos) 4 Raise, very slightly, L ft in front

8 1 Step bkwd on L to the left 2 Stamp with R (no wt) 3 Stamp with R (no wt)

9-16 Repeat measure 1-8 (starting on R)

2012 Door County Folk Festival (DCFF), Wisconsin ------Meter: 4/4 Description of Hora veche (continued) ------

Figure 2 (facing center)

1 1 Cross R in front of L 2 Step swd on L to the left 3 Cross R behind L 4 Step swd on L to the left

(measure 1 = one grape-vine)

2 1 Cross R in front of L 2 Step swd on L to the left 3 Cross R in front of L 4 Raise L ft (knee bent 45º) slightly to L side while body turns slightly diag. to the right

3 1 Step fwd on L (facing LOD) 3 Step fwd on R

4 1 Step fwd on L 2 Step fwd on R 3 Step fwd on L

5 1 Facing center, step swd on R to the right while body sway to the right (Feet in second position but weight on R) 3 Sway weight on L

6 1 Step swd on R 2 Close L ft near R 3 Step swd on R

7-8 Execute measures 7-8 of figure 1 (starting L ft)

9-16 Repeat measures 1-8 of figure 2 (starting R ft)

Final pattern:

Introduction + (F1 + F2) x 3.

Presented at DCFF 2012 by Caren Grantz Keljik

2012 Door County Folk Festival (DCFF), Wisconsin Podaraki (Thrace, Eastern Romylia)

This is a description of the dance as presented by Dennis Boxell at a workshop in Winona, MN on April 16, 2005, sponsored by the Winona International Folk Dancers.

Formation: Semi-circle, hold hands in V-pos

Music: Dennis Boxell CD “Balkan Dances 2004 with Dennis Boxell,” track 3

Meter: 4/4

Meas Pattern

Introduction: 6 meas no action

1 Facing ctr and wt on L, step on R in place (ct 1); tap L heel beside R (ct &); step on L in place (ct 2); tap R heel beside L (ct &); step on R in place (ct 3); swing L fwd, brushing heel on ground and keeping ft low (ct &); slap L fwd (ct 4). 2 Repeat meas 1 with opp ftwk. 3 Step on R to R (ct 1); step on L behind R (ct &); step on R to R (ct 2); step on L behind R (ct &); step on R to R (ct 3); swing L fwd, brushing heel on ground and keeping ft low (ct &); stap L fwd (ct 4). 4 Repeat meas 3 with opp ftwk and direction. 5-6 Repeat meas 3-4.

Notes by Dan Garvin.

Additional Information: This CD saw the introduction of the Thracian "Podaraki" by Thymios Gogidis. Thrace: a historical and geographic area in southeast Europe. The areas it comprises are southeastern Bulgaria (Northern Thrace), northeastern Greece (Western Thrace), and the European part of Turkey (Eastern Thrace).

Presented at DCFF 2012 by Caren Grantz Keljik

2012 Door County Folk Festival (DCFF), Wisconsin Rick King (Southfield, MI)

Rick 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.

2012 Door County Folk Festival (DCFF), Wisconsin _p_~~_S?~-~~~ ( De-vo-lee'-cheh) The name of the dance refers to the Devolli region in southeastern Albaniao The dance consists of a slow part in approximately 2/4 rhytha followed by a faster dance in 6/8 which may also be done at the end of other dances. Women may do this dance, but it is primarily a man's dance and was done as such on most occasions when I have seen it. (It was performed on stage at the 1971 Ohrid festival and in 1972 at weddings in the village of Krani.) Record: LP: SELO, Vol. 2 Albanian Songs & Dances, Side A, Band 3 Part I Rhythm: approximately 2/4 with a lengthening of ct. 2 especially on all even numbered measures: The drumming pattern is generally: Formation: an open circle with the leader on the righto Hands are joined and held forward and anywhere from waist to shoulder heighto __ Basic .Pat.te-.r.n _

The dance begins by facing to the right of center and moving about the circle to the righto ( .LOD) lo lf Step fwdo on Ro ( LOD) 2. 1. Step fwdo on Lo ( LOD) 3o lo Step fwdo on Ro ( LOD) 4o lo Turn to face the center and step fwdo on~ L(directly into centero) The free R fto is lifted and brought behind the L knee without emphasiso 5o lo Step back on Ro (Out of circle) 6o lo Step onto the ball of the L fto behind and to the right of the Ro The L fto and the body are turned naturally somewhat to L of centero ~ 2o Wto is shifted back to R in place and body turns twdso center againo ?o lo Step sideways on L to Lo 8o lo Step. on R by L, or behind ito 9o lo Step L to Lo (as in 7) lOo lo Step on R by Lo llo lo Still facing center, step on L across in front of R .. This is accompanied by a flexing of both knees so that the step is performed' in a sligh-t- crouch-(but don't bend fwdoJ and then 2o straighten knees somewhato 12. lo Bring free R leg across in front of Lo It may be raised in the air and bent at the knee, or it may simply touch the ground to L and fwdo of L. ft, Styling noteo The slight dip in measo 11 may sometimes also be done in measo 7 & 9o Steps 1, 4 and 11 are often performed with a slight preparatory lift (cukce) before stepping on the beato

Variations Ao Anyone in the line may choose to replace one or more of measures 1, 2 & 3 by: lo Step R ( L) fwdo (. LOD) &o Close L (R) to L \R)o 2~ Step R (L) fwd. ( LOD)

Bo The leader and perhaps the next two or three people in line may do a slow CW turn during measo 1-2. It can be performed with either the two singli.e steps described in the Basic Pattern, or the step-draw-step of Variation Ao (continued)

2012 Door County Folk Festival (DCFF), Wisconsin (Devolli~e. page 2) Co Squats: Performed only by the leader and those next to himo They may be performed while moving to and facing Ron measo 1,2 & 3, while moving L and facing center on measo 7 & 9, or while moving R and facing center on meas. 11. Except in meas. 11, they are generally performed with feet somewhat farther apart than knees and thighso

Part II Meter: 6/8 Dancers' beats: 1,2,3 Formation: as aboveo measo ct .. - -lo -- - -J:o Step -R -to- Ro--- (- LOD-)------______2 .. Step L into center of circleo Hands may be brought f;d.--s-lightly -for--e-mph-asis 3o Slight flex of L kneeo Free R is brought behind L calfo 2o lo Step back on R.(out of circle) 2-3.Two lifts or low hops on R while turning backwards CCWo (End up facing left of centero) The free Lis brought through a low arc -knee fairly straight and foot somewhat out to the side away from R - to a position with knee bent and L fto near Ro

3o l o Step back on Lo ( LOD) 2 .. Step back on ball of R ft. ( LOD) (or simply touch without taking wt .. ) 3o Shift wt. back onto L in place.

At this point begins an optional 4 measure squat sequence which may be omitted ~ or performed any number of times in succession -before _finishing the dance P-hrase with measures 4 & 5• The most common seque.nce included two of these 4-measure· squat sequences for a dance phrase of 13 measures .. Sqolo lo Large step fwd. (RLOD) on R and begin to turn CW o 2-3.Turn CW while doing two lifts or hops on Ro (End up facing R of center.) Free L is brought around while holding it somewhat straight and out to the sideo It ends up forward of Ro Note: This may be performed with an actual wto shift onto L to L on cto 2 and then an immediate return of wto to R on cto 3o r;. Leap-- or -step. onto Lacross- in front of-- R( LOD) (Body: turned _ ~ o~ ce.~'!;er)o 2o Leap into squat on both feet facing centero 3., Rise on L with free R leg held out fwd. and to the R in preparation for the next stepo 1~3. Stepping R,L,R (on ct&o 1,2,3) make a complete CW turn in the area just to the right of that occupied while squatting. (First step is to R) 1. Leap or step onto L by or slightly back of Ro (Face center) .. 2 .. Leap into squat on both feeto (Face center or slightly L of centero) 3o Rise on L with free R leg extended fwd.(Face L of center)

The dance phrase ends with measo 4 & 5 after any namber of repeats of Sqol-4o 4o This is like Sqo lo lo Step on L fwdo ( LOD) 2o Touch R near L (to side of or slightly fwd. of) without taking wto 3o Holdo

First presented by Bob Leibman at the 1974 San Francisco Kola Festival.

2012 Door County Folk Festival (DCFF), Wisconsin ------,------

DZHINGURITSA Bulgaria- Pirin Macedonia Region

Music is 9/8 Pattern: Q Q Q S (in 4's) Orl S S S QS (in 5's) for teaching Hold hands in W position

I. 1 touch R heel forward into circle 2 step R forward across L. bring hands down 3 lift L across R, turn to face LOD, bring hands back up 4 hold L, lift more f1'om R - r ._) step L LOD

Jl. & step R 1 step L ') '~ step R 3 step L 4 lift R. beside L, face center 5 step R behind L . ~

III. 1 L R : j touch toe across \ 2 L ~ touch toe to L \ l 3 touch L toe to R ;_. 4 lift L beside R fj step L behind R i

IV. & $tep R in place 1 step L diagonally behind .R '' 2 step t~ 1n place '' 3 step L d.l.acona ll y · bt~hi nd R ; .I 11 . . ., step n in place ~ step L 'di agc,r.ally behind R

Variatlon ,., l : :,: < In III, 123 can be teplaced by lifting L 'lcg and rotatlng it from pointing forw~td to pointing to the L with 3 bounces 6~ the R. Yai'iation 2: · \ Replace 13 through II5 with a fast grapevine starting L over;R. 345 L over 'R, l{ to side, L behind H, 12345 R to side, L over R; R to side, L behind R, R to side, begin s'tep III.

Presented by: ~ . Ventzi Sotirov Notes by: Malcolm !'1cClure ~ I

2012 Door County Folk Festival (DCFF), Wisconsin Gaida from Flambouro From Flambouro, eastern Macedonia. Meter: 2/4. The dance has a slow part of seven measures and as the music gets faster changes to eight measures.

Slow part. The rhythm of this part is S-Q-S, counted 1,2,3. Traveling R, facing LOD, arms down: Meas. 1 Step R while lifting L forward with leg mostly straight (ct. 1), with L still lifted, cross L leg in front of R leg (ct. 2), straighten L leg (ct. 3). 2 With L leg straight, step on L (ct. 1), lifting R foot behind, step R forward (ct. 2), step L forward (ct. 3) 3 repeat meas. 1 4 repeat meas. 2 5 Step R forward, bending R knee, turning to face center (ct. 1), straighten R leg while lifting L forward, raise arms (ct. 2), swing L leg behind (ct. 3) 6 Step L back, out of circle (ct. 1), step R back (ct. 2), hold (ct. 3) 7 Step L in place while lifting R forward with leg mostly straight (ct. 1), with R still lifted, cross R leg in front of L leg (ct. 2), straighten R leg, turning to face LOD and dropping arms (ct. 3).

Fast part Change to the fast part as the music gets faster. The leg lifts are still followed by a cross in front of the other leg, here called a “lift and cross”. Transition to fast part: add these two measures counted 1 & 2 &. Meas. 8 Facing LOD, step R, lift and cross L (ct. 1), hold (ct. 2) 9 Dancing in place, step L (ct. 1), step R slightly back (ct. &), and step L in place (ct. 2)

Fast part, counted 1 & 2 &. Traveling R, facing LOD, arms down: Meas. 1 Step R (ct. 1), step L (ct. 2) 2 Step R, (ct. 1), lift and cross L (ct. 2) 3 Three running steps L, R, L (cts. 1 & 2) 4 Turning to face center and raising arms, step R (ct. 1), hold (ct. 2) 5 Moving back out of circle, step L (ct. 1), step R (ct. 2) 6 Step L in place (ct. 1), lift and cross R (ct. 2) 7 Turning to face LOD and dropping arms, step R (ct. 1), lift and cross L (ct. 2) 8 Dancing in place, step L (ct. 1), step R slightly back (ct. &), and step L in place (ct. 2)

05/30/2012 Dance notes by Rick King

2012 Door County Folk Festival (DCFF), Wisconsin Michael Kuharski (Madison, WI)

Michael K, 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 12 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!

2012 Door County Folk Festival (DCFF), Wisconsin Paiduşca (Dobrogea region, Romania)

Background: This Romanian version of Bulgarian pajduško was introduced by dance researcher and teacher Sunni Bloland. Recording: Nevofoon 15-005 "Romanian Folkdances" [LP] Side 2, Band 11 Rhythm: 6/16 = 2+1+2+1 = SLOW-quick-SLOW-quick = S-q-S-q Formation: Short straight lines. Hold: Hand joined initially in "W" hold.

Cues Meas Ct Pattern______q Hop on L. Move R 1 S Step R in LOD, swinging joined hands down. q Hop on R. S Step L in LOD, swinging joined hands up. q Hop on L. Cross R 2 S Step R to right, facing ctr. q Step L in front of R. S Step back onto R in place. q Hop on R. Cross L 3 S Step L to left. q Step R in front of L. S Step back onto L in place. q Hop on L. Cross R 4 Repeat Meas. 2. ------Move L 5 Repeat Meas. 1 with opposite footwork & directions. Cross L 6 Repeat Meas. 2 with opposite footwork & directions. Slide R 7 S Small step R sideward right. q Step on L beside R. S Small step R sideward right. q Step on L beside R. 8 S Small step R sideward right. q Step on L beside R. S Small step R sideward right. q Hop on R in place. ------Cross L 9 Repeat Meas. 3. Cross R 10 Repeat Meas. 2. Move L 11 Repeat Meas. 5. Cross L 12 Repeat Meas. 6. ------Cross R 13 Repeat Meas. 2. Cross L 14 Repeat Meas. 3. Reels 15 S Small step R behind L, swinging joined hands down. q Hop R in place. S Small step L behind R, swinging joined hands up. q Hop L in place. 16 Repeat Meas. 15.

Presented by Michael Kuharski Door County Folk Festival 2012

2012 Door County Folk Festival (DCFF), Wisconsin SVORNATO HORO (Rhodopes region, Bulgaria) Pronounced: SFOHR-nah-toh Background: "Svornato" means "the direction-changing one". The dance is unusual for Rhodopes both in rhythm and in being accompanied by the region's large, resonant bagpipe, the kaba gajda. Most Rhodopes dances are done to songs, as this one sometimes is. Michael Kuharski learned these figures from Petur Petrov. The Bulgarian calls are not claimed to be ethnic practice. Recordings: There are lots of Svornato recordings. Some have a mushy beat, some include oddball phrases, some are too short. I finally made my own by custom-editing the "Svornato-Pajdushko" medley on Ethel Raim's "Village Music of Bulgaria" album (Nonesuch H-72034). Formation: Open circle, mixed line, leader at right end. Hold: Hands held down. Rhythm: 2+2+2+3 = quick-quick-quick-SLOW = q-q-q-S = 1 measure. Phrasing: Both music & dance are uniformly in phrases of four measures. Styling & Mechanics: Carriage is erect & posture firm, weight carried back a bit so that steps are taken on the whole foot. Knees are slightly bent throughout with knee-flex contributing more of the softly bouncing style & heel-bounce rather less.

FIGURE I. ZIGZAG "NAPRED-NAZAD" meas ct action 1 q Step R diag fwd right. q Step L across in front of R. q Step R diag fwd right. S Close L beside R without weight. 2 q Step L diag fwd left. q Step R across in front of L. q Step L diag fwd left. S Close R beside L without weight. 3-4 [Repeat meas 1-2] 5 q Step R diag bkwd right. q Step L across in back of R. q Step R diag bkwd right. S Close L beside R without weight. 6 q Step L diag bkwd left. q Step R across in back of L. q Step L diag bkwd left. S Close R beside L without weight. 7-8 [Repeat meas 5-6]

FIGURE II. CIRCLE RIGHT "NAOKOLO" [slow run & bounces] meas ct action 1 Facing & moving right (LOD): q Step R fwd around the circle. q Step L fwd around the circle. q Step R fwd around the circle. S Step L fwd around the circle. 2 Facing center: q Close R beside L, down-bouncing on both feet. q Down-bounce on both feet together. q Down-bounce on both feet together. S Down-bounce on both feet together. 3-8 [Repeat meas 1-2 three more times] [page 1 of 2]

2012 Door County Folk Festival (DCFF), Wisconsin SVORNATO HORO [page 2 of 2]

FIGURE III. CROSS RIGHT "KRSTI" (all done facing center) meas ct action 1 q Bounce on L in place while touching R sideward right. q Bounce on L in place while touching R forward. q Step R in place. S Step L across in front of R. 2 q Step back onto R ("back to place"). q Step L in place. q Step R in place. S Close L to R without taking weight. 3-4 [Repeat meas 1-2 with opposite footwork] 5-8 [Repeat meas 1-4 ]

FIGURE IV. CIRCLE LEFT "NAOKOLO" (slow run & bounces) [reverse footwork & lateral directions of CIRCLE RIGHT]

FIGURE V. CROSS LEFT "KRSTI" (all done facing center) [reverse footwork & lateral directions of CROSS RIGHT]

FIGURE VI. FORWARD "NAPRED" (all done facing center) meas ct action 1 q Bounce on L while lifting R forward. q Step R forward. q Bounce on R while lifting L forward. S Step L forward. 2 q Bounce on L in place, lifting R forward. q Bounce on L in place, lifting R forward. q Step R in place. S Step L across in front of R. 3 q Step back onto R ("back to place"). q Bounce on R in place, lifting L forward. q Step L in place. S Step R across in front of L. 4 q Step L backward. q Step R backward. q Step L backward. S Step R backward, stopping backward travel. 5-8 [Repeat meas 1-4 with opposite footwork]

------Suggested Sequence for Michael's recording: After the gajda warm-up come 5 not-quite-dance-speed phrases. I like to wait out the first one, then use the remaining 4 slow ones to do two round trips of low-intensity not-quite-dancing ZIGZAG Figure (in,out,in,out). Then the dance-tempo phrase begins, with the serious step-cycle of I, II, III, IV, V, VI, and then again I, II, III, IV, V, VI. This matches each step with a specific musical phrase, which is nice for learning. Village dancers would surely follow the leader's step changes, however, and you may wish to do the dance this way as well.

presented by Michael Kuharski Door County Folk Festival-2012

2012 Door County Folk Festival (DCFF), Wisconsin Trakiiski (Strandzha region, Bulgaria) Pronounced: trah-KEE-skee Background: In the 1930's British traveler, author, and folkdancer Philip Thornton visited the village of Bulgari and witnessed the annual "nestivarstvo" firewalking rituals and associated dances done during the feast days of Saints Constantine and Helen. These observances were living traditions there at the time. Thornton describes this experience in fascinating detail in his book "Ikons and Oxen". Thornton later taught this particular dance to the Oxford folkdance group "Balkansko Oro" which he founded, describing it as a Thracian ritual dance (hence the name "Trakiiski"). Some twenty years later, in 1969, Erik Bendix learned the dance from Dmitri Firi, Anne Pennington, and other members of the Oxford group and obtained from Thornton the recording which we use. It appears quite likely that this dance was observed by Thornton in the village of Bulgari. It certainly has the character of dances which were performed at great length by villagers during the days of nestinarstvo. Formation: Closed circle. Hold: Dancers clasp hands and lock forearms, so elbows are pressed against their sides. Meter: 2/4

count action S 1-2 Moving right, step R. S 3-4 Step L across in front of R. q 5 Step R to right, facing center. S 6-7 Step L behind R.

8-14 REPEAT counts 1-7.

S 15-16 Moving right, step R. S 17-18 Step L across in front of R. q 19 Step R to right, facing center. q 20 Step L behind R. q 21 Step R to right. S 22-23 Close L next to R, taking weight on L. q 24 Step R to right. S 25-26 Step L behind R. S 27-28 Step R to right. S 29-30 Close L next to R, taking weight on L. q 31 Step R to right. q 32 Close L beside R. S 33-34 REPEAT counts 31-32. S 35-36 Step R to right. S 37-38 Close L beside R, taking weight on L.

S 39-40 Step R diagonally to left in front of R. q 41 Step L to left. q 42 Step R behind L. S 43-44 Step on L to left. S 45-46 Close R to L, not taking weight on R.

presented by Michael Kuharski Door County Folk Festival-2012

2012 Door County Folk Festival (DCFF), Wisconsin Nancy Jo Lame (Columbia, MD)

Nancy Jo started folkdancing in Racine, Wisconsin over 30 years ago and was best known at the time for being "Ron and Kathy Fico's kid". She currently lives and dances in Columbia, Maryland, where she is one of the primary instructors in the Columbia International Folkdancers group. For the last 5 years she has also been involved in Columbia's effort to review, organize and improve their very large digital music collection. Nancy Jo is currently working as a tax preparer and Enrolled Agent in Columbia.

2012 Door County Folk Festival (DCFF), Wisconsin Hora Banaţeana

Origin: Banat, Romania Source: Cipu Ciprian on Romanian Tour 2005 Formation: Open circle with hands in “W” position. Rhythm: Slow, slow, quick, quick, quick.

Figure 1 Moving in and out Take 2 slow steps R,L into the ctr: 3 quick steps R.L.R Reverse going out of the ctr with L,R – L,R,L. Repeat all of the above Figure 2 Moving Right and Left Take 2 steps R,L to the right: step R, step L behind R (start turning body to the left), step on R and face left Reverse the step going to the left and end facing right. Repeat all of Figure 2. Figure 3 Box Face ctr and take 2 steps into ctr R,L: step R to R, step L behind R, step R to R. Take 2 steps out of ctr L,R; step L to L, step R behind L, step L to L. Repeat all of Figure 3. Figure 4 Sways Step in with R (sway body fwd), step out with L (sway body bkwd). Take 3 steps in R,L,R (sway body fwd). Step out with L (sway body bkwd), step in with R (sway body fwd). Take 3 steps out L,R,L (sway body bkwd). NB: notice the flick of the foot. Repeat all of Figure 4. Figure 5 Moving to the Left Take 2 steps into ctr R,L, take 3 steps R,L,R. Take 7 steps to the Left. Take 2 steps out of ctr R,L, take 3 steps out of the ctr R,L,R. Take 7 steps to the left.

Presented by Sandy Starkman

2012 Door County Folk Festival (DCFF), Wisconsin

Snoshti vecher Rade

Meter: 9/8 (2+2+2+3). Styling is relaxed and subtle. Arms are in a W-hold, bouncing lightly, as well as knees, throughout the dance. Moving to R (in LOD) facing center.

Measures:

1 Step on R to R (1-2); step on L crossing behind R (3); step on R to R (4). 2 Step on L to R crossing in front of R (1-2); step on R to R (3); step on L to R crossing behind R (4). 3 Step on R to R (1-2); step on L to R crossing in front of R (3); step on R in place (4). 4 Step on L away of center lowering arms down to a V-position (1-2); step on R diagonally to R away from center while arms keep moving a little bit behind the body (3); step on L to R crossing in front of R while arms are going back to W-position.

Need explanation here

Variation on measure 4: Slightly emphasized step on L (1); pause (2-3); lift R heel back (4).

Lyrics: Translation:

Snoshti vecher Rade Last night Rade, na sun ta sunouvah /2 I dreamed you were da sedish do mene. sitting by me. Bjal choumber povdigna You moved your white krotko me pogledna/2 head-scarf up and s tvojte cherni o… glanced at me meekly s tvojte cherni ochi. with your black eyes.

Tiho mi prodouma You whispered to me s kletva se zareche and gave me your word that po Gjorgjovden Rade around St. George’s Day boulka da mi stanesh. you will become my bride. Koga se suboudih When I awoke there was bjal kamuk do mene /2 a white stone by me. teb ta njama Ra.. You weren’t there.. Teb ta njama Rade. You weren’t there Rade.

Repeat 1st verse.

2012 Door County Folk Festival (DCFF), Wisconsin Phil Moss (Wilmette, IL)

Phil became an active Israeli dancer during his college years and started teaching as a summer staff member of the Olin-Sang-Ruby Union Institute (OSRUI) in Oconomowoc, WI. Known locally, nationally and internationally, Phil has been leading Israeli Dancing in Chicago since 1974. For most of that time his weekly Thursday night group met at Northwestern University. More recently it is at Temple Judea Mizpah in Skokie Illinois. In addition to being an excellent teacher, Phil has led/participated in numerous workshops, camps and performing groups including the Camp Blue Star Fred Berk Israeli Folk Dance Workshop, the Nitzanim Israeli Folk Dance Troupe, Blue Star Reunion Workshops, and the world-famous Chagigah, A Weekend of Israeli Dance, that was held for 20 years at OSRUI. Phil is a tireless promoter of Israeli dancing, having brought the joy of this form to literally generations of kids, teens, parents and seniors. He is active on a national and international level in the leadership of Israeli Dancing from an organizational and promotional perspective. This is Phil's first appearance on staff at DCFF where he is very pleased to support his colleague from Thursday nights, and DCFF staff mainstay, Penny Brichta. Phil truly can be viewed as a charter member of the who's who in Israeli dancing. We are very excited to have him with us to share his love of Israeli dancing.

2012 Door County Folk Festival (DCFF), Wisconsin HANIGUN (The Melody)

Dance: Israel Shabtai Music: C. Benet Meter: 4/4 Formation: Circle facing center with hands joined.

PART I 1-2 Step R to R w/R hand to R, Stamp L in place. 3-4 Step R across L bending body fwd, Stamp L back in place. 5-8 2 step-hops w/R,L with hands raised, making a full turn to R. 9-32 Rpt. 1-8 three more times.

PART II 1-4 Mayim to L (R across L) 5-6 Face CW and step fwd R,L 7-8 Step-hop R turning twd R to face center. 9-16 Rpt. 1-8 w/opp. footwork and direction 17 Place arms on shoulders (shoulder hold) and step R to R. 18 Step L behind R bending knees. 19-22 Rpt. 17-18 twice more 23-24 Step R in place and bend R knee. 25-32 Rpt. 17-24 w/opp. footwork and direction.

PART III 1-8 4 quick step-tog-steps fwd to center w/R,L,R,L bending and raising body on alternate steps. 9-12 Full turn to R w/R,L,R, hold. 13-16 Full turn to L w/L,R,L, hold. 17-20 2 quick step-tog-steps bwd w/R,L 21-22 Turn to R w/R,L 23-24 Jump on both, hop on L 25-48 Rpt. 1-24

PART IV 1-4 Open mayim to R (R to R, L across R) 5-6 Step R to R, close L to R. 7-8 Rpt. 5-6 9-12 Rpt. 1-4 13-16 Two quick step-tog-steps w/R,L making a full turn to R. 17-32 Rpt. 1-16

Instructions courtesy of Fred Berk Blue Star Workshop 1985

HG030194-KL(FB85)

2012 Door County Folk Festival (DCFF), Wisconsin LECHA KARATI (To You, I Call)

Dance: Dudu Barzilay Music: Pini Hadar Meter: 4/4 Formation: Circle facing center.

Part I 1-2 Step R to R, L across R 3&4 Yem. R 5-6 Touch L heel fwd, touch L heel to L 7&8 Yem. L bwd. 9-10 Step R fwd, shift weight back onto L (elbows are bent and palms are first pointed down and then up) 11&12 R-tog-R fwd shifting palms down and up again and clap on last step turning to face CW. 13-14 Turn to L out of circle with L,R and face center. 15&16 Yem. L bwd.

Part II 1-4 Rock R fwd, L bwd (2x) 5-8 Step-hop R fwd and turn to R to face out, step L back and hop on L. 9-16 Rpt. 1-8 and face center.

PART III 1-2 Fall onto R, lifting L fwd and crossing arms at wrists and snap fingers. 3-4 Sway L,R 5-8 Step L across R, R to R, L across R. 9-12 Turn to R with R,L 13-16 Yem. R. 17-32 Rpt. Part III with opp. footwork and direction

PART IV 1-2 Jump with feet tog. 3-4 Hop 2x on R turning 1/2 turn to L to face out. 5-8 Yem. L bwd. 9-16 Rpt. 1-8 and face center. 17-24 Box: R to R, L across R, step back on R, L to L. 25-28 R to R, L across R 29-32 Step R bwd, step L fwd in place, close ith R and snap fingers with arms crossed at wrists.

HG031304-YON04(YON04)

100

2012 Door County Folk Festival (DCFF), Wisconsin MEI NAHAR (Waters of the River)

Dance: Yaron Ben-Simchon & Anat Ben Chamo Music: Idan Raichel Meter: 4/4 Formation: Circle facing center.

PART I 1&2 R-tog-R to right side. 3&4 L behind, R to R, L across. 5&6 R fwd, L in place, R bwd. 7&8 Yem. L bwd. 9-10 ½ turn fwd to Rt. with R,L and face out of circle. 11&12 R bwd, L in place, R across L. 13-16 Rpt. 9-12 with opp. footwork and direction and face center. 17-18 R to R, L across, 19&20 Yem. R 21-22 Sway L,R. 23&24 L-tog-L across R. 25-26 Step R to R and pivot to rt. to face out, close with L bending fwd and clap hands. 27&28 Straighten and pivot over L shoulder: L-tog-L to center. 29-30 R fwd, back on L. 31-32 Turn to Rt. out of circle with R,L.

PART II – Face CCW 1-4 Sway R,L, step R to R rising slightly and raising arms lifting L to L. 5-8 L behind, R to R, L across moving out of circle. 9-12 Turn to Rt. on line of circle with R,L,R and face center. 13-16 L fwd, face center and step R to Rt., L behind R lifting R to right. 17-20 R behind, L to L, r across left. 21-24 Yem. L. 25-28 R to R, turn ¾ to left with L,R and face CCW. 29-32 Yem. L bwd. 33-64 Rpt. Part II

TRANSITION 1-4 R to R, hold, L behind R, R in place. 5-8 Rpt. 1-4 with opp. 9-12 Step R fwd and hold, pivot to L to face out and step L fwd. 13-16 Rpt. 9-12 to complete a turn to the left.

Repeat Dance Repeat Part I, cts. 1-16 Step R fwd and hold, raising arms.

Instructions notated by Honey Goldfein

HG02152-KL(YM319)

101

2012 Door County Folk Festival (DCFF), Wisconsin SHEYAVO (When You Will Come)

Dance: Avner Naim Meter: 3/4 – Each ct. = 1 measure of 3/4 Music/Lyrics/Singer: Micah Bitton Formation: Couple dance. M’s step is described. W uses opp. footwork.

PART I – Face partner with M’s back twd center. Join both hands. 1-2 L to L, R behind, L to L, R across, R to R, L behind. 3 Full turn to L with L,R,L 4 R to R, close with L, hold. 5-8 Rpt 1-4 with opp. footwork and direction.

PART II 1 Waltz step bwd (M: w/L, W: w/R) keeping M’s L and W’s R hands joined. 2 Change places: M: waltz step fwd with R moving around the W to outer circle and making ½ turn to R to face center. W: Waltz step fwd with L turning to L under joined hands and moving to inner circle to face partner with her back to center. 3-4 Rpt. 1-2 returning to original position. 5-6 Separate with 2 waltz steps. M begins with L to center, W begins with R outside and end facing partner. 7 Return to partner with 1 waltz step (M: L, W: R), join hands and face CCW. 8 Rock R fwd, L in place, close with R.

PART III – Face CCW, inside hands joined. 1 Open waltz fwd with L (W: with R.) 2 Waltz step with R (W: with L) changing places: M moves fwd and turns ½ turn to Rt to face CW; W: turns to L under the joined hands and ends facing her partner on the line of the circle. 3 Face partner and join both hands. M: L fwd twd partner turning slightly twd Rt. to center, back on R in place, L to L. W: R behind L, L in place, R to R. 4 M: R fwd twd partner turning slightly to L out of circle, back on L in place, R to R. W: L bwd turning to L to face center, R in place and face partner on line of circle, L to L. 5 1 Waltz step bwd (M w/L, W w/R) stretching the joined hands. 6 Switch place with 1 waltz step (M: R, W: L). M moves to Rt. around W making ½ turn to Rt. W: turns to L under joined hands ending in wrap postion facing center. 7 Turn CW tog. with 1 waltz step (M: L,W:R) unwrapping W to outside of circle. End facing CCW. 8 Rpt. Meas. 8 Part I 9-16 Rpt. Part III

PART IV 1 Open waltz fwd (M: L, W R) 2 Waltz fwd (M: R, W:L) turning twd partner and face CW. Outside hands (M’s R and W’s L) are joined high and inside hands are joined low. 3 Waltz bwd (M: L, W: R) 4 Rock R fwd, L in place, close with R. 5 Waltz fwd (M: L, W:R) 6 Turn away from partner (M: with R to center, W: with L to outside of circle) and end facing partner with M’s back twd center. 7-8 Join in waltz postion and waltz turn CW tog. 9-16 Rpt. Part IV

Instructions notated by Honey Goldfein

HG081710-KL(YM299)

102

2012 Door County Folk Festival (DCFF), Wisconsin Dit Olshan (Skokie, IL)

Dit 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. Presently, Dit is a docent at Lincoln Park Zoo, volunteers as a tax preparer for the Center for Economic Progress, and is always in love with a dog (currently Teva), whom she is known to have shown up with at Paul Collins' dance group.

103

2012 Door County Folk Festival (DCFF), Wisconsin • Lazarska Ra~enica (Trakia-Bulgaria)

A women's dance connected with the Lazantvane springtime folk custom. These traditional steps are from the region of Stara Zagora.

Pronunciation: LAH-zahr-skah ruh-cheh-NEEH-tsah

Music: Yves Moreau CD FB-007

Rhythm: 7/8 meter. 1-2,1-2,1-2-3 or Q-Q-S (1,2,3)

Formation: Women in line or open circle. Face ctr; wt on L ft. Arms in W-pos.

Meas Pattern

INTRODUCTION None. Start dance with song.

I. TRAVEL TO R (Melody A-song) 1 Step on R toR, arms extend fwd and down (ct 1); pause (ct 2); step on L crossing behind R, arms continue moving down and back (ct .l). 2 Step on R to R, arms begin to move fwd and up (ct 1); pause (ct 2); lift L ft bending L knee, arms extend up to W-pos (ct.l). 3 With arms in W -pos, small step fwd twd ctr on L (ct 1); pause (ct 2); bring R ft behind L calf (ct .l). 4-18 Repeat meas 1-3, 5 more times (6 total) II. TRAVEL R AND L (Melody B-song) 1 Facing LOD (R of ctr), 3 small running steps R-L-R (cts 1,2,.l). 2 Still moving LOD, 3 small running steps L-R-L (cts 1,2,.l). 3 Repeat meas 1-2 4-6 Repeat Fig I, meas 1-3 with same arm motions 7 Facing ctr, step back onto R ft ( ct 1); pause (ct 2); lift L knee ( ct .l). 8-14 Repeat meas 1-8 with reverse direction and ftwk (RLOD). III. FORWARD AND TURN (Melody C-instrumental) 1 Facing ctr, 3 small running steps fwd twd ctr, R-L-R (cts 1,2,.l). 2 Step on L crossing in front ofR with body turning to faceR (ct 1); pause (ct 2); bring R ft behind L calf (ct .l). 3 With body facing ctr, step away from ctr with 3 small steps R-L-R (cts 1,2,.l). 4 3 small steps in place L-R-L (cts 1,2,,l). 5-8 Repeat meas 1-4 9 Moving twd ctr, 3 small running steps R-L-R (cts 1,2,.l). 10 Still moving twd ctr, 3 small running steps L-R-L (cts 1,2,.l). 11 With feet together, bend knees and clap hands extended toR (ct 1); pause (cts 2-.l). 12 Repeat meas 11 but hands clap extended to L.

104 FOLK DANCE CAMP - 2004 2012 Door County Folk Festival (DCFF), Wisconsin 56 Lazarska Racenica-continued

13-16 Letting go ofhands, travel alone out toR, moving away from ctr (CW) and gradually coming back to face ctr using small running steps R-L-R, L-R-L, R-L-R, L-R-L. Note: while doing this pattern, the hands do special motion: close fist inwards (ct 1); pause ( ct 2); extend fingers and hands stretched slightly out (ct J.);

Dance repeats from beginning.

Presented by Yves Moreau

FOLK DANCE CAMP- 2004 105

2012 Door County Folk Festival (DCFF), Wisconsin Turning by Threes Dance for three couples by Gary Roodman

Three couple circle mixer in ¾ time W is on M's R Each bar = one waltz step Measure A1 1-4 Taking hands, circle L (two bars) and then turn single left (two bars) 5-8 Taking hands, circle R (two bars) and then turn single R to face partner(two bars) 9-12 With partner, go back to back (remember to take 4 waltz steps ) 13-16 Facing partner, two changes of hands R's and L's (one waltz step for each change, followed by a R-hand turn with the next person once around (two waltz steps) ending up all facing center.

B 1-4 Men L hands across once around back to new place (4 waltz steps) 5-8 Women R hands across once around and back to place (4 waltz steps). 9-10 Men dance to center with two single steps (step close, step close) 11-12 As men fall back with step closes, women dance to center with two single steps (step closes) 13-16 Women look over R shoulder and gypsy with this new man about 1-1/4 around back into the circle --ready to begin the dance again from the beginning with this new partner. W is on M's R.

Dance repeats from the beginning.

Taught by Dit Olshan at DCFF, July, 2012 I learned this dance from Darice Griffin at Fall Folk Dance Camp at Oconomowoc, WI

106

2012 Door County Folk Festival (DCFF), Wisconsin Ellen Rice (Dayton, OH)

Ellen is new to DCFF, but not to folk dance. She danced in Boston from the mid- ‘60s to the late ‘70s, starting at the Taylors’ but soon moving on to the Balkan “grind group,” which was instrumental in helping MIT get its Tuesday night folkdance group going. (She also played tamburitsa with the Cambridge Folk Orchestra, learned and translated lots of songs, and traveled in Yugoslavia and Bulgaria.) Some of Ellen’s friends, like Bob Leibman and Martha Forsyth, have been able to turn their dance and ethnomusicological passions into at least a partial living, but she was never brave enough to try it herself. (A French major, she has had job titles ranging from Nuclear Licensing Analyst to Proposal Manager.) In Boston, Ellen was lucky enough to learn dances directly from masters such as Dick Crum, Yves Moreau, Atanas Kolarovski, Bora Öskök, and Andor Czompo – which tends to make her annoyingly style-conscious. She enjoys the dances of almost all nationalities, but her first love is Macedonian and Bulgarian multifigure dances (usually men’s). When Ellen moved to D.C., she danced with Larry Weiner’s group until a baby took her out of dance for most of 1985–2003. She moved to Dayton without realizing that it had a folkdance group, but now splits her spare time among her 1928 house and overgrown yard, neighborhood/community volunteering, and, yes, folk dance, music, and song!

107

2012 Door County Folk Festival (DCFF), Wisconsin KOSTURSKO ORO

John Filcich learned this dance from Sveta Kosta, who had danced it as a girl in the village of Kostur. He named it for the village (which is in Greek Macedonia) and introduced it in San Francisco in 1956, using the song “Do Dek Je Moma Pri Majka.” Other songs have been used, and the original dance is thought to have been in 5/8! But this song and version are so widely known after 50+ years that I see no point in introducing complications. The dance is done in an open circle, moving mostly right. This Macedonian style calls for straight body but soft knees (not quite bounces) and arms up in W position, slightly forward and open. The rhythm is 7/8, usually slow‐quick‐quick but danced here more like quick‐slow. The single dance figure uses 6 measures, which is fewer than the musical phrase has. The song, incidentally, focuses on the woes of marriage. The singer was happy as a girl, but being married is like being buried. All her in‐laws are dreadful, her children are little chains. Her first love was like a bright bouquet, though.

Measure 1 – facing diagonally right 1. Step on R ft in LOD 2. Step on L ft in LOD Measure 2 1. Step on R ft in LOD, turning body to face center 2. Close L ft to R ft (taking weight) Measure 3 – facing center 1. Step back on R ft 2. Touch L ft lightly to floor next to R ft, slightly forward of R ft (no weight) Measure 4 – facing center 1. Step to L with L ft and bend knees slightly 2. Step behind L with R ft, touching first with toe or ball of foot (½ of slow count) and then full foot Measure 5 1. Step to L with L ft 2. Bring R ft to L ft, then make a half‐circle clockwise just above floor (turning right) and step on it in LOD Measure 6 – facing diagonally right 1. Step in LOD with L ft 2. Bring R ft fwd to nearly close with L ft, touching floor with ball of ft near L heel (no weight)

108 EFRice, 5/12

2012 Door County Folk Festival (DCFF), Wisconsin KUNE Choreographed in the Pirin style by Iliana Hristova Bozhanova 2008 Iliana combined several steps typical of women’s dances in Pirin to create a dance to fit (and preserve) the lovely song “Kune,” which she found in a Pirin village. (There’s a fine YouTube of her teaching it.) In the song, a young man wonders why all he wants to do is spend his time drinking coffee at Kune’s house and watching her. This dance moves right in an open circle, hands down in V position. The rhythm is 13/16, which is quick‐quick‐ slow, but here is more easily clapped out as slow‐slow‐quick‐slow. The style is quite light and soft (Iliana dances like a bubble). There is a long (18‐measure) introduction, after which the song begins. The dance has a single figure of 8 measures, matching the song and instrumental phrasing, that repeats to the end of the music. Measure 1 – facing LOD, all steps in LOD 1. Step fwd (in LOD, i.e.) on R ft 2. Step fwd on L ft 3. Small step fwd on R ft &. Small step fwd on L ft Measure 2 – facing LOD Repeat Measure 1 Measure 3 – facing LOD 1. Step fwd on R ft 2. Step backward (still facing LOD) on L ft 3. Lift on L ft &. Step backward on R ft Measure 4 1. Lift on R ft, turning to face center 2. Step to L on L ft 3. Step across L ft on R ft, turning to face diagonally L &. Step back on L ft in place, still facing L Measure 5 1. Hop on L ft, facing diagonally L, while straightening R leg and beginning a low circle in front with R toe 2. Hop on L ft, facing toward center, continuing the low circle 3. Hop on L ft, facing diagonally R, continuing the low circle &. Step on R ft next to L ft, facing R Measure 6 Reverse steps of Measure 5, but stay facing center for 3, and step in towards center with L ft on & Measure 7 – facing center 1. Step into center on R ft 2. Step on L ft in place 3. Lift on L ft &. Step backward on R ft Measure 8 1. Close with L ft and lift/bounce on both feet (still facing center) 2. Bounce on both feet again 3. Step back and R on R ft, turning to face LOD and bending the body slightly &. Small step fwd on L ft in LOD, facing LOD

EFRice 5/12 109

2012 Door County Folk Festival (DCFF), Wisconsin LAZ BAR This is an Armenian dance, of which many versions exist. I learned this particular version in Boston in the mid‐ to late 1960s, I think from Conny and Marianne Taylor but I’d hate to hold them responsible. It has a more belly‐dance flavor than many. This dance is done in an open circle, largely on the balls of the feet. Arms are up in a W, ideally using a little‐finger hold, and the whole dance faces center. Music is generally in 7/8 (or closer to 7/16!), quick‐ quick‐slow. The pattern takes 8 measures, matching the musical phrase. The arms should circle slightly during the whole dance, one circle per measure. The whole dance should feel quite light and fluid, and despite all temptation, the hips should not have noticeably more side movement than the rest of the body….

Measure 1 1. Step lightly to the R on R ft 2. Lightly step on L ft close to R ft 3. Step in place on R ft Measure 2 Reverse Measure 1 Measure 3 Repeat Measure 1 Measure 4 Reverse Measure 1 Measure 5 1. Step lightly into the center on R ft 2. Lightly step on L ft close to R ft 3. Step in place on R ft Measure 6 1. Step lightly back out of the center on L ft 2. Lightly step on R ft close to L ft 3. Step in place on L ft Measure 7 1. Step lightly to the R on R ft 2. Carry L ft across in front of R ft (keeping it close to the floor), tilting body slightly backward 3. Step on L ft, tilting body very slightly forward Measure 8 Repeat Measure 7

110 EFRice, 5/12

2012 Door County Folk Festival (DCFF), Wisconsin Paul Wagner (Eau Claire, WI)

Paul W returns to the DCFF staff. Paul has been dancing, teaching and enjoying folk dance for over 34 years. He currently is one of the leaders of the Eau Claire International Folk Dancers, and has been a member and leader of the Eau Claire international performance group and the Bistra Voda band. While teaching dances from all over the world, Paul especially enjoys the rhythms, music and dance forms of the Balkans. In 2001 Paul completed his doctorate in Computer Science from the University of Minnesota. He teaches computer science at the University of Wisconsin - Eau Claire. In addition to his interest in dance and music, Paul enjoys running, canoeing and kayaking, bird watching and volleyball.

111

2012 Door County Folk Festival (DCFF), Wisconsin Bistriška Kopanica (Bulgaria)

Bistriška Kopanica (BEES-treehsh-kah KOH-pah-knee-tsah) was observed in the village of Bistrica near Sofia in the summer of 1966 by Yves Moreau. It was first taught at the 1968 Kolo Festival in San Francisco and then (wrongly) called Bistrica Kopanica. The correct form is Bistriška, meaning: “from Bistrica”.

RECORD: Any “Kopanica” or “Gankino” tune Suggested recordings: XOPO LP-3 A/1 or FOLKRAFT LP-26 B/6.

METER: 11/16: counted here as 2-2-3-2-2 or 1-2-3-4-5, or quick, quick, SLOW, quick, quick

FORMATION: Mixed or segregated lines (short). Belt hold, L over R. Wt on L ft. Line is always straight, facing ctr.

STYLE: The “Šop” people are very proud by nature yet their dances remain somewhat heavy in character. Upper part of body is upright straight most of the time except for occasional bends. Movements are firm and sharp. Head movements often accompany the intricate ftwk.

MUSIC 11/16 PATTERN

Measures INTRODUCTION: Usually 4 meas.

I. “IZLIZANE” (entrance or starting step)

1 Facing ctr, step on R ft to R (ct 1); step on L ft closing to R ft (ct 2); step on R ft to R (ct 3); small light stamp onto L ft next to R, twice (cts 4,5). 2 Repeat action of meas 1, with opp dir and ftwrk.

II. “BISTRIŠKA” (basic step)

1 Moving directly fwd twds ctr, two small running steps R,L (cts 1,2); hop on L, simultaneously swinging R leg upwd in front of L, with upper body bending fwd slightly, head straight up (ct 3); two small running steps fwd R,L (cts 4,5). 2 Hop on L ft in place, simultaneously touching floor briskly with ball of R ft, crossing it in front of L ft (ct 1); hop on L, with R ft starting to move to R and bkwd (ct 2); step on R ft behind L (ct 3); hop on R, with L ft starting to move to L and bkwd (ct 4); step on L ft behind R (ct 5). Counts 2-5 represent 2 “reeling” steps bkwd.

III. “RIPNI RAZ” (one “brush-step”)

1 Two small running steps in place R,L (cts 1,2); sharp “brush” step with R (ball of ft) and bending upper body fwd (ct 3); two small running steps fwd R,L (cts 4,5). 2-3 Repeat pattern of FIG. II, meas 1-2 (basic step).

IV. “RIPNI DVA” (two “brush-steps”)

1 Repeat action of FIG. III, meas 1, cts 1-3; hop in place onto L ft (ct 4); one “brush- step” with R with same style as in previous fig. (ct 5). 2-3 Repeat action of FIG. II, meas 1-2 (basic step).

112

2012 Door County Folk Festival (DCFF), Wisconsin Bistriška Kopanica (Continued)

MUSIC 11/16 PATTERN

Measures V. “PLETI” (“braiding” or “crossing” step)

1 Two small running steps R,L moving twds ctr (cts 1,2); touch R heel diag R, 30 degrees from line of dancers (ct 3); touch R heel diag R, 60 degrees from line of dancers (ct 4); small leap fwd onto R ft (ct 5). 2 Still moving fwd twds ctr, repeat pattern of meas 1, reversing ftwrk. 3 Still facing ctr, small sharp step on R to R (ct 1); small sharp leap onto L ft, in place (ct 2); sharp stamp on R ft next to L (ct 3); small sharp leap onto R ft, in place (ct 4); sharp stamp on L ft next to R (ct 5). 4 Moving directly bkwd, take five small running steps to the basic rhythm, L,R,L,R,L. 5-6 Repeat action of FIG. II, meas 1-2 (basic step).

VI. “HLOPKA” (“chugs” and “slaps”)

1 Wt on both ft and ft together, 3 small “chugs” moving bkw-fwd-bkw (cts 1,2,3); leap onto L, simultaneously extending R leg up and fwd diagonally (ct 4); “slap” R ft diag R (ct 5). 2 Leap onto R in place besides L ft (ct 1); touch L heel diag L, 30 degrees from line of dancers (ct 2); touch L heel diag L, 60 degrees from line of dancers (ct 3); leap onto L in place beside R ft (ct 4); “slap” R diag R (ct 5). FIG. II (basic step) does not repeat here

Note: There is no definite order or sequence for the above figures. The leader “calls” each figure at will.

Originally presented by Yves Moreau

Presented by Paul Wagner at DCFF 2012

113

2012 Door County Folk Festival (DCFF), Wisconsin Chef Gypsy dance from Transylvania, Romania Presented by Sonia Dion & Cristian Florescu

Formation: Individuals dancing freely Position: free hands Pronunciation: kehf Music: Sonia Dion & Cristian Florescu Romanian Realm Vol. 6, 5

Description of the basic step: pas ca la u a cortului (means: step likes on the threshold of the tent)

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)

------Meter: 2/4 Description of Chef ------Meas. Count Introduction

1-16 no action or improvisation

Figure 1

1-4 Do two (2) basic steps (pas ca la u a cortului) starting R ft

5-6 1 Raise R leg (45º) in front, knee bent (45º) and simultaneously, slap R thigh with R hand and slap L outside thigh with L hand & Step on R in front 2 Step on L near R & Raise R leg (45º) in front, knee bent (45º) and simultaneously, slap R thigh with R hand and slap L outside thigh with L hand 3 Step on R in front & Step on L near R 4& Raise R leg (45º) in front, knee bent (45º) and simultaneously, slap R thigh with R hand and slap L outside thigh with L hand

(Rhythm of meas. 5-6: Q-Q-Q-Q-Q-Q-S)

Note: The sequence described above (meas. 5-6) is known as butoia ele (means: the little barrel)

114

2012 Door County Folk Festival (DCFF), Wisconsin ------Meter: 2/4 Description of Chef (continued) ------Figure 1 (continued)

7-8 1 Step bkwd on R & Clap hands together 2 Step bkwd on L & Clap hands together 3 Step bkwd on R & Clap hands together 4 Step on L near R while clap hands together

9-10 1 Raise R leg (45º) in front, knee bent (45º) and simultaneously, slap R thigh with R hand and slap L outside thigh with L hand & Step on R in front 2 Step on L near R & Raise R leg (45º) in front, knee bent and twist R lower leg to slap inside lower leg with R hand 3 Step on R & Step on L 4& Raise R leg (45º) in front, knee bent and twist R lower leg to slap inside lower leg with R hand while slapping L thigh with L hand

11 1 Land fwd (slightly) with both ft together & Clap hands together 2 Clap hands together & Land fwd (slightly) with both ft together

12 1 Clap hands together & Clap hands together 2 Land fwd (slightly) with both ft together & Clap hands together

13 1 Step on R crossing in front (wt) & Snap fingers 2 Touch on L to the left (no wt) & Snap fingers

14 1 Step on L crossing in front (wt) & Snap fingers 2 Touch on R to the right (no wt) & Snap fingers

15-16 1 Cross R in front of L 2 Step swd on L to the left 3 Step bkwd on R 4 Cross L in front of R

(meas. 15-16 = jazz-box)

115

2012 Door County Folk Festival (DCFF), Wisconsin ------Meter: 2/4 Description of Chef (continued) ------Meas. Count Figure 1 (continued)

17-30 Repeat measures 1-14

31-32 1 Jump on both ft, crossing R ft in front of L ft and complete one full t. (CCW) during these two measures.

Figure 2

1-4 Do two (2) basic steps (pas ca la u a cortului), starting R ft

5 1 Fall on both ft (‘Échappé’), heels open to the sides 2 Close heels together

6 1 Lift on L heel while raising (slightly) R ft & Step on R in place 2& Step on L in place

(Rhythm of meas. 5-6: S-S-Q-Q-S)

7-8 Repeat measures 5-6 with opp ftwk

9-10 1 Cross L heel (wt) in front of R & Very small step swd on R 2 Step on L near R ft & Very small step swd on R 3 Cross L heel (wt) in front of R & Very small step swd on R 4 Step on L near R ft

11-12 Repeat measures 9-10 with opp ftwk and direction

13-16 Repeat measures 5-8 with opp ftwk

17-32 Repeat measures 1-16

Figure 3

1 1 Step on R in place & Cross L behind R ft 2 Step on R in place & Scuff with L heel

2 Repeat measure 1 with opp ftwk (starting L)

(Note: measures 1-2 = variante of pas ca la u a cortului)

116

2012 Door County Folk Festival (DCFF), Wisconsin ------Meter: 2/4 Description of Chef (continued) ------Meas. Count Figure 3 (continued)

3-4 Repeat measures 1-2 (starting R ft)

5-6 1 Lift on L heel while raising R leg in front (knee bent 45º) & Step on R heel in front 2& Step on L in place 3 Lift on L heel while raising R leg in front (knee bent 45º) & Step bkwd on R 4& Step on L in place

7-8 1 Lift on L heel while raising R leg in front (knee bent 45º) & Step on R heel (toes pointing diag. to the left) 2& Step on L (while R heel stay on floor) and R toes pointing diag. to the right 3 Lift on L heel while raising R leg in front (knee bent 45º) & Step on R heel (toes pointing diag. to the left) 4& Step on L (while R heel stay on floor) and R toes pointing diag. to the Right

9-14 Repeat measures 1-6

15-16 & Clap hands while raising R ft (knee bent 45º) 1 Extend R knee while slap inside R low leg with R hand & Clap hands 2 Step on R near L & Slap L (outside) thigh with L hand 3 Raise L ft in front (knee almost straight) and slap L thigh with R hand & Slap L (outside) thigh with L hand while L leg stay up 4 Step on L near R ft

17-32 Repeat measures 1-16

Transition

1-2 1 Cross R in front of L (facing diag. to the left) while clap hands together & Step on L in place 2 Step on R near L (facing center) & Cross L in front of R (facing diag. to the right) while clap hands together 3 Step on R in place & Step on L near R (facing center) 4 Touch on R (no wt) in place while clap hands together

117

2012 Door County Folk Festival (DCFF), Wisconsin ------Meter: 2/4 Description of Chef (continued) ------

Final pattern:

Introduction + F1 + Trans. + F2 + F3 + F1 + Trans. + F2 + F3 + F1 + Trans. + F2 + F3.

118

2012 Door County Folk Festival (DCFF), Wisconsin Daniel Wells (Cedar Falls, IA)

Daniel was a work scholar for DCFF many moons ago in another galaxy and another life during his undergraduate days. After graduation he went on to a professional career in dance. He danced with notable ballet companies like Ballet of the Dolls, the National Ballet of Canada and the Royal Winnipeg Ballet. He did not forget his ethnic roots in dance though and also danced with Ethnic Dance Theater in Minneapolis and with Les Sortilège in Montreal. Daniel currently teaches at the University of Northern Iowa and directs the International Dance Theatre. As part of the research for his PhD, Daniel has been traveling to Bulgaria, Macedonia, and Croatia gathering data about the music and dance of those countries.

119

2012 Door County Folk Festival (DCFF), Wisconsin Krivo Horo (Bulgaria)

Krivo Horo is a dance from the Thracian region of Bulgaria danced in 11/16. It is broken down into 5 beats of 2+2+3+2+2 or QQSQQ.

Music: Sevde le -- IBLD #11

Formation: Broken Circle, leader is at right end of line

Steps: Grapevine, Various variations ______

Music 11/16 ______

Basic pattern

1 step right foot to right, step left foot behind right, step right foot to right, hop on right foot, step left foot across right.

2 step right foot to right, step left foot behind right, step right foot to right, close left foot next to right, low bounce in place.

3 step left foot to left, step right foot behind left, step left foot to left, close right foot next to left, low bounce in place.

Variation 1: Stamp---Chukni Stamp the foot next to the other foot as you close at the end of measures 2 and 3 Variation 2: Kick---Ripni Replace the close and low bounce at the end of measures 2 and 3 with a hop on the leading foot while doing a reverse bicycle motion with the trailing leg and stamping it closed next to the leading foot. Variation 3: Scissors---Nozhitsi As you step to the side on the S (3rd beat) kick the trailing leg forward, the leap onto the trailing leg while kicking the leading leg forward and then back onto the leading foot as you kick the trailing leg forward. Variation 4: Heels As you step to the side put the trailing heel out to the opposite side then put the same heel forward. Variation 5: 3 Heels As you step to the right, put the left heel to the left then in front of you, step the left foot next to the right and put the right heel forward, step onto the right and put the left heel to the left and then in front. Use opposite footwork when repeating the other direction. Variation 6: 3 Stamps Starts like Ripni, after stamping the first foot, step onto the foot you stamped with and make a small stamp with the other foot, then step back onto the first foot and repeat the ripni action.

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2012 Door County Folk Festival (DCFF), Wisconsin Sarajevka Kolo (Bosnia)

Sarajevka Kolo was first introduced in the United States by Michael Herman. Notes are from version taught at the Bosnian Festival in Waterloo, Iowa by Zulfeta Rezvic in 2005.

Music: Folk Dancer 1002 A 78 Folkcraft CD 2905

Formation: Broken Circle, joined hands held down in V position.

Steps: Walk, Step Hop, Pas de Basque ______

Music 2/4 ______

Use first 2X through fast music as introduction.

A. Slow Music 1. Begin with the right foot, take two slow walking steps moving to the right. 2. Facing center, step with the right foot to the side, step with the left foot behind the right foot, step to the right, touch left foot next to right foot. 3. Step side left, touch right foot next to left, step right, touch left foot next to right. 4. Turn slightly to left, starting left take 3 steps reverse line of direction, touch right foot next to left. Repeat slow music B. Fast Music 1-2. Starting with right foot take two step hops in line of direction. 3. Facing center, step right foot to side, step left foot behind right foot. 4-6.Beginning right do 3 pas de basque steps. 7-8.Facing slightly left take 3 steps starting with left foot in reverse line of direction, hop on foot. Repeat fast music 3 more times.

Sequence is AABBBBAABBBBAABBBB

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2012 Door County Folk Festival (DCFF), Wisconsin Starobosansko Kolo (Glamoçko Kolo) (Bosnia)

Starobosansko Kolo (Old Bosnian Dance) dates to the time of the Ottoman rule of the Balkans. The dance was done in silence at secret meetings. It comes from the region of Glamoç. Notes are from version taught at the Bosnian Festival in Waterloo, Iowa by Zulfeta Rezvic in 2005. The portion being taught is the women’s portion only.

Music: No music

Formation: Closed circles in groups of 5-7 hands joined down in V position

Steps: Walk, run ______

______

Introduction sequence: Raise arms to straight out from shoulders, move hands to the right, move hands to the left, return hands to center, lower hands back to V postion, turn body to face slightly left.

Sequence 1. Starting with left foot, moving reverse line of direction, take 3 steps to left, close right foot next to left. Step to the right, close left foot next to right. Repeat 3 more times. On last repetition replace the step to the right and close with a step-together-step(rlr) moving in line of direction.

Sequence 2. Starting with the left foot moving in line of direction take 2 steps followed by 2 step-together steps. Repeat 3 more times Face into the center and stamp 3 times lrl

Sequence 3. Rhythm for the footwork of the next section will be as follows : 1 2 3+4 5+6. Footwork will be run, run, stamp, stamp, stamp, stamp stamp stamp starting with the right foot. In line of direction do two patterns. On stamps of second pattern back out to a larger circle. Repeat sequence X2 in larger circle. On stamps of second sequence face backwards. Repeat sequence X2 travelling backwards in line of direction. On stamps of second sequence turn to face forward. Repeat sequence X2 travelling in line of direction. On stamps of second sequence face center and collapse circle back to small circle. Stamp 3 times slowly.

Sequence 4. Repeat sequence 3 travelling in reverse line of direction starting with left foot.

Sequence 5. Designate a leader who breaks circle. Repeat footwork of Sequence 2 with leader snaking around to make and inside out circle. It should take 4 patterns of sequence 2 to do this. When hands are rejoined into a circle facing out complete the pattern then let go of hands. Take 3 slow stamps to face back into the middle of the circle.

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2012 Door County Folk Festival (DCFF), Wisconsin

33rd Annual Door County Folk Festival - July 11 – 15, 2012

CO-DIRECTORS MUSICIANS Gerhard Bernhard (Sister Bay, WI) Orkestar Sloboda Paul Collins (Chicago, IL) Milan Kontich (New Berlin, WI) Harley Schoville (Milwaukee, WI) Stevo Petrovich (Greenfield, WI) TEACHING STAFF Savo Radjenovich (Franklin, WI) Penny Brichta (Wilmette, IL) Patti Cohen (Winnipeg, MB, Canada) The Last Gaspé Paul Collins (Chicago, IL) Amy McFarland (Madison, WI) George Davis (Chicago, IL) Kevin Clark (Fitchburg, WI) Roger Diggle (Madison, WI) John Kraniak (Madison, WI) Dan Garvin (Vadnais Hts, MN) Maria Terres (Shorewood, WI) Mary Garvin (Saint Paul, MN) Leslie Hyll (Dayton, OH) Tri Bratovchedki Caren Grantz Keljik (Minneapolis, MN) Dan Garvin (Vadnais Hts, MN) Rick King (Southfield, MI) Debbie Kmetz (Madison, WI) Debbie Kmetz (Madison, WI) Michael Kuharski (Madison, WI) Nick Bratkovich (Tulsa, OK) Nancy Jo Lame (Columbia, MD) Phil Moss (Wilmette, IL) Shelley Orbach (Skokie, IL) Dit Olshan (Skokie, IL) Shelley Orbach (Skokie, IL) Ellen Rice (Dayton, OH) PICNIC & FISH BOIL PLANNING & LOGISTICS Paul Wagner (Eau Claire, WI) Kim Caisse (Lead Coordinator) (Hannibal, MO) Daniel Wells (Cedar Falls, IA) Janet Higgs (Coordinator) (Indianapolis, IN) Mara Kins (Lead Coordinator) (Chicago, IL) Ken Pagenkopf (Coordinator) (Shorewood, WI) SUPPORT STAFF Fran Gilbert (Skokie, IL) Eddie Cordray (Dayton, OH) Sue Scheffler Ellis (Evanston, IL) George Davis (Chicago, IL) Mercedes Dzindzeleta (Racine, WI) Carol Johnson (Big Bend, WI) SPECIAL THANKS Forrest Johnson (Big Bend, WI) Joan Amsterdam (Northbrook, IL) Jim Kiehne (Minneapolis, MN) Sue Anschutz (Sturgeon Bay, WI) Nina Lusterman (Evanston, IL) Grace Bernhard (Sister Bay, WI) Dick & Miriam Miller (Middleton, WI) Pastor Mark Billingham (Sister Bay, WI) Karen Tutkowski (Milwaukee, WI) Vladimir Gadalev (Fond du Lac, WI) Kurt & Nancy Grube (Sister Bay, WI) Rich & Jeannie Hoffman (Baileys Harbor, WI) WORK SCHOLARS Gloria Klotter (Sister Bay, WI) Chris Alfeld (Team Leader) (Madison, WI) Daryl Larson (Ephraim, WI) Kristina Arellano (Coordinator) (Fond Du Lac, WI) Mike & Karen McAndrews (Sister Bay, WI) Sarah Bennett (Team Leader) (Madison, WI) Lloyd Michalsen (Sister Bay, WI) Jean Borger (Louisville, KY) Carol Mullaney (Sister Bay, WI) Laura Brandt (Middleton, WI) Susan Yoshihara (Chicago, IL) Patricia Eby (Fond du Lac, WI) Holly Beth Hinnrichs-Dahms (Menomonee Falls, WI) Nancy Keehan (Fish Creek, WI) June Jacobs (Madison, WI) Susan Shallow (Ephraim, WI) Judi Lindquist (West Bend, WI) Doug Smith (Baileys Harbor, WI) Cindy Schlosser (Eau Claire, WI) Janal Suppanz (Sister Bay, WI) Marsha Swenson (Coordinator) (Madison, WI) Judith Toth (Bloomfield Hills, MI) Arne Van Art (De Soto, WI) IN REMEMBRANCE Bob Brenneman (Racine, WI) Phyllis Spiegel (Skokie, IL)

2012 Door County Folk Festival (DCFF), Wisconsin