ABOUT MENTORING Issue 46 • Winter 2015
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Short Course in International Folk Dance, Harry Khamis, 1994
Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ............................... -
SYRTAKI Greek PRONUNCIATION
SYRTAKI Greek PRONUNCIATION: seer-TAH-kee TRANSLATION: Little dragging dance SOURCE: Dick Oakes learned this dance in the Greek community of Los Angeles. Athan Karras, a prominent Greek dance researcher, also has taught Syrtaki to folk dancers in the United States, as have many other teachers of Greek dance. BACKGROUND: The Syrtaki, or Sirtaki, was the name given to the combination of various Hasapika (or Hassapika) dances, both in style and the variation of tempo, after its popularization in the motion picture Alexis Zorbas (titled Zorba the Greek in America). The Syrtaki is danced mainly in the taverns of Greece with dances such as the Zeybekiko (Zeimbekiko), the Tsiftetelli, and the Karsilamas. It is a combination of either a slow hasapiko and fast hasapiko, or a slow hasapiko, hasaposerviko, and fast hasapiko. It is typical for the musicians to "wake things up" after a slow or heavy (vari or argo) hasapiko with a medium and / or fast Hasapiko. The name "Syrtaki" is a misnomer in that it is derived from the most common Greek dance "Syrtos" and this name is a recent invention. These "butcher dances" spread throughout the Balkans and the Near East and all across the Aegean islands, and entertained a great popularity. The origins of the dance are traced to Byzantium, but the Argo Hasapiko is an evolved idiom by Aegean fisherman and their languid lifestyle. The name "Syrtaki" is now embedded as a dance form (meaning "little Syrtos," though it is totally unlike any Syrto dance), but its international fame has made it a hallmark of Greek dancing. -
Pocono Fall Folk Dance Weekend 2017
Pocono Fall Folk Dance Weekend 2017 Dances, in order of teaching Steve’s and Yves’ notes are included in this document. Steve and Susan 1. Valle e Dados – Kor çë, Albania 2. Doktore – Moh ács/Moha č, Hungary 3. Doktore – Sna šo – Moh ács/Moha č, Hungary 4. Kukunje šće – Tököl (R ác – Serbs), HungaryKezes/Horoa - moldaviai Cs áng ó 5. Kezes/Hora – Moldvai Cs áng ó 6. Bácsol K ék Hora – Circle and Couple ____ 7. Pogonisht ë – Albania 8. Gajda ško 9. Staro Roko Kolo 10. Kupondjijsko Horo 11. Gergelem (Doromb) 12. Gergely T ánc 13. Hopa Hopa Yves and France 1. Srebranski Danets (Bulgaria/Dobrudzha) 2. Svornato (Bulgaria/Rhodopes) 3. Tsonkovo (Bulgaria/Trakia) 4. Nevesto Tsarven Trendafil (Macedonia) 5. Zhensko Graovsko (Bulgaria/Shope) _____ 6. Belchova Tropanka (Bulgaria/Dobrudzha) 7. Draganinata (Bulgaria/ W. Trakia) 8. Chestata (North Bulgaria) 9. Svrlji ški Čačak (East Serbia) DOKTORE I SNAŠO (Mo hács, Hungary) Doktore and Snašo are part of the “South Slavic” ( Délszláv) dance repertoire from Mohács/Moha č, Hungary. Doktore is named after a song text and is originally a Serbian Dance, but is enjoyed by the Croatian Šokci as well. Snašno (young married woman) or Tanac is a Šokac dance. Recording: Workshop CD Formation: Open circle with “V” hold, or M join hands behind W’s back and W’s hands Are on M’s nearest shoulders. Music: 2/4 Meas: DOKTORE 1 Facing center, Step Rft diag fwd to R bending R knee slightly (ct 1); close Lft to Rft and bounce on both feet (ct 2); bounce again on both feet (ct &); 2 Step Lft back to place (bend knee slightly)(ct -
Music and Traditions of Thrace (Greece): a Trans-Cultural Teaching Tool 1
MUSIC AND TRADITIONS OF THRACE (GREECE): A TRANS-CULTURAL TEACHING TOOL 1 Kalliopi Stiga 2 Evangelia Kopsalidou 3 Abstract: The geopolitical location as well as the historical itinerary of Greece into time turned the country into a meeting place of the European, the Northern African and the Middle-Eastern cultures. Fables, beliefs and religious ceremonies, linguistic elements, traditional dances and music of different regions of Hellenic space testify this cultural convergence. One of these regions is Thrace. The aim of this paper is firstly, to deal with the music and the dances of Thrace and to highlight through them both the Balkan and the middle-eastern influence. Secondly, through a listing of music lessons that we have realized over the last years, in schools and universities of modern Thrace, we are going to prove if music is or not a useful communication tool – an international language – for pupils and students in Thrace. Finally, we will study the influence of these different “traditions” on pupils and students’ behavior. Key words: Thrace; music; dances; multi-cultural influence; national identity; trans-cultural teaching Resumo: A localização geopolítica, bem como o itinerário histórico da Grécia através do tempo, transformou o país num lugar de encontro das culturas europeias, norte-africanas e do Médio Oriente. Fábulas, crenças e cerimónias religiosas, elementos linguísticos, danças tradicionais e a música das diferentes regiões do espaço helénico são testemunho desta convergência cultural. Uma destas regiões é a Trácia. O objectivo deste artigo é, em primeiro lugar, tratar da música e das danças da Trácia e destacar através delas as influências tanto dos Balcãs como do Médio Oriente. -
Greek Dance and Everyday Nationalism in Contemporary Greece - Kalogeropoulou 55
Greek dance and everyday nationalism in contemporary Greece - Kalogeropoulou 55 Greek dance and everyday nationalism in contemporary Greece Sofia Kalogeropoulou The University of Otago ABSTRACT In this article I explore how dance as an everyday lived experience during community events contributes to constructing national identities. As a researcher living in New Zealand where issues of hybridity and fluidity of identities in relation to dance are currently a strong focus for discussion, I was inspired to examine dance in my homeland, Greece. In a combination of ethnography and autobiography I examine dance as an embodied practice that physically and culturally manifests the possession of a distinct national identity that can also be used as a means of differentiation. I also draw on the concept of banal nationalism by Michael Billig (1995), which looks at the mundane use of national symbols and its consequences. I argue that while folk dance acts as a uniting device amongst members of national communities, its practice of everyday nationalism can also be transformed into a political ritual that accentuates differences and projects chauvinism and extreme nationalism with a potential for conflict. INTRODUCTION A few years ago when I was still living in Greece I was invited to my cousin’s farewell party before he went to do his national service. This is a significant rite of passage for a Greek male marking his transition from childhood to manhood and also fulfilling his obligations towards his country and the state. This dance event celebrates the freedom of the civilian life and marks the beginning of a twelve-month period of military training in the Greek army. -
Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI
DOCUMENT RESUME ED 429 050 SP 038 379 AUTHOR Weikart, Phyllis S. TITLE Teaching Folk Dance. Successful Steps. INSTITUTION High/Scope Educational Research Foundation, Ypsilanti, MI. ISBN ISBN-1-57379-008-7 PUB DATE 1997-00-00 NOTE 674p.; Accompanying recorded music not available from EDRS. AVAILABLE FROM High/Scope Press, High/Scope Educational Research Foundation, 600 North River Street, Ypsilanti, MI 48198-2898; Tel: 313-485-2000; Fax: 313-485-0704. PUB TYPE Books (010)-- Guides - Non-Classroom (055) EDRS PRICE EDRS Price MF04 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Aesthetic Education; Cultural Activities; Cultural Education; *Dance Education; Elementary Secondary Education; *Folk Culture; Music Education IDENTIFIERS *Folk Dance ABSTRACT This book is intended for all folk dancers and teachers of folk dance who wish to have a library of beginning and intermediatefolk dance. Rhythmic box notations And teaching suggestionsaccompany all of the beginning and intermediate folk dances in the book. Many choreographieshave been added to give beginning dancers more experience with basicdance movements. Along with each dance title is the pronunciation and translation of the dance title, the country of origin, and the "Rhythmically Moving"or "Changing Directions" recording on which the selectioncan be found. The dance descriptions in this book provide a quick recall of dances and suggested teaching strategies for those who wish to expand their repertoire of dances. The eight chapters include: (1) "Beginning and Intermediate Folk Dance: An Educational Experience"; (2) "Introducing Folk Dance to Beginners"; (3) "Introducing Even and Uneven Folk Dance Steps";(4) "Intermediate Folk Dance Steps"; (5) "Folk Dance--The Delivery System"; (6) "Folk Dance Descriptions"; (7) "Beginning Folk Dances"; and (8)"Intermediate Folk Dances." Six appendixes conclude the volume. -
DOCTORAL THESIS the Development of Musical
DOCTORAL THESIS The development of musical preferences in Greek Cypriot students Rousha, Yianna Award date: 2014 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 The development of musical preferences in Greek Cypriot students by Yianna Rousha A thesis submitted in partial fulfilment of the requirement for the degree of PhD School of Education University of Surrey 2013 To my godfather CONTENTS List of tables vii List of figures x Acknowledgements xii PART I: Review of the literature Chapter 1: Greek Cypriot folk music 1 1.1 Introduction 1 1.2 Folk music: concept and definition 3 1.3 Greek Cypriot folk music 17 1.3.1 Cyprus: a brief observation 17 1.3.2 Overview on ethnomusicological research in Cyprus 19 1.3.3 Greek Cypriot folk collectors: Kallinikos 24 1.3.4 An overview -
Feb 2018.Pmd
TTTTHEHEHEHETTTTSINTZINIANSINTZINIANSINTZINIAN Heritage Society of America February 2018 The Tsintzinian Historical Society of America TheThe President’sPresident’s Message:Message: My Fellow Tsintzinians, 2018 BOARD of DIRECTORS Greetings to you all! I hope this Chronicle finds you well. We are coming off • PRESIDENT: Duane Ferencz a slow year with low attendance but sunnier days are ahead! Istrongly feel this is [email protected] our most robust Board in quite some time. Each member brings a passion for our Society and a specific knack of experience. I look forward to working with them • VICE PRESIDENT: John Schlick on the projects and goals that we have slated in the upcoming months. Be sure to [email protected] check out the list of Board Members and give them a pat on the back or a “thanks” the next time you see them. • TREASURER: Peter Sfikas Speaking of projects, here are some on our [email protected] agenda. The Nursery has been cleaned, organized and is all ready for some naps. There will be some • SECRETARY: Pauline Costianes other modifications and updates in this room so [email protected] stay tuned. The bathrooms are next on our list. We will be renovating both so by the time you come back you be pleasantly surprised. We have BOARD MEMBERS some plans for the bar area as well. Not only will MEMBERSHIP: Stephanie Schlick we enjoy the updates but this will help our event [email protected] rentals. Also several lighting repairs and updates to the outside will be completed soon. And lastly, REUNION CHAIRMAN DIRECTOR: discussions have resumed concerning the state of George Sfikas the Boardroom. -
The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S. -
Music of the Turkish Cypriots: Yesterday, Today and Tomorrow
MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW Section 4. Theory and history of culture Abdoulline Ilias, Lecturer at Department of Fine Arts Education. Near East University. Nicosia. Northen Cyprus E‑mail: [email protected] MUSIC OF THE TURKISH CYPRIOTS: YESTERDAY, TODAY AND TOMORROW Abstract: This article deals with the formation and development of musical culture of the Turkish Cypriots as an essential component of ethnos of Cyprus. Keywords: Island of Cyprus, ethnic cultural traditions of Cyprus, music of the Turkish Cypriots. The origins of musical culture of the peoples It should be noted that the studies devoted to from the Near and Middle East allow to speak of ex- the folk music and dance traditions of various ethnic istence of the Middle Eastern Mediterranean musi- groups in Cyprus began at the end of XIX century. cal tradition as a uniform system of artistic means, However, folklorists paid more attention in their figurative themes, genres and etc., which originate studies to lyrics rather than to musical content. from the ancient depths of history. Thus, researcher Panicos Giorgoudes states that The timeframe of this process can be determined “systematic studies of the Turkish Cypriots tradi- just approximately, but it becomes clear that the tional music developed poorly, notwithstanding modern musical art of Cyprus, which is now per- several articles about Cypriot music published by ceived as traditional, was formed already in “histori- musicologists and Theodulos Kallinikos’ collection cal” time, in connection with spread of the national of Cypriot songs in 1951. Besides, many research- Turkish culture on the Cypriot land. -
Eтнолошко-Антропoлошке Свеске 19, (Н.С.) 8 (2012)
Оригинални научни рад УДК:793.3:316.7(495.9)(091) Maria Hnaraki [email protected] Cretan Identity through its Dancing History Apstract: Dances are threads that have fashioned the fabric of Cretan society since ancient times. Histories are being performed to show the concrete links between past and present and are thus transformed into living communal memories which constitute a rich source of knowledge and identity, speaking for a poetics of Cretanhood. Key words: Crete, identity, dance, mytho-musicology, dancing history Prelude Crete, a Mediterranean island, serves as a connecting link between the so-called East and West. Located at the crossroads between three conti- nents, Europe, Africa and Asia, Crete has also embraced many influences (such as Arab, Venetian, and Turkish). Its forms of musical expression ha- ve been interpreted historically and connected to the fight, the resistance and the numerous rebellions against the Turks (particularly in reference to what is widely perceived in Greece as a “tainted” Ottoman past), who lan- ded on the island in 1645, conquered it in 1669 and controlled it until 1898. In more recent times, an active resistance was raised against the Ger- man invasion during the Second World War. During such periods, in order to claim their land, Cretans sang and danced (Hnaraki 2011, forthcoming). Cretan dances function as threads that have fashioned the fabric of Cre- tan society since ancient times, providing authentic evidence of the continu- ity of Crete’s popular tradition and rhythm. Despite modernization, which can be found in many places all over Greece and Crete, especially nowadays, dance is still a common means of expression for most Cretan people (Hnara- ki 1998, 63). -
October 2, 2018 Florida Division of Historical
October 2, 2018 Florida Division of Historical Resources State Historic Preservation Officer R.A. Gray Building 500 S. Bronough Street Tallahassee, FL 32399-0250 RE: Nomination of the Cycadia Cemetery to the National Register of Historic Places Dear State Historic Preservation Officer, The City of Tarpon Springs is a Certified Local Government. As such, the City is committed to an ongoing effort to preserve and protect its historical resources and cultural heritage. To that end, as Mayor of the City of Tarpon Springs, and on behalf of the Board of Commissioners and citizens, we enthusiastically support the nomination of the Cycadia Cemetery to the National Register of Historic Places. The Cycadia Cemetery is a significant historic cemetery. Although not physically contiguous with the Greektown Historic District, Cycadia Cemetery has always been an integral part of its cultural complex. The cemetery has remained in constant use into the present and consists of more than 3,166 grave plots of local Greek Americans. The site retains its historic design, setting and integrity to a high degree. It contributes to the sense of place, historic development and culture of the Greek community in Tarpon Springs. Cycadia Cemetery is nominated to the National Register of Historic Places for local significance under Criterion A in the areas of Ethnic Heritage/European-Greek, for its direct association with the Greek community and its cultural and religious practices and under Criterion C: Art, for the distinctive style of its Greek American funerary monuments. The City of Tarpon Springs Heritage Preservation Board approved the nomination at the September 10, 2018 regular meeting and made a recommendation to the Mayor and Board of Commissioners to support the nomination application.