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Ogeeluuj 9K6fihde Foek .Urucee CtuttfJ3 (. Wkeelbcg, We6t UVtgUUa · Spring Ca~p Staff . Don Armstrong - Squares & Contras Mark Finlay - International Dances George Tomov - Croatian Dances ,. SPRING FOLK DANCE CAMP Roster Camp Russel. Wheeling, West Virginia Oglebay Park May 22-25, 1992 INSTRUCTORS Don Armstroagi.P. 0. Box 1060, Canon Ctty, CO 81215-1060 George Tomov, 66-12 48th Avenue, Woodside; New York 11377 Mark Fin1 ay, 71 MacDonell Avenue~ Toronto, Ontatio, Canada M6R 2A4
OGLEBAY INSTTTtJH:· FOLK DAN~E COMMl)TEE
Shirley Carnahan~ Co~Chairman R.D. #2, Box 29, Stone Church Road~:Nheeling, WV 26003 Fred Wade~ Co.;Chairman ~ R.• D.•.. #l, Bbx"'416, Weitlsburg, WV 26070 Vince Baker~ 386-Clear~iew Avenue. Wheeling, WV 26003 A. Lloyd Carnahan, R.D. #2, Box 29, Stone Church Road, Wheeling, WV 26003 .Helen Cindrich, P. 0. Box 118, Neffs, QH .43940 'Eltzabeth Ann Cline, '1025 Indiana Strest~ Martins Ferry, OH 43'935 ·He1an·conrad~ Route 1,. Box 116,.Jriadelphta, WV 26059 Howatd .. Cusi.c,.c/o 6Cl0 Nattonal.'Road,.Wheeling, WV 26003 James Denham, 66479.Kirkwood Heights Road,.Bellaire, OH 43906 Anm & Paul ::Forshey, 1SlO:Nationa1. Road #82-207, WheeTing, WV 26003 Bevel"'ly. Fox, 55991 W., Second Street,. Btrdgeport, OH 43912 Janet &:Charles Ka1o,.44l!Wetzel Street, WheeHng, WV 26003 Mary·Kelley, B6 Main Street, West Liberty, WV 26074 Nicki Mel.issinas, 1902 Center Street~ Moundsville, WV 26041 Betty Pa~ker. 794 Mozart Road~.Wbeeltng, WY 26003 Patty.Sampson,.lBlO National Road IB1~104, Wheeling, WV 26003 Jane Sneddmn~ 47'A1fce.Aven~e, 'Wheeling,.WV. 26003 Mary Tocash, 327.Mair.r.Street, .Ttltonsvi11e,.OH. 43963 Bob & Kathy Tomlinson, 71628. Treadway Road, Martins Ferry, OH 43935 Tess Vagl1ent1, 64602·Patterson Hill Road, Bellaire, OH 43906 Dolores Williams, 1810 National.Road #81~103. Wheeling, WV 26003 Jantce:Whipkey, 2520 Cadillac Avenue~ Wheeling, WV 26003 OGLEBAY INSTITUTE STAFF Stifel Fine.Ar.ts Center, 1330 National Road, Wheeling, WV 26003 Phone-(304) 242-7700 Martha Wright,:Directar . Phil Maxwell~ Craft specialist Doris W. Long, Secretary June Watson, Typist
JANE FARWELL, AL SCHWINABABT, A~D ROSE CHJAZZA SCHOLARSHIPS The Jane .. Farwel 1 ,scho1 arship Fund was. created. in 1981 and the A1 Schwinabart Scholarship Fund was created'-in: 1982 through. the generosity of Rus Acton and provided. full. scholar.shi ps to deserving. students for each Folk Dance Camp. The Rose Cbiazza Scholarship, created in 1990~ ·was made possible by donations given .in her memory •. Contributions for the maintenance of these scholarship funds are.greatly .. appreciated and .. are.atL.tax·deductible. Donations to the .. Jane. Far.well, .. Al.Schti'lt-nabart~or:Rosec--ehtazza"Sth!:na~shtp ·Funds should be . made payable to Og1 ebay.Institute.
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov CAMPERS
Sandy Ammao,_.26231'Elinor.e-Ave~:~ue:,.Euclid~ OH. 44132 Joan Beard,_ 632 .. Astor Avenue, Morgantown.,: WV. 26505 *Richard~& Patty:Booth~ 2278 Route 175,.Kenova~ WV 25530 Ra 1 ph L.. Burns,. 1049 Harmon Aver:~ue C.-59, Co 1 umbus,. OH. 43223 Henry E.:Caruso~-7245-Gr.arrt.Btvd~_,-Mtdd1~burg:Heights, OH 44130 Helen B•. Cot~r,ad,. Route, 1,. Box. 116., :.Tria del phi a,. WV. 26059 Roberta ,·cummi.ngs,. 27151.Drakefie1 d. Avenue, Euclid, OH 44132 Jack E. Cutler, 420LButterworth. Place.NW #113,· Washington, DC 20016 James &'. Loutse .;De itt; 239 Woodside:.'Df.'Ne; Washington, PA 15301 *Pollyann. Fassnacht,.156:South-Maple.Street:#2,.Akron, OH. 44203 **Irene Finke,.1402:Woodbourne Avenue~; Pittsburgh, PA "15226 MarY.M. Fluke, 243 Second Street SW, Carrollton, OH 44615 *Ann Forshey, 28 Pop1ar. Avenue.,.Wheel:it:lg, .. wv .. 26003. Bill & Ginger.Francis.,.325.Hfgbtands.Place,:Hatr.isonburg, VA 22801 Charles Francisco,.19.Manhattan, Buffalo .. N¥ .. 14215 *Patricia Gehring, 109.0verla Boulevard., Englewood, OH 45322 Jane R. Hill ,.19220.Van.Aken.Blvd •.. #207,,.Sh~.k.QY':Hetghts, OH 44122 Diana Haller; :411 .Mower. De.ive ;_. P:tttsbubgh;. PA. 15239 Frank &.Connie Hallish,.439 Morning~iew.Avenue, Akron, OH 44305 Willya.M •. Jentgen,-7:A11eghany, Malvern,.OH .. 44644 . -lrMary·t
. .. ~ '~ . ' ' . *Atte'nding· camp on a working scholarship -.**Attending camp on a·· half scholarship
> ~... • • • ~. List.of-~ampers current as. of May 19, 1992
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov TABLE OF CONTENTS
Dances presented by n ng Page 1 Ramblin ver 1 Lucky Johnny 1 I an Princess 2 r Ci e 2 The Militia iplett 2 1 3 Snowboun 3 Wa1 of Isles 3 Waltz ross Texas 4 The Clansmen 4 S Circle 4 Jubilee plett 5 Atlantic Hornpipe 5 Siesta 5 The Mar imar 6 Piano Reel 6 Kelsterne rdens 6 Freeford Gardens 7 Candle11g Waltz Quadrille 7 Barn Dance 8 Boone Tavern Reel 9 Barnacle Bill 10 Swanee ver 10 I'm a Bum 11 Ci e to Don 11 Sarah's Delight 12 King of the Keyboard 12 Good day 12 Lonesome Blue 13 The Four Po
Dances presented Tomov
Page 14 Berovka 15 Jani no 16 Ki no 17 lna 18 S inka 18 S1avons -Kola 19 Rance. 21 Kopriva I Oj iraj Svirce 22 Oj Ra icu 23 Dupljaja
Dances presented by rk Finlay
. Page 25 . Arco 28 Need 29 Invirtita 30 1 ko ro 31 r•das 33 ve Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 1
RAMBL ROVER
Music: Jimmy Shands album~ "English Folk Dances", DU 2015, Irish Rover medl side 2, track 6.~ 8 x 32 Reel , Formation: Duple improper. Do sa do corners a wave Double balance W pass L to Hey for 4 - - - - ~ - Wturn L to orig corners & swing - - - ~ - - - - Circle left' Star 1eft
LUCKY JOHNNY by Henry Garfath
Music: Caller's Choice album, EFDSS BR4~ Morden Reel, side 2, track 4& 7 x 32 Reel. Formation: Duple proper (not x'd)
Lines fwd & back Partners dosado Actives balance & swing - - - - ' - - - - Down in 4's active in cnttl turn alone Back and.bend line Circ1 e four 1 1 s half fig of 8 above
INDIAN PRINCESS
·Music: Vo1. 2 "Dances With A DHference 11 -Colin Hume A-4 Formation: Circle, facing partner, men facing LOD, ladies facing RLOD
8 Set to partner and turn single 8 Pass by, right shoulders, and turn the next with two hands and come back to place, men nowfacing RLOD, ladies facing LOD 8 Set to partner and turn single 8 Repeat pass by and turn (now bac~to original position) 8 Right hands· around w/partner 8 Left hands: around w;partner 8 Do-sa-do partner 8 Grand Right and Left THREE
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 2
GRAND STAR CIRCLE Music: "It's a Small Small World" or other 32 bar tune Formation: Sicilian Circle 8 Circle Left 8 Circle Right 8 Ladies Chain 8 Chain Back 8 Dosado Opposite (R shoulder) 8 Dosado Pattner (L shoOlder) 16 Grand Star to No. 5
THE MILITIA~ TRIPLETT Music: Caller's Choice-. EF'DSS BR4, uThe Mtl ttia/H.M.S. Pinafore", side 1. tracks 2 & 3, each 3·x 32 Bar Reels. Formation: 'THREE couple proper·contra sets. Counts s - 1's starR half~way wHh 2!s--(21s stay there) then 1's star L half-way w-tth'·3's. (2 1 s & 3's now: improper) 8 . 1's with Win lead go out & up around #3M, in & above #3 Wout & up around #2 Wto #1's starting position. (#'s 2 & 3 remain improper) 16 1's repeat all above &end in original positions 16 1's lead into a Hey for 3 in their own lines, starting by passing each #2 with- R-sh6ulders·a~d completing the action in 12 steps to face 2's, join hands in~ a circle of 4 &:Balance L & R. 8 1's & 2's circle 4 to L exactly ante-around. 8 1' s momentar:fl y. faee-, toueh both haflds and cast out & down to the foot, creating new- numbers fo-r a11 .
There~ is .about a 5 second- segway between tracks 2 & 3 so all can get set for an "encore"~
EZ-1 Music: Any wen- phrased 32 bar tune Formation: Duple improper, start hands joined in circle of 4.
Balance L & R (step-swi.ng-eachway) & circle 4 half way to L Balance L &-R &-circle L- to starting places Just the men dosado Just the-:ladies dosado Join hands in long-11nes go- fwd- & back Just the acti.ve cpls swing (and Won M'sR, face down in cntr) Down the .set 4 in Hne-(acti:Ves in cntr) Arch in'the middle (actives)ends turn in (duck under face up) (Actives face- down, give- hands to NEW in-actives coming twd them, jol'n hands in 4's and without turning, actives bring these new in-actives up the set to·place to start) Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 3
SNOWBOUND by Carlotta Wellington Music: Any good 32 bar Reel Formation: Duple improper 8 Do sa do neighbors 8 INactives.swfng in the mtddle (End facing up Won M's R) 8 Allemand neighbOr with handy hand once and a half around 8 Active half fig of 8 up, ending ~togressed but proper 16 Actives turn contra corners 16 Actives balance & swing
WALTZ OF TRE WESTERN- ISLES
Music:· ''The Sparkllng Sound of Scotland'; BBR/LP 141, 11 Wal tz of the Western Isles", side .2, track 4, 32 bar waltz medley Formation: Circle of cpls, M facing out, W facing in, R: hands joined. (Instructions: 4 bars per line) Start on M's L, W's R feet
Balance together- & aparh exchange f)laces W passing under R hands (1, 2, 3 · step~ touch, -;) face new person on L Join L hanJs, repeat, Wunder L, face new person on R Join R hands, repeat, W under R, face new· person on L Join L hands, repeat~ W under.L, join both hands with same one Canter (slide 2) to Land R Dip, maneuver, waltz and face (*) Canter (slide 2) to L and R Dip, maneuver,waltz, face. joinR-hands (*) Experienced dancers may prefer to simply keep waltzing instead of repeat1ng the previous 8 bars. Caller- decide:
WALTZ ACRQSS · TEXAS (Country-Western Line Dance in Waltz Time) Music: MCA-60078 "Waltz Acr€l·SS· Texas·u Ernest Tubb, (2 :36} Meas: r-o 1. CROSS WALTZ: step Lacross in front of R, step R to R side, step L nextto R·- reverse·;·wa~tz fwd,.L.and R, waltz back Land R (all steps move fwd or back}. 7-12 2. TURN·&-SWAY·:.step L~R Lmak:tng-a full turn L, cross R in frontof L, step L in·place,·step·R-to R side-, sway·L R·L; reverse all. 13-16 3. Waltz fwd L turning 1/2· L, wa1tz back- R; repeat finish facing front.
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 4
THE CLANSMEN'S CIRCLE Music: StanHamilton, SMT 70-30:, Vol. 3, "Gates of Edinburgh" medley, side 2, track 4, 8 x 32 Reel. Formation: Large circle, cpls facing l'n 4's LOD & RLOD. Swing partners face corners Dos\.dd .. Corners Pass thru, star thru (face in or out) Ladies chain Ladies lead rt shoulder, hey for 4, - - - - Ladies cha' l'n Ladies dosado
JUB ILE£.: l"R-IPLETT
Music.: Ca11 erJ s .thO.ice-,-- EFDSS BR4, .. ~'Jubll ee Reell'-, side 1 ~ track 2, 6 ·x 32 Reel, dances eae:h ·1 ead cpl twice. Formation: THREE couple proper-contra. 16 1st man lead other men· above 1st lady, down between 1st & 2nd ladies, out between- 2nd- & 3rd 1adies, down and up own 1ine to place. 16 1st lady does same in men's line Top 2 cpls left hand star (exactly once around) #1 cast off to 2nd place & turn Wunder R hand-Box the Gnat 1 and 3 right hand star (exactly once around) #1 cast off to 3rd place & turn Wunder L hand-Swat the Flea
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 5
ATLANTIC HORNPIPE by Louise Winston
Music: Caller's Choice album, EFDSS BR4, ''Atlantic Hornpipe 11 side 1. track 7, 7-x-32 Reel. Formation: Duple improper. Double progression dance~
Active gent f~11aw your 1 ady dowr~ outside her 1 ine below 1 gent and follow her across set Follow her down outside belowl lady into-the center & face up Up 1 place to star right with the cpl above Left hand star back to place Ci rc 1 e 4 ( L) with c p1 be 1ow Circle R to place Same- ladies chain Chain back
SIESTA REEL
Music: New-England Chestnuts, FR 203, 11 Chickadees/S1lver & Gold/etc. 11 , Side 1, track ¢~ 9 x 32 Reel • Formation: Duple improper. Corners dosado Corners svting Ha 1 f promenade Ladies Chain Right and 1eft thru Ladies- dtain back Circle 4 to 1eft Left hand star
THE- MARHIMER (updated 11 Nova Scotian 11 -Maurice Hennegar)
Music: Maritime Dance- Party, FR 201, nrork County Hornpipe, 11 side 2~ track 2. 3 x 32 Reel /Hornpipe. Formation: Duple improper. Allemand 1 eft the one- bel ow Act1'ves- Swing Down center 3 in 1 ine- (actives- &- #2-- 1 ady) -Right hand high-, left hand- under Up to place Ladies chain Circle 4 to left Same 4 right & left thru
These 3 dances all may-be-found in 11 Contras-: As Ralph Page Called Tbi:am 11 , a great compilation of.over 220 dances~- published by and available from Roger C. Knox, 702, North- Tioga St.-, Ithaca, NY- 14850. A "must 11 for all serious contra leaders~
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 6
PIANO REEL Dedica,ted to Stan Hamilton Music: Stan Hamilton, "The Scotch Piano" album, side 1, track 1, 8 x 32 Bar Reel. Formation: Duple improper. Dosado corners Turn corner R 1/2 to a wave, all balance fwd & back R-turn corner, Mturn L halfway Swing partner C~nd facing across Won M's R side) Circle L once around Right and left thru across Ladies chain Long 1 i nes fwd & back
KELSTERNE~ARDENS (English}
Music is special for tMs dance-, 28 Bars long~ Longways, 3 cpl set 1-8 Mirror heys for 3 on sides. 1st cpl begins by passing between 2nd cpl 9-16 1st & 2nd cp1 s double (full) .fig of 8. 1st cpl begins by crossing down thru center while 2nd cpl moves up the outside. (May be simplified by 2nd cpl remaining still). 17-22 1st & 2nd cpls circle L ohce-around, 1st cpl casts down & 2nd cpl moves up.~ 23-28 1st & 3re cpls circle,L once-around, 1st cpl casts to bottom of set & 3rd cpl moves up. Repeat 2 more times
·· FREEFGRD·· GARDENS ··(English}
Music: 32 Bar·ReeJ.~Dance,written by Kathryn and Davi:dWright of Lichfield, 1980 to the 18th Century tune, ttEdgeworth Bumpkins" and arranged by Roderick Stradling. Formation: Duple proper. Don used "The Rifleman", HMV 7EG 8718, side 2, track 1.
All set R & L to partners-, moviAg fwd, turn single to place Partners cross over, passing R & facing as they do so, and loop round to L to all finish on other side Repeat ALL of above to return to start·ing· places 1's half fig of 8 down 2's half fig of 8 up Hands 4, circle L HALF around and fall back All turn partners two· hands once around
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 7
CANDLELIGHT WALTZ QUADRILLE Music:_ LS E-29, side 2 "Starry Nights and Candlelight" by Vivian Williams, who plays the music along with Pat-Spaeth and Phil Williams. , Formation and Starting Position: Quadrilla (square of 4 cpls) slightly larger than the size of the set for squares. All start facing in, hands joined all around, men's Land ladies' R foot .for a.ll parts. Note that there is NO introduction, just pick~p notes. Me as Actions and Explanations 1-4 ROCK FWD, TOUCH, ~;BACK, TOUCH,-; LADIES ROLL RIGHT,_ 2,3;STEP,TOUCH ; Following the fwd and back, the corner lady rolls R face to R, momentarily holding both hands with her corner, to becoma his new partner as they end facing, both- hands- joined, M facing LOD, W facing RLOD. 5-8 CANTER IN,-,-; IN,-, TOUCH; OUT, -, -;OUT, y' TOUCH; Either with a canter or using a step-draw, dancers move into the center for 2 meas and out for 2 meas to end facing IN, hands joined a 11 around (new partners) to repeat meas 1.:..8~- The men should be careful to remain in their home position in the set. - 9-16 REPEAT ALL-Of-MEAS 1-S~ABOVE,-except to end facing, slightly apart, with L hands joined, M facing LOD,. W facing RLOD. _ 17-24 PASS WIDE LEFT, 2,3; 4-,5.6; WIOE:-RIGHT, 2,3; 4,5,6; WIDE LEFT, 2,3; 4,5,6; AROUND RIGHT·, 2~3-; CLOSE-UP,, 5,6; -Starting wrt_th'L ha.nds, dancers do a 11 Left and Right Grand" to the fourth person they meat~ making each actidn almost-circular and wide, utilizing 6 counts per hand. Joined hands should bee at the height of the ladies' s.houl ders and extended- to fac-i'litate- .comfortably the wide, sweep-a round _movement. · Upan- meat-tflg the- fourth person with the R hand, dancers cant i nue the- swee-p...a:reund- mot-ion ·around each other in the first 3 steps, and then the M places-t.he Wrs R hand -in his L hand as they blend into closed position in meas 24,--end:i:Ag:twith the-M-facir~g RLOD, theW facing LOD, ready for the closad position R face turning waltz to follow. 25-32 WALTZ TO M1 S HOME POSITION (8 meas). Dance R face~ in closed position turning waltz to the M's home pesition in the set, ·drifting apart on the last meas- into the circle to begin tne·'dance again. REPEAT THE· DANCE-THREE MORE TIMES.
The beauty of the dance-is in tts simplicity·and th~ music to which it is danced. It may be enhanced'in meas 5-6 and 13-14 by raising the' inner hands and looking at them as though holding a candle high as dancers reach to the center of the set.
BARN DANCE Circle Mixer: Hoghton Band album, side 1, track 2 Starting in Open position, near hands joined, on outside feet: Dance fwd 3 steps and pausej then, back· 3 steps ar:~d pa.ase and face-:partner. Back away from partner- 3 steps and pause-.· a Ad fwEI- 3 steps to face a new partner (man moving fwd in the circle - all slanting to own left). In closed position, dance 2 slow- chasse steps ifl LOD, then 2 in RLOD. Dance 2 slow RF turning 2-~teps while moving in LOD and end in open position to begin again.
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 8
BOONE TAVERN REEL LS E-28, Side B Boone Tavern is the 1ovel y, famous hotel in Berea,- Kentucky where many staff members and dancers stay whila participating in the Christmas Country Dance School at Berea College. Music: 11 Beaumont Rag" played by the McLain Family Band. A proper duple contra, 1,3,5, etc. active but NOT cro~sed over. Note: Anytime during .th'is dance when-hand~ are joined, hands should be at shoulder . height-, elbows down. Counts Actions and Explanations 1-8 ACTIVES IN, DOWN FOUR IN LINE AND TURN ALONE. With actives in the center, the actives and the couple bel ow go GIGlwn the set in 1 i nes of four with 6 short steps and turn alone on counts 7 and 8 to return. 9-16 'LINES COME UP TO PLACE 'AND· CAST OFF. The line dances up the set to place in 4 norma~ steps and the actives cast off in 4 steps to end with the r · '· ;; actives down one place in the line. Progression has occurred. 17-32 IN THE SAME FOUR, ACTIVES START RIGHT A 11 HANDED HEY FOR FOUR 11 (16 steps). Actives start by passing with. right hahds momentarily joined in the center. The sa.me-. fo~:~r,/dancers> dance·· a· 11 reel of four" across and back to end in an ocean wave 1 ine. of four (acttves ,·n the center with right hands joined • M facing up-W-facirtgdown; inacttves on the outside, M facing down, W facing up). During the entire "reel of four" each dancer pulls by or around the dancer he meets by the obvious hand, all hands held at shoulder height with elbows- down and close to the body, 11 assisting 11 each other throughout. Note that, on the outstde of the set, dancers will ·oe using their 1 eft hands : twice, so they· cannot hang on too 1 ong at any time. This 11 handed hey" is simply'a "reel ·of fourn with hand contact. It's different and it's fun especially when tt ends- in an ocean wave balance. (Purist·: may dayU:e a "reel·of four" conventionally to the same timing, of course.) For 'complete 1 description/practice in learning, dancing, or teaching the nreel of four" use January 7th Jig, LS 317/318. 33-40 BALANCE THE FOURS AND ACTIVES TURN RIGHT HALF WAY. The lines balance for 4 counts. and actives turn with right hands past each 6ther in 4 steps to face the'opposfte- person aero~~ the set. 41-48 GYPSY FULL .ARQUNDa Utilizing 8 steps th~ dancers move around each other clockwise in a small circle while facing each other throughout the entire action (might also be descrtbed as a 11 Circular, facing, do-si-do"). Dancers end the-gypsy in closed swi~g position. 49-56 SWING. These same danG:ers swing fo.r 8.counts, ending facing across the set, each lady on that gentlemanJs rtght hand side. 57-64 ACTIVES AND THE COUPLE ABOVE DANCE A HAtF FIGURE OF EIGHT. Active lady- leads as actives.cross through the tenter of the set above and around the couple above, ending tn the progressed position they were in following the cast off .. (For more details on the 11 figure of eight" refer to Balancing Billy, LS E-27).
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 9
BARNACLE BILL LS 519/520 Traditional Square Dance Intra: (fast 6/8 time) Join your ha circle left Said Barnacle Bill the sailor Reverse, back the other way 'round Said Barnacle Bill the sailor Get along home and swing your own Everybody swing - Bow to your partners square your sets For Barnacle Bill the sailor. Fig: (slow 3/4 time) Head two ladies waltz across (and stand on the right of the opposite merL
When the men cross 9 they stand-to-the left of the opposite ladies). Side girls ju do the same Bow to the girl across the way Now to your own sweet little Jane. 0-0-0-0-0H (or w-e-1-1-1-1-1) (fast 6/8 time) Swing your corner 1ady 'round Said Barnacle Bill the sailor Promenade this lady around Said Barnacle Bill the sailor Promenade and around you go Right boot up and the left one low Get on home and bow to your own For Barnacle 8 1 the sailor. Repeat the figure three (3) more times) then repeat the figure four (4) times with the men waltzing across. Ending: (slow 3/4 time) Bow to your own sweet pretty do 11 Bow to your corners one and all Bow to the lady across the hall Now face your own s.weet 1ady.
0-0-0-0-0~0H (fast 6/8 time Swing your partner 'round and 1 round Said Barnacle Bill the sailor Promenade 'er go •round the town Said Barnacle Bill the sailor Promenade eight and promenade all Take your lady around t hall Bow to your partner~ that•s the call Said Barnacle Bill the sailor.
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 10
SWANEE RIVER LS 521/.522.. (Lady 'Round the Lady} Traditional Square Dance Break: Bridge: Allemande left and a grand right and left - sing Way down upon the Swanee River Far,far away-* promenade your lady There •s, where· my heaf't; fs:turning ever-swing her There's where the old folks stay-couple ene to the right Fig: Lady go 'round the lady Gent go 'round the gent Gent go 'round the• lady. Lady go 'round.the. gent Circle ,fe.t~r, hand,s· half way ** Duck· right .on., thru Swing your lady 'round in the· m·tddl e And take her on with you Repeat the· figure two (2) more· time>S fo-r couple one to dance with couples three and four. Repeat the bridge break and figure· three-more-times wHh couples two, three and four leading out in turn Note to callers and leaders: *Suggest to dancers that they do an·automatic dosado at this point if they have time. **Inside couple forms an arch, outside couple ducks thru. Suggest that both couples swing. Alternate words for ''ladyn and ngent":' ma/pa.,-. she/he, her/him, cow/bull, ewe/ram, doe/buck.
!'M A BUM LS 523/524 Traditional Square Dance Break: Dosido your corner lady, dosido your own Go back and swing your corner 1ady, swing her up and down Now 1eav.e .her alone and swing your own, sw-ing 'her tround and ~round Take thi.s lady by the hand and promenade• the· town
. -·-- -, -·--- Fig: (Couples) one and three go into the middle and circle once around Reverse and now go back, go back the other way 'round G.et along home and swing your own, everybody swing Four 1adies back, to back in the midd1 e, gents go 'round the ring Four men you march around, go all the way around When you're home you swing your partner, square your sets in town *Go into the middle and clap your hands with a one,two, three, four Allemande left your corner lady, grand right and left around
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 11 I'M A BUM (continued} Go right and left around the ring, go ALL the way around Bow to your partner as you.go by, and now you•re homeward bound Get along home and swing your own, everybody swing Take your lady. by the hand :and promenade the ring - - - -' ·':' - - - - -, - - ~ - Repeat figure for sides Repeat again for heads and sides having men go into the middle back to back while the ladies march around End break: Dosido your corner 1ady and dos.idci your own Go back and swing your corner 1 ady, swing her up and down Now leave her alone andsw.:tngyour own-,everybqdy swing Swing her around a couple· of.times 1 then· circle tround the ring You eire~ e 1 eft .areund· the ha:H .• go al 1 the way· around Then reverse, go bacK.., go back ,go back the· other way •round When you get back home again, everybody swing Take your lady by the hand and promenade the ring
---. -.. -"- - - *Dancers start down low and come up as they clap.
CIRCLE-TO DON By Jo Trapnell, England, in rememberance of Don Armstrongts visit to England in 1989. Formation: Big circular set,:in 4's, one cpl facing in, the other cpl facing out, Von M's right side. Music: 32 bar Jig~ (Jo uses •Ho~ Punch".) 1-16 ·Circle four to 1eft·at'ld.to right. 17-24 Without dropping ,hands, bal a nee. fwd: and baek·, then men pass corner 1 ady across in front and:place her· in partners place. 25-32 Repeat counts 17-24. 33-40 Face this girl and do-sa-do, 41-48 Face her, give right hands., grand right & left passing FOUR dancers (2 steps per hand). 49-56 With numbe~ 5, do-sa~do. 57-84 Swing, ernding wtth Won Ws dght-, faCing· center" of foursome, ready to start again. SARAHtS DELIGHT by Glen Morningstar 1983 Music: Any good.·32 bar Reel'or Jig Formation: Duple, improper LADIES DO SA DO FIRST LADY CIRCLE LEFT WITH TWO GENTLEMEN 3 IN LINE GO DOWN THE SET, TURN ALONE BACK TO .PLACE LADIES LEAD· RIGHT SHOULDERS. HEY FOR FOUR - - - --, .- .,. LADIES CHAIN CHAIN BACK
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 12
KING OF THE KEYBOARD
By Ted San nell a .for Bob· McQui11 en Music: Don uses "Boil the Sap" on. Applejack ~Tbum, side 2, track 7. (Ted likes ''Sarah's Jig'' or ,.Scotty OtNeiP') Formation: Triple minor proper contra
9 Actives s~ing and face down 9 Swing. ne'Xt .below 9 Fwd 6 and back 9 Actives a11 emand 1 eft 1.:.1/4 around· (face up & down set) 9 Fwd 6 and.back 9 Actives a:l lemand 1 eft 1-l/4 ·around, change hands 16 Turn contra corners
GOOD' FRIDAY By Kirston Koths Music: "Rory O'More" on New:; Emgland Che.stFtuts ·a1 bum, stde· B~,.track 3 or any other good 32 ... ba~ Jig.* .. Formation: Duple improper contra
8 Actives step.down into wave,.·balante.:R,.:L.,. slideR & R (as in Rory o•More) 8 Balance L. R.,·:SlidEL·L& L 8 Al 1 turn R,:;t.y2., Mea~ tatl'n L 1/2 8 Al 1 swing partners & face across 8 Long 1 ines fwd &- back . 8 Pass thru, .cal ifornta twtrl 16 Circle L 3/4, do sa do netghbor:• pa'ss thru to a wave with the next
LONESOMf> BLlJEBONNET Author unknown
Mustc: Any good. 3~ bar Jtg Formation: Duple, improper
ACTIVES BALANCE. & SW!NG
- ....- -,. ·-- .!'- - ·- ACTIVE MAN·.~ TWQ,.t.,AQU:s. DOWN.,::u::F:r LJ\DY UNDER, RIGHT LADY OVER BACK TO PLACE> &·BEND' THE· LINE LADIES CHAIN LADIES LEAD, HE\"i FOR· FOUR
LONG LINES Ft•l'D & BACK
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 13
THE FOUR POSTER by Bi 11 Kattke Music: Any good 32 bar Reel Formation~ Triple, proper
ONES CAST OUT~ MIRROR HEY FOR THREE
- -- ·- ., - - - '011!1 CAST OFF, PARTNER·.DO SA DO HALF FIG~Of 8 BELOW. HALF FIG OF 8 ABOVE TURN CONTRA CORNERS - -- -, . - - - ACTIVES SWING, FACE UP
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 14
BEROVKA (East Macedonia) Source: George Tomov learned this dance in the village of Berovo in Eastern Macedonia. Record:· George Tomov Presents Yugoslavia Dance and Song GT-103, Side A, Band 5 Rhythm: 2/4 Formation: tine dance,,no partners. Leader on right. Belt hold. FaceR (LOD). Right foot free. Meas. Figure I --r- step R (1}; Step L (2} 2 Step R (1); Step L (2} 3 Step R (1); Step L (2) 4 Step R, with a dip, turning' to face center (1) ; Step L next to R (2); Step R·tn place (3). 5 Step L next to R, swtngtrrg R leg out in CW motion (1); Hop on L (2); Step R- s1 ightly backwar!d _( &~ •. 6 Step-·L next to R; tutning to face L .(RLOD) (1); Hop on .L, extending R 1eg diagonally L (2). 7 Step R across L,_ kicking L leg· backward ( 1}; Hold (2}. 8 Hop on R, .turning to face R (LOO) (1) Step Lacross R, kicking R"leg backward (2). · Figure II 1 Step R (1); Step L (2}. 2 Step R (1); Step L .(2). 3 Step R (on toes} (&)~ Step·L (1); Step R (2);Step L (&). 4 Step R, with a dip, turning:to face center (1}; Step L next toR (2); Step R'in place{&}. 5 Step L next toR, swingingJ~J.eg.out in cw motion (1}; Hop on L (2}; Step R.sHghtly·oackward (&). 6 Step L next to R, turning to face L (RLOD} (1); Hop on L,. extending R~_leg cttagonatly L (2}. 7 Step R across L, kicking L 1eg backward (1); Hold (2). 8 Hop on R, turning to faceR (LOD) (1); Step Lacross R, kickl'ng R leg backward (2}. Figure rn- .. 1 Step R·(l); Step L (2) 2 Step R (1]; Step L (2). 3 Step R (on toes) (&); Step~L (1); Step R (2); Step L (&). 4 Step R, with a dip, .. tur.ning.~_to: faee center (1}; -5tep L next-to R (2}; Step R in"~place (:&), .. 5 Step L n.ext to R, swinging 'R leg .out in CW motion ( 1); Hop on L (2); Step·R slightly backward (&). 6 Step L- next to R, turning ;tb face L (RLOD} (1); Kop on t., extending R leg MagoncH1y L (2). 7 Step R across L (lJ; Step·L (on toes) behind R (&);Step R in place (2). 8 Hop on R, turning to faceR (LOD) (1); Step L across R, kicking R leg backward (2).
Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 15
JANINO ORO OSU Folk Dance Workshop 1982 Record: LP G. ·-romov (Macedonia" #104 Meter: 9/16~ counted as slow, quick, quick~ quick. No introduction. Dance· starts with the music and is done completely through three times.
Figure I Face center, join hands. Hold elbows. slfghtly lower than shoulder height and approximately 45°forward; ratse forearms so that hands are held at head 1eve1 . Measure 1 (1-2) Step on R to dght, lowerihg hands forward (3-4) Step on L behind R, returning hands to original position. 2 Repeat Measure 1. 3 (1} Step on R to right.· (2) Step'.€H'IL next toR. (3} Step on R in place. (4} Hold. Whtle taking tl'lese·three s-teps, bring hands_ forward and around in two small circles at head level. 4 (1) Step on L towards center. (2) Step on R next to L. (3) Step on L in place. (4} Hold. Hand motton .is the same as in Measure 3. 5-24 Repeat Measures 1-4.ftve times. Each time Figure I is repeated, take the first step diagonally" bacbtat"ds to the right. This will prevent the 1 ine from being drawn towards the· center. Figure II.. . Face Ccw. Keep.; elbows at·. sarne I . 3 (1) Leap forward on R, holdtng'L close to Rankle (2-4) Hold. 4 Still facing CCW, (1) Leap. on: L~ to .. 1 eft, hol dtng R close to L ankle. (2} Hold. (3) Leap·onRto:rtgbt,holdtng L close toR ankle. (4) Hold. 5 Step on .L to· left. (2) Step on R next to L. (3) Step on L in place. (4) Hold 6 (1) Step. backwards on.ball of R. (2} Hold. (3-4) Step on L (flat) next to R. 7 Repeat Measure 6. 8 (1) ·Leap backwards on ·R, holdtng L close to Rankle. (2-4) Hold. 9-10 Repeat Measures·4 .and 5. 11-18 Repeat Measures 1-8. 19 Repe~t ~easure 4. 20 (1) Leap on L to left, holdtng Rat L ankle. (2-4) Hold. 21 Repeat Measure 4,. revel"stng' footWork. 'Fig~;~re rrr Face- slight·ly to the· right.· Posltton of the arms ts the same as in Figure I. 1 ,. RtsJn9· :Hght1y on:_ball~, ~f the- fe-et~ (l} Step on R to rtght. (2) Close L . to R (3 4} Step on R .to r1ght~ .·.. .. 2 (1) Step on L slightly, ·crcissed:,over R (2) Step on R to rtght (3-4) Step on L slightly crossed over R~ 3 Facing center~ (1-2) Step~on R'to right~ holding L at Rankle and moving forearms to rtght (like a windshield wiper) (3-4) Repeat Counts 1-2 with oppostte foot and arm~work. _ . 4 (1-2) Step. on· R· to right, resume original position of arms (3) Hop on R (4) Hold~ . 5 (1-2) Step, on L to left (3.:.4) Step on R behind L 6 "Repeat Measure 5 qmtinued ..... Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 16 JANINO ORO (continued) Measure 7 (1) Step o'n L to left (2) Step' on R next to L (3)Step on L in place (4) Hold. While taking these .thr.ee steps, bring hands forward and around in two small circles at .. head.leveL· 8 (1) Step. on R towards center (2).Ste~on L next toR (3) Step on R in place (4) Hold. Same hand .motton as .in Measure 7. 9 (I) Step backwards on L (2} Step on R next to L (3) Step on L in place (4} Hold~. Same hand motion as .. tn ~e.a.sure 7. 10 (1) Step.on R to ri:ght.and.face,.s.Ugbtly, to. right (2) Step on L next toR (3} Step .on R·to right (4) l1o1 d. Same ha.nd motion as- in Measure 7. 11 (1) Hop on R, raistngJ.:. in,frO'ht (2) Hold (3) In place, switch to L, extending R behind (4) Hold. 12-17 Repeat Measures~l~6- 18 (1~2) Step on L to 1eft·: (3.;.;4)' C1 ose R to L. KIRC!NO ORO Record: · LP ·.Geor§e-.Tomov Volt~me II Macedonian line dance Meter: 11/16~ counted~as-.qotck~- qQfCt~·~tow, qutctr.quick. Begin d.anci'ng 8-·measures after mu$ic starts. Arms are down. Measure Introduction 1 Facing center:. l) Step Oil 'R··to,rtght~2) ·close L to R,3) Step on R to right, 4) Hop· on R,5) Stepon'L:cr.o.ss.ed over R.• 2 . 1} Step on R to right;2) Step'on L.~rossed over R,3) Step on R to right, extending Ldn front ·of··s.tandtng 1eg ,4) Step on L to 1 eft ,5) Step on R ·crossed behind L. 3-4 Repeat Measures 1. and 2 in oppostte dtrection with opposite footwork. 5-8 Repeat· Measures 1-:4. ·· ·Figure 1 1-2 Identical -.to Measures 1 ancl 2 ·~of:; !atroduction. 3 1) Step on L to left iit} Step.·otFR .crossed behind L 3) Step on L in place, extending R .to start reven•se·otcyc1e 4} Hop on L, finishing bicycle with R • ·. .; '5) Step or:r:.R. in p1 ace.. _ 4 l"-2) Spring onto Lin place, holding R foot low in front of standing leg, wtth R·knee"turned out 3) Repeat Counts 1-2 with opposite footwork 4-5) Repeat Counts 1-2. 5-16 Repeat Measures 1-4 three m~re times. 'i-• ·Figure 2 1 Identical .to Measure ,J -of:;lrrtrclducti:on. 2 1) Step on R to right 2) Ste~ Cin'L crossed over R 3) Facing about 45° 'to right, step on R next.totL;a:nd start to extend L foot forward 4) Hop on· R whtle,raistng·l.:. knee high and citcl ing L foot behind R 5) Step on L directly behind R. continued ..... Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 17 KIRCINO ORO continued Measure 3 1) Hop on L while raisfng,R.knee htgh,and circling R foot behind L 2) Step:.on R directly .. behtnd.L :..3), Step on L to left, turning to face center 4) Hop on L 5) ·. Step,.on· R-:crossed over L and face 45° to 1 eft. 4 1) Step on L to left 2} Step on R crossed over L 3) Jump to left, landing on both'feet, knees are bent 4}.)ump in place, land on R 5) Step on L behind R•. ·.. · 5-8 Repeat Measures 1-4. . Figure 3 1-2 Identical-to ·Measures.·b.and 2 oT''I'm'''troductton. 3 1) Step om L ta .left: 2) Step o:rf· Rtcrossed behtnd L· 3) Spring onto L in place, holding R foot' low tn front of stand1ng leg with R knee turned out 4-5) Repeat Count 3 witi'Loppostte footwork. 4 1) Sprtng onto Lin place. 2) Stamp lightly on R, no weight 3) Strike L heel on ·floor; immediately follo.w with stamp on R as in Count 2 4) Strike L heel Gn floor 5) Stamp R as in Count 2. 5-16 Repeat Measures 1-4 three more times. Dance sequence: Introduction, Figures 1, 2, 1, 2, 3, 2, 3 . . ZALNA-MAJKA Macedoni:an folk dance Record: LP George Tomov Volume II: . Formation:· Circle, no partners, hands joined.at shoulder level with elbows bent. THE DANCE: Step to 'Right on Right foot •.. count .1. Lift and swingLeft foot forward,.over.Right ...• count 2. Step. on Left feot crossed o'ler Right., ... count 3 • .• .. . . . Step on Right foot:'.tcL Right;~ .•:!\ .count 4, 'tt'ft ·.Left foot· fof"wa rd ~. l·~ ~counts. 5 ~6 .. Step on Left tn back of Rtgftt ... ~: .. ~.count 7. Bounce on Left foot·twice .•.•. counts 8-9. INTERLUDE: · (Done to the instr.umental part of .the record.} Step to Right on Ri'ght:fooL ...• Lcou.nt L Lift and.swi'ng Left.foot forward· .•...• count 2. Step on Left fGot, crossecl'over IUght ...... count 3. Step 01:1 Right, to :·Rtghf~·~ •. ~ .C(HH'ltA. ·Cross and.ste~ on Left .otet;Rtg~t;~~ .. count 5 Step on Right ..... count.6 .. Step to Left .on Left foot. , , •. count 7. Cr.oss Right foot over Left;,.~ •.. count 8. Step on Left foot ...•. count 9. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 18 SKUDRINKA Pronounced: "Skoo-DREN-Kah" Record: "YugoslaVia Dance and- Song" KP M-GT 102. Meter: :2;4 FORMATION: Line·. Arms in shoulder hold. Meas. .PATTERN .. 1 Facing. ctr, .wt on·R ft. tap L'ft diagonally R (ct 1}. Pause (ct 2). 2 Tap L ft twice more in same .. spo.t.""Ccts 1-2). 3 Tap L ft:onceagai:n .in same spot Cct 1). . Pause (ct 2). . 4 Lift on R ft. raising-,L .~nee. high i"ILfront (ct 1}. Step ont.o L ft in place bestdet-lt ft (ct 2). 5-8 Repeat meas 1-4 wttb oppos1t.e footwork. 9 Brfng L 'f't around from side and· c1 tck with R ft ( ct 1}. Pause (ct 2). 10 Lift on R ft. raising L knee hi~h in front (ct 1). Step on L ft in place~bestde·a (ct.2). 11 Lift on L ft, raistng;·R:.knee-.·ntgh in front (ct 1). Hold this: position (ct 2} .. 12 Turning. to. face RLOD, 1 ift on L ft (ct 1}. Step on R (ct 2) . 13 Continue RLOD with lift dn R~ft-(et 1). Step with L ft (ct 2). 14 Continue RLOD with lift .of_L-ft (ct 1). Step on R turning to face ctr (ct 2} REPEAT meas 1-14 until music ends. SLAVONSKO KOLO Pronounced:.· · STah-VAWN-skoh KOH-loh Meaning: Circle dance fro~ Slavonija Record: Yugoslavia Dance & Song, LP M GT 101, Sd A, Bd 3 Meter: 2/4 Formation: Mixed, closed circle. Front basket hold, Rover L. Dancers in First. Pas, R ft pointing to ctr, L ft to L. Wt on L. Movement-is RLOo~·except·as noted. Me as FIGURE Introduction, 16 meas (instrumental). Start with vocal. I 1-8 Beg.R~ 16.even·wa1kingsteps'··No up and down movement (1 step per ct). !I 1 Step R ft across L, bending knees (ct 1). Step on ball of L ft to L, straightening knees (ct 2). ·(Like the Hungarian closed "rida" st~p) 2-8 Rpt Meas 1, 7 X (8 in all). continued ..... Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 19 SLAVONSKO KOLO continued Meas FIGURE T-rr- 1-8 8Step-hops, free ft swinging across shin on hop. rv 1 Stamping step R, slightly fwd tn RLOD (ct 1). Hop on R ft. twisting body to R and keeping knees close together (ct 1 &) • Step on L ft beside R (ct 2). 2-8 Rpt Meas 1, 7 X (8 in all}. NOTE: FIGS I & II move rapidly~ FIG rrr less so. FIG IV is done almost in place. v 1 Facing ctr, wt on R. Raise and lower R heel sharply, L ft swinging to L (ctl). Step L ft to L, taktngwt'equal1yon both ft, and bounce twice (cts 2 2 Raise and 1ower L heel sharply,Cct 1). Step R ft parallel and about 6 " from L, taking wt .equa.lTy. on both ft. and bounce twice (cts 2-&). 3-8 Rpt Meas 1-2, 3 X (4 in all}. 9-16 Beg R. 4 step-hops into c.tr and 4 out, swinging free ft across shin on hop (except Meas 12 - swing R ft behind L cal f). 17-32 Rpt Meas 1-16. VI 1 Jump down on both ft together s bending knees (ct 1). Bounce twice on both ft (cts 2-&). 2-8 Rpt Meas 1, 7 X (8 in all). 9-16 Rpt Meas 9-16, FIG V. 17-32 Rpt Meas 1-16. 97-192 .Rpt FIGS I -VI. 193-208 Rpt FIGS I - II. 208-216 Rpt. FIG. I 217-224 Rpt FIG. I I, gradually slowtr~g .movement during 1 ast 4 Meas and stopping. ft together, facing ctr at end of music. Description by John Wagner RANCE . Pronounced: RAM-cheh. Record: fugoslavia Dance & Song. LP MGT 101; Sd B. Bd 2. Meter: 2/4 Formation: Mixed circle.. M alternattng witn .W no hold. M hands clasped in back, W hands on waist palms out. Face ctr. Wt on L. Meas FIGURE Introauction, 3 Meas I-A 1 Small leap on R ft to R (.ct 1). 2 running steps in place ( 1&-2). 2 Rpt Meas 1, rev ftwk. 3-6 Rpt Meas 1-2~ 2 X (3 in all). continued .... , Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 20 RANCE continued Me as FIGURE --r Jump on both ft, crossing Lover R (ct 1}. Ho1d (ct 2). 8 Rpt Meas 7, rev ftwk. 9 Beg R 2 running steps in place~ turning once CW. 10 1 running two-step in place (cts 1-&~2). 11 Rpt Meas 7. 12 Jump on both ft together (ct 1). Hold (ct 2). 13-24 Rpt Meas 1-12. I-B 1 Leap on R ft fwd to ctr, crossing· R over L (ct 1) • Rev ftwk ( ct 2) . 2 Rpt Meas 1, ct 1. Leap off of R ft (ct 2). 3 Land on both ft~ L crossed over R (ct 1). Hold (ct 2). 4-27 Rpt Meas 1,24, FIG I-A& using Meas 4-6 to move bwd to circle (ct 1, Meas 4 is. a hop on R ft). 28-54 Rpt FIG I-B. 55-65 Rpt Meas 1-12, FIG I-A, omitting Meas 11. II-A 1 Rpt Meas 1, FIG I-8. 2 1 running two-step in place (cts 1-& .. 2). 3-4 Rpt Meas 1-2, rev dir & ftwk_ 5-8 Beg R, 4 running two-steps, turning once CW (1/4 turn per Meas). 9-24 Rpt Meas 1-8, 2 X (3 in all). II-B (M) 1-2 Rpt Meas 1-2 ~ FIG II-A, 3-4 Rpt Meas 1-2. 5-8 Rpt Meas 5~8t FIG II-A. 9-16 Rpt Meas 1-8, rev dir (move bwd). 17-32 Rpt Meas 1-16. 33-40 Rpt Meas 1-8& FIG II-A, II-B (W} 1-8 Rpt Meas 1..-8, . FIG II-A 9-24 Rpt Meas 1-16w FIG II~B (M}. 25-40 Rpt Meas 9-24, III Introduction, 4 Meas, Beg R, 4 stamping steps, facing and moving LOD. 1 4 small, shuffling steps moving LOD (cts 1-&-2-&). 2 3 smal1, shuffling steps closing L to R and holding on ct 2 &. 3 Bounce twice on both ft in place. 4-24 Rpt Meas 1-3, 7 X (8 in all). 25 2 running steps (R-L), making 1/2 turn CW, kicking free ft behind. 26 Rpt Meas 2, moving RLOD. 27 Rpt Meas 3.. 28 2 running steps (R~L) moving RLOD. 29-30 Rpt Meas 26-27 31-36 Rpt Meas 28-30. 2 X (3 in all). 37-48 Rpt Meas 1-3, 4 X~ moving RLOD .. 49 Rpt Meas 25, making 1/2"turn CCW to face LOD. 50-51 Rpt Meas 2.-3 .. 52-60 Rpt Meas 28-30, 3 X, moving LOD. -72 Rpt Meas 1-12. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 21 KOPRIVA I OJ SVIRAJ SVIRCE Baranja-Croatia Pronounced: KAW..;pree-vah ee oy SVEER-eye SVEER-cheh Meaning: The thistle and Oh, Piper play~ Record: Yugoslavia Dance & Song, LP M GT 101, Sd B, Bd, 3. Meter: 2/4 ' Formation: Mixed, .. c1osed circle, alteruttng.~M.& W. M hold W belts; W hands o.n M shoulders.· Face ctr, wt on R. Meas FIGURE No introduction .r . 1-3 Beg L. Tu.rntrrg to 'face L, .3 .s1 ow. s.teps fwd, moving RLOD. 4 Lift on L ft (ct &1). l two.-step fwd (cts 1-&-2). 5 Rpt Meas-4, rev ftwk. 6-7 2 slow steps fwd .(R-L). 8 Rpt Meas .4. 9 Pivot 1/4.turn CW to face ctr (ct 1). Close L ft to R (ct 2). 10-18 Rpt Meas 1-9, rev dtr and ftwk. II 1 Facing ctr at:ld moving t., step R ft, across L (ct 1). Bounce once on R (ct 2). 2-6 ·Continue .as in .. Meas 1 in grapev.tne pattern. 7 Cross and step R ft behind L (ct 1). Step L ft. side L (ct 2). 8 Cross and~step:R ft. in front of L (ct 1). Close L ft toR, pivoting to face ctr (ct 2). . III 1 Facing and moVi·ng to .ctr; leap fwd on R ft. in front of L (ct 1). :-: .,, Leap fwd on ·t ft tn frorrt''orl R· (ct 2}. . 2 3 running .steps (R:..L-Rl in p1 ace (cts 1-&-2). 3-4 Rpt Meas 1-2, rev dtr and ftwk. 5-8 Rpt Meas 1-4. IV 1-9 Rpt Meas 1-9, FIG I. v 1 Facing ctr, step L ft to L (ct 1). Step R ft parallel to and about. 4" to 6" fromcL (ct 2}. 2 Step R ft to L (ct 1)~ Hop on L (ct 2). During Meas 2, R ft remains ower ~os of Meas 1, ·c:t 2. 3 Step R ft in place (ct'l). Hop on R (ct 2}. Cross and step L ft behind R (ct 2&). 4 Step R'ft to R (ct 1)':· 'Ho'p 'oh' 'R' (ct 2). 5-124 .. Rpt Meas 1'-4', 30 X ('31. in all). Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 22 OJ RASTICU Pronounced: Oy Rah~STEE-choo Record: Yugoslavia Dance & Song, LP M GT 101, Sd B, Bd 4. Meter: 2/4 Formation: Closed circle. Front basket hold, Rover L. Dancers in First pos, R ft pointing to ctr, L ft to· L. Wt on L. : \.··~ '· Meas FIGURE · No 1 ntroduct ion r 1 Step R across L (ct 1) ;.' Bounce on R (ct 2). 2-4 Continue in grapevine pattern, moving RLOD. 5-48 Rpt Meas 1-4, 11 X (12 in all). rr 1 Facing ctr, bounce twice on R, L ft swinging to L (cts 1-2). 2 Step L (ct 1). Step R parallel to and about 6 in. from Land bounce twice on both ft (cts 2-&). 3-24 Rpt Meas 1-2,11 X (12~1n all}. rrr 1 Facing ctr and maving··L; ·hop·twtce on··R, striking ball of L in front of R toe (cts 1-2}. 2 Close L to Rand jump-1n·p1ace~3 X (cts 1-&-2). 3-16 Rpt Meas 1-2, 7 X (8 in all). IV 1 JUmp down on both ft together, f1 exing knees ( ct 1) . Bounce twice on · both ft .. (.cts 2,.&). 2-8 Rpt Meas 1, 7 X (8 in all) .• 9-16 Starting .R, 4 step-hops intii ctr and .4 out, swinging free ft across shin .on hop (except .Meas T2 - swing ·R f't behind L cal f). 17-64 Rpt Meas 1-16, 3 X (4 in all). v 1-8 ]pt Meas 1-2, FIG II~ 4 X. 9-16 Rpt Meas 9-16, FIG IV. 17-48 Rpt Meas 1-16, 2 X (3 ih all). VI 1-16 · Rpt Meas 9-12, FIG IV; 4 X 06 Step-hOps), but· factng and moving RLOD. VII 1-16 · Rpt Meas 1-16, FIG V. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 23 DUPLJAJA Vojvodina . . Pronounced: "doo-PLYAH-yah-: Meaning .to .dance double-:time to the tempo. Format.i on: Mixed Hne, shoulder h.old .•.. Face ctr. Wt on LF. Record: Yugoslavia Dance & Song, LP M-GT 102, Side A, band 2 Meter: 4/4 . ' . . Me as · · . PATTERN Gcoumts h, parentheses) ·''' · · Introdt~ctton: · · l2 ·meas 2 tn ·2;4 time nG. r 1 fake wt on RF in place, twisting L heel toR over R instep (1). Rev ftwk (2). Bounce 3 times on both ft together (cts 3 & 4). 2-8 Rep~at Meas 1 - BASIC . 1 Step R in place (1). ~op on R; swinging L leg in wide arc from front to back (2). Step L in bk of R (3}; Step & close R beside L (&). Step L fwd (4). 2 Lifting R leg side R, .slide RF sharply in front of L, taking wt & twisting R heel to.L (1). Hold (2). Lifting L leg side L, slide LF sharply in front of R, W/o taking wt, twisting L heel to R (3). Hold (4). 3 Step L behind R, twisting R heel to L (1). Step R behind L, twisting L heel toR (2). 3 small steps (L, R, L) in place, ft together (3, &. 4). 4 . Repeat Meas 1:, FIG •. I. 5-8 < Repeat Meas 1-4. F'TG. II . 1 Leap onto .LF. in p1 ace;· twtstln~r htps to L & 1 ifting R 1eg across L ( 1). Dip 3 times on L,.shaking R leg rapidly (2, 3, 4). . 2 Repeat Meas. 1, rev .ftwk. . 3~8 Repeat- Meas .. 1=2 . BASIC (ct 1, Meas 1: hop on R) F'IG. I II 1 Step~ in place, twisting hips~to R (1}. Stamp L heel next to ball of RF, LF pointing diag. across·R (&). Rev ftwk (2, &} . .Cts 3, &, 4, &: repeat cts 1, &,_ 2, &. 2-8 Repeat .Meas 1. NOTE:. There·ts a slight-fwd rnovement during this figure. BASIC FIG. IV 1 Bend [knee(&). Stamp R'heet~d:tag.R~. taking wt (1). Step LF diag R, beside R heel {&) ~ Ct 2: · rpt ct 1. Continue in this way for cts &, 3, &, 4, circling CW. 2 Cont circling CW for cts &, 1, &, 2, &) returning to starting point. 3 1ight'stamptng steps (RLR}~in place ( 3, &, 4). 3-4 Repeat Me as 1-2, rev dir & ftwk (Ci rc1 e CCW). 5-8 Repeat Meas 1-4. continued ..•. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 24 DUPLJAJA continued BASIC FIG. V 1 Take wt on RF in .place, twisting hips to R, bending L knee sharply across R knee & :.keeping J.egs close together. Ball of LF remains on floor (2). Cts 3, &, 4~ Rpt cts 1, 2, .1,.doubletime, with smaller movement. 2 Repeat Meas 1, rev. f'twk. 3-8 Repeat Meas 1-2. BASIC FIG. VI 1-8 Repeat F!G;-.V but-.w:i·th Targer.'steps, leaping onto standing leg, free leg lifting off floor &tr6•ktng ~tanding leg. BASIC (slow steps in M~as 8 wfth ~etard jn music). Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 25 ARCO HASAPIKO (Greece-Panhellenic) Source: The Hasapiko waa originally danced by the butchers of Constantinopoli in Byzantine times. At that time it was led Make11arikos, or dance of the Butcher's guild. After the Turkish nomads invaded and conquered Asia Minor and the Byzantine Empire, the dance came to be known by the Turkish word for butcher, or 11 hasapi " J.l.rgo Hasapiko means a 11 Slow hasapiko". The dance is also known as Vari Hasapiko (heavy hasapiko), Feiraiotiko Hasapiko (hasapiko from Feiraice, the seaport of Athens), Naftiko Hasapiko (sai1or 1 s hasapiko), or just Hasapiko. It is danced mainly in the taverns of the seaport towns and cities. The Argo Hasapiko is a slow form of the hasapiko or hasaposerviko (fast tempo hasapiko)o Often musicians will move from an Argo Hasapiko directly into a fast hasapiko. Bibliography: Greek Folk Dances, M. Vouras and R. Holden, (N.J., 1965). ~e Greeks, T. Petrides, (N.Y .• 1961) Music: 2/4 or 4/4 time in a slow tempo Folk Dancer 4052A; Fez 702; Fez 704; Nina 4510A Formation: The dancers are in a short 1ine, three to five men. Usually the dance is done by men only, but women dance it sometimes. The hands are on the shoulders of the person on either side in a shoulder hold position. The leader is at the right end of the line; the free hand of the leader shou1d be out at shoulder height, arm fairly straight. Characteristics: This dance is a very personal one. That is that it is very individual lStlc. It 1s not social in nature. One does not go into a tavern, see someone doing Argo Hasapiko, and then joyfully join the line. It is done only by friends in a small group. It is completely alien to the dante to~eve a large circle of people. You do this dance with one or two close friends--you would. be highly insulted if some "stranger" intruded by trying to join the line. In recreational folk dancing~ however, we have a different situation. In order to keep the feeling of the dance, we will have many lines instead of one short line on the small dance floor of a tavern. Therefore it is up to each individual to refrain from joining a line which is already large enough (3-5 people]. Do not join_ a line if ther~ are already enough people. Because this dance is improvisationaL it does not lend itself well to a large line. There are more or less basic steps, but there is no set pattern. The 1eader makes up his own pattern as he dances; often he creates his own new steps. Some steps are common to all dancers, but often individuals have their own special steps and styles. You can see, then, that where it is easy for three or four people to follow the leader (especially if they are old. close friends and dance together often). it would be impossible to coordinate a line of 25 or 30 dancers. If you don 1 t feel competent to lead, form a new short line behind the line you wanted to be in and follow that leader. The steps described here, then, should not be followed as a pattern, but should be danced according to the mood of the leader. In order to create your own steps. however. you must feel familiar with the musical and dance idioms. Until one has ac quired a feel for this type of dancing, it waul d be difficult to dance with the cor- rect style and feeling as well as to dance within this idiom. Please note that whi1e women now do this dance. it is not a ballroom dance or coup1e dance. There is no such thing as a "couple hasapikon. Skater's position should not be used at any time,. It is not unusua 1 for a man and woman to do this dance in a 1 i ne of their own (2 dancers), but it is still Argo Hasapiko with the shoulder hold position. This is a beautiful, living dance of the Greeks; why water it down and lose that which makes it beautiful? There are different styles for this dance. Some dance standing straight with a slight fiex of the knees. Others dance ightly bent over with more fiex in the knees. This is one of the few Greek dances where the dancers 1ook down at the floor. continued Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 26 VARIATION 11 A11 Measure Counts 2/4 or 4/4 time Weight on R foot I 1 Lunge fwd.on Lft. and Bring Rft around to the front of Lft (keeping it close ·to Lft as you. move it). 2 Touch Rft. in front ofLft. and Bring Rft·around. to· the backof Lft (keeping it close to Lft as you move it). II 3 Step on Rft behind Lft and Bring Lft around behind Rft 4 Step on Lft: behind Rft and Bring Rft sdwd to R III 5 Step·on Rft and Step fwd on Lft 6 Step bkwd on Rft and Draw Lft back in front of Rft (outside of L ankle is across R instep). IV (Optional} 7 Pause 8 Pause The above. variation may be done as a six count step~ or as an eight count step. The eight count.step usually fits the phrasing of the music better, but both are correct. You may use one once and the other the second, or whatever you wish. VARIATION nan Measure ·counts I-III 1-6 Repeat VARIATION nAn and Bring Lft around behind the Rft IV 7 Step·on tft (directly behind Rft). .. and Bring Rft a round behind the Lft 8 Step on Rft behind Lft. and Slightly lift Lft from ground across in front of Rankle VARIATION ncu Measure · · Counts I 1 Step on:Lft across in front of Rft. and Step Rft to R. 2 Step on Lft across· in front of. Rft. and Bring Rft .all.the·way:around to the front and across Lft (keeping Rft close to L leg}. II 3 Step on. Rft across tn front of Lft. and Step Lft to L. 4 Step Rft ·.across .in front of Lft. and Pause sl.ightly 1ift~ng Lft (which is close behind Rft). III 5 Step Lft behind Rft. and Bring Rft around and behind Lft. 6 Step Rft behind Lft. IV Repeat Meas. IV from VARIATION nAn. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov I . 27 VARIATION "D 11 Measure Counts I 1 Step Lft sdwd to L and Draw Rft to.Lft .. 2 Touch Rft next to Lft. and Move Rft sdwd.to R. II 3 Step on Rft. and Draw Lft to Rft. 4 Touch Lft next to Rft. and Pause. Measure Counts I 1 Step across in front of Rft on Lft. and Step Rft sdwd .to R. 2 Step Lft behtnd Rft. and Step Rft sdwd R. II 3 step Lft across in front of Rft. and Bring Rft around .to front of Lft. II ,III 4-6 Repeat cts. 1-3 with opp ftwk and direction. and Move Lft to L. IV 7 Step on Lft. and Bring Rft to Lft. 8 Step on .Rft. and Pause. VARIATION "F 11 .. Measure Counts I-II Repeat Meas. r~tr of VARIAT!ON 11 A11 • III 5 Step Rft across in front of Lft. and Step Lft sdwd L. 6 Step·Rft across tn front of Lft. and Bring Lft around tn front of Rft. IV 7 Step Lft in front of Rft. and Bend at the. wa tst 1ifttng straight R 1eg behind you. 8 Stra tghten body and step on Rft to L of Lft. and Pause. VARIATION 11 G11 Measure counts With feet together I 1 Move toes apart. 2 Move heels apart·so that feet are para11e1. II 3 Move heels together. 4 Move toes together. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 28 VARIATION 11 H11 Measure Counts I 1 Lunge fwd on left ft and Step fwd on Rft, behind and to L of Lft 2 Step fwd on Lftt bending body slightly at waist and Pause II-IV Repeat from VARIATION 11 A" or 11 B11 I have described several variations •.. They should not follow any particular order. You wi1 L probably. 1:10t.ice that parts of particular steps are simll ar to other vartations; This is how the dance·works: .certain step sequences are interchange able, and it,is the leader who.molds the dance from the variations he knows. In this way, .the dance may never be. the same, no matter how many times it is done. These vartattons.may.be.cut.in the midd1e and spliced onto all or part of any other variation .... There are obviously ma:ny more variations than those I have described; these ~re some of the most common, and. they include some of my favorites. When you have mastered these variations, try some new ones that you have created. Notes by John Pappas 1973; slightly edited by Mark Finlay 1979. NEEDHAM REEL American Contra Dance Music: Any 32-bar tune wi11 do.~ I recommend -nprince William" on F-72-FW 3, Canterbury Country Dance Orchestra . ' Formation: Contra lines, couples 1,3,5 etc. are acttve. Cross over before the dance starts. Measure Pattern 1-4 All forward and back 5-8 Swing the next below 9-11 Down the center four in line 12 Turn as couples 13-16. ·.·.Return to place 17-24 Same two·1adies chain 25-26 Pass through the opposite two 27-28 Turn alone, away from the:person with whom you passed through 29-32 Half promenade home wfth the one you meet. This is a double progression contra. in which everybody moves all the time. There ts hO 'nee'd t however t to be conf~:~sed: by: changing places at the head or foot of the 1 tne. If :you find yourself with nobody to dance to, stop right where you are and you will be in the right place. Notes by Mark Finlay, expanded slightly from notes by Ralph Page. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 29 INVlRTITA (Fagaras) Transylvanian Couple Dance Source: Learned from Sever Tita in Beckenried. Switzerland, December 1979. Notes by Mark Finlay. Meter: Syncopated 2/4 Music: Cassette tape available from "Volkstaenze aus Aller W " (copy unclear) cjo Francis reybll • Buchwetds 8332 Russikon/ZH. Switzerland. Any "Irvirtita"wi1l do. although "Invtrtita de la Sibiu 11 on Folkraft LP 33 is much better suited.to the: dance of the same name. 11 Invirtitan on GC 5201. i.s excellent. but ~hould be used with caution because Mihal David teaches a different dance (from the same region and similar to this one) wtth that music, which he recorded in the first place. ,. - Measure··: :-count·· -, ···.Pattern (Footwork ts· · i'dentica 1 for Mand Wthroughout) Fig. 1 - Couples in open position, Wto R of M. M's R hand on W's waist, W's L hand on M's R shoulder, leftover hands are free. 1 1 Step Rft to R and 2 Close Lft to Rft and Step Rft to R 2 1 and C1 ose Lft to Rft 2 Step Rft to R and . 3-4 Repeat Meas. 1-2 with opp fwk and direction • 5-8 Repeat Meas. 1-4 Fig. 2 - Couples in shoulder to shoulder .blade position. Repeat fwk of Fig. 1, turning as a couple alternately CCW and CW (Meas 1-8, fig. 2) Fig. 3·- Both Mand Wturn 1/8 to own R, bringing L hips adjacent. Position is basically shoulder-shoulder. blade, but M's R hand moves down W's L arm to a comfortable position. 1 1 Step Rft fwd and 2 Close Lftto.Rft or.s:tep·veryslightly across Rft and Step Rft fwd 2 1 and Close Lft to Rft or step very slightly across Rft 2 Step Rft fwd and Close Lft.to Rft or step very slightly across Rft 3-6 Repeat Meas. 1-2 twice 7 Repeat Meas. 1 8 1 and Close Lft to Rft 2 Step Rft .solidly fwd, stopping fwd momentum in preparation for: 9-16 Repeat Meas 1-8 with opp fwd and direction, reversing attachment:to·partner. The dance fits very well with the musci when done in the sequence described here (i.e., Fig. 1 for 8 measures, Fig. 2 for 8 measures, and Fig. 3 for 16 measures) and then repeated as a whole until the end of the music. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 30 , .. -. INVIRTITA·(Continued) Invirtita ts,:however,.a:freesty1e dance, and the figures and sequence given here are only repr.esentati.ve.of·the poss"fble.v.artat1on. A couple may dance the figures in whatever sequence they.ltke, leaving out up to two of the three figures. The transition from one figure.to another· .. .need riOt come·at the end of a musical phrase. Bel ow is a· sample of one. of many ways that the dance might turn out. Measure Pattern 1-12 Meas 1-4 of Fig. 2 performed· three times. Couple turns Rand L three times in shoulder~shoulder blade·position 13-22 Meas 1-2~of Fig; 3 performed-five times: Couple makes fast turn CCW only. 23-24 Meas 7-8 of·P"tg. '3~· Stop turn ccw 25-32 · · Meas 9-10 ~,of Fig. 3 performed: four times. Couple makes fast turn CW without ending measure 1~2· Meas 9~10 of Fig. 3 performed once more. Couple continues fast turn CW 3~4.· Meas 3.;.4,of. Fig •. L .Coup1e.changes.·to o·pen position, slowing down and · · ·· ·tn'.e:f'feet •. '~picki:ng ·up 11 Ftg ;· 1" partway•through 5-32 ? Improvisation such as.this is by no means mandatory. It is up to each couple to dance according to whatever pattern or non-pattern they can agree upon. · KIL!MARSKO HORO Bulgarian line dance taught by Dick Crum .Pronunciation: Kee~lee.mar'-sko horo ' ··Recording: .. Copy·uncl ear • Background Notes: 11 Kilimarsko '' means carpet,;.weavers, but this does not mean that the da.t\ce::is a·.ttadesman•s dance such as.the Macedonian tinsmith's dance, etc. rn·the:t.owtL~of'J3erkovo~ io·no.rthern·Bu1garia, this name is given to a two figured Pajdusko variant,.because.the floor pattern made by the feet reminds the locat~peasants.of the·geometrical motifs in the ''kilimi" or carpets. The meter is the regular Pajdusko 5/16, counted quick-slow. F.ormatton: ·· Lines of.damcers with either belt hold·or back-basket hold . . . Figure 1 - Kostenska ta Meas. 1 ··step ~ft:in front of Lft (ct 1);.step Lft in place (ct 2). 2 Step Rft diag bk/R (ct 1); step Lft in place (ct 2). 3 = .Meas 1. I 4. Hop.on Lft (ct .. 1};.step Rft slightly R (ct 2). .5,. :·step;Lft~h<-fr,ont:of.:Rft (ct 1}; step Rft in place (ct 2). I ·· -··s ''Ptdp"Ori"Rft (ct 1"}; step Lft s1 ight1y L (ct 2). 7 Step Rft in front of Lft (ct 1); step Lft in place (ct 2). 8 Hop on Lft in place (ct 1); step Rft in place (ct 2). 9 Hop on Rft in place (ct 1); step Lft in place (ct 2). 10 Step Rft in place in scissors-style (ct 1); step Lft in place sc1ssors~sty1e.(ct 2). 11 = Me.as 10 . . 12-15 = Meas 8-11. 16-30 ·= Meas 1-15. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 31 KILIMARSKO HORO (Continued) Figure II ~ Triugulnika . Meas. 1 Step Rft in front of Lft (ct 1); step Lft in place (ct 2). 2 Step Rft out to side (ct 1}; step Lft in place (ct 2). 3 StepRft diag back/R(ct 1); step Lft in place (ct 2). 4 Step Rft in front of Lft (ct 1); step Lft in place (ct 2). 5~7 = Meas 4~6 of Fig. 1. 8 Hop fwd on Lft (ct 1); step fwd on IHt (ct 2). 9 Hop. fwd on Rft (ct 1); step fwd on Lf't (ct 2). 10 ··Hop fwd on Lft (ct 1); step fwd on Rft (ct 2). 11 Hop fwd on Rft (ct 1); step. fwd on Lft (ct 2}. 12; Hop-bk on Lft (ct 1}; step Rft behind lft.{ct 2). 13 Hop. bk. on Rft (ct 1); step Lft behind Rft (ct 2). ·14 Hop bk onlft (ct 1); step RTt behind Lft (ct 2}. 15. Hop bk on Rft (ct 1}; step L-rt· behind' Rft (ct 2). 16-30' = Meas 1-15. Pres.ented. by Dick. Crum ,at a Balkan Dance Workshop, Feb. 1969, University Sett1ement, Toronto. KEVlCSARDAS Hungarian Couple Dance Kevi Csardas, based on the.popular.Csar.d·as.form still alive in the late 1940's in Hun.gary ~:was·~ arranged. by .. Ander Czompo for. recreationa 1 fo 1 k dancing in the United Statas ~ .This. dance ts a set form of a ff·ee-style Csardas from Turkeve, · Hungary., home town of Ander Czompo. Record: ACP 001 Formation: Couples in.a circle, man. faces ccw, lady faces cw in shoulder-waist position. ;Man~s hands are just below shoulder blades of lady, so that lady's arms are resting on man's extended arms. The entire dance is performed.with.slightly.f1exe·d knees. Although the dance is simple, it requires good sty1 ing. Meas ·. · Part I 1-2 In place. partners-facing. on each beat bend the knees, emphasizing the down movement. · Do this four times.. 3-4 · ·csardas Step. Man begins the Cs.ardas step on Rft moving R: step R to R, close Lft to R,.step Rft to.R,.,.close Lft toR but keep wieght on Rft and bring Lft. up .beside ankle. Repeat the Csardas step to the L beginning with-Lft •. Lady begins the same·csardas step on the Lft moving to L, and repeats the Csardas step·to the R. 5-8 Man continues the Csardas step but instead of moving from side to side, moves fwd .. in.Line of Direction, beginning with Rft. This step closely resembles.a ball~oom.two-step:.· Ladtes.do·this Csardas step backwards beginning on Lft. The·csardas step is done four times. 9;.;.12 ·continue the same Csardas step (man, R; Lady, L) making a full turn (or for those who can, two full -turns) cw in four steps. R hips are adjacent. Finish facing your partner· directly. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov 32 KEVI CSARDAS (Continued) Part 1 is repeated two~more times. At the beginning of the 2nd and 3rd repeats, replace Meas 1-2 with two Csardas steps (man, R; 1ady, L) as in Meas 3-4) . Note: At the end of the third repeat~ Part 1, open out the couple. the lady on R,side,of man, The lady finishes the final Csardas step, R,L,R. but takes one more step on Lft. Part II 1-3 The same Csardas step as described above is used throughout Part II. Couples side by side, shoulder hold with nside arms extended, Lady's R hand one hip. man 1 S L arm raised, bow bent;and hand close to ear. Both begin the Csardas step to the R wtth Rft. 4-6 . In shoulder.,.hold position •. the couple makes a full turn ccw as a unit. Man begins turning to his L in place and acts as a pivot. 7-8 Continue the turn as in Meas 4-6~ .but assume closed social dance position. The closed social dance position differs from the usual because man's R arm and lady's L arm are still in shou1der.,.hold'position. ' ' ' 9 Lady makes full turn to R under her own R arm and returns to social dance position with R hips adjacent in one Csardas step. 10-11 Couple now continues the turn but faces other direction (cw), moving fwd in two Csardas steps. 12 Lady again makes a turn under her own R arm and returns to social dance position in one Csardas step. 13-18 Repeat Meas 7-12 of Part II. Repeat all of Part II three more times fer a total of four times, Note: At the very end of the dance~ instead of returning to social dance position, open out the coople·as in Meas 1 of Part II and hold. The directions for this dance are meant only as refresher notes for those who have learned the dance from a qual Hied "t'eieher. Dance directions prepared by. Ann I. Cz:ompo, Copyright 1964 by And or Czompo. Reproduced by permission of Ander Czompo, Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov I . 33 FROZEN LOVE Waltz mixer dedicated to Mary Ann Herman. Dance by Mark Finlay, March 1992. Music: "The Window".by.Leonard.Cohen Recent Songs LP, CBS Records, 1979 -Formation: Single circle-of couples~·hands jofned~ woman to right of man. Measure :Pattern · Introduction 1-18 Find a partner· and form .a circle; or··w-artz"·freely around the room, ending close to the perimeter of the circle. Part 1 1-2 When Leonatd· starts to sing, open from waltzt'ng with your partner and J01n hands in a circle, woman to right of man, moving CCW with waltz steps. 3-4 Two more waltz steps moving.CCW. 5-8 Four waltz .. steps moving.CW. 9-16 . Eight waltz.steps mo.ving slowly toward center of circle. 17-24 Eight waltz steps backing slowly out of center to end in a comfortable circle. 25 One waltz step fwd,.hands·swing.in. 26. One waltz. step. back to place~· hands swing out. 27-28' ~ Man does, two. waltz steps in place wh1"l e ·passing the woman on his left to:t\js .. right .. Woman turns toward-him while moving into her new ;· .. position with . .two:waltz steps •. 29-32• Repeat meas 25-28, changing partners again. Part 2 1-2 Keeping·.all hands .. joit:ted,.man balances left, woman right with a very slow step.;. touch, :turning .. slightly to face the person you meet. 3-4· Repeat meas :1.,;2 with: opp ftwk. and direction. 5-16 Drop man~s right, woman's left hand, take ballroom position withthe ~person to whom you.are.sti,11.attached.and waltz freely around the room. .17-20- Continue waltzing.(the music slows slightly) while moving into ·positton·to reform the-circle. Repeat.parts l.and:2 two more times for:a.total of three. The. third time through, the music will-almost stop and then start again. Interlude 1-4 Realize:that the:dance is not· over and continue waltzing with your current partner. Part 3 1-32• LOTS of free waltzing with your current partner. 33-48. .Repeat:meas.l~l6 of Part 1. 49-50' Pause. Introduced by Mark Finlay at Oglebay Institute Folk Dance Camp, Spring 1992. Oglebay Institute Spring Folk Dance Camp Instructors: Don Armstrong Wheeling, West Virginia, May 22-25-1992 Mark Finlay, George Tomov