H A N D B O O K S O F E $ R O P E A N N A T I O N A L DA N C E S

EDITED BY

' V IOLET ALFORD

D AN C E S OF P OL AN D

DAN CE S of P OL AND

HELEN WOLSKA 5 19 7 ?

P $ B L ISHED

$ NDER THE A$ SPI C ES OF THE ROY A L A CADE MY OF DANC ING

AND THE

L ING PHY SI C AL ED$ C ATI ON ASSOC IATI ON

A C H A NTI C L EE R EDITION CROWN P$ BL ISHERS NEW YORK F IR S T P U B L I S H ED IN 1 952 A C H AN TI C LEE R EDITION C R O W N P U B LIS H E R S 4 1 9F OUR TH AV ENUE N E W Y O R K 1 6

C OL O$ R ILLUST R A TIO N S B Y G D G H A L L IDAY . OU LAS A SSISTA N T E DITO R Y V O NN E MOY SE

SE T I N I O ON I I P O INT MONOTY PE B AS KERV IL L E PRINTE D B Y THE $ N IV E RS ITY PRE SS AB ERDEEN S C OTL AND PLATE S IN F O$ R~C OL OR OF F SET-PHOTOL ITHOGRAPHY C ON TE N TS

INTROD$ CTION

The Krakowiak

Polonez

Maz ur

Z akop ane

A V illage Wedding

' Music:

C ostume

When Dancing May Be Seen

THE DANC ES

Po se of Bod Arm Ges ures olds i y, t , H

Basiqz Step s

Krakowiak

Maz ur

Géralski

Ob erek

NOTE ON PRON$ NC IATION

BIBLIOGRAPHY

Illus trations in Colour a es 2 1 2 , p g , ,

Ma o Poland a e 6 p f , p g

I N TR OD $ C TI ON

’ A N c 1 N G has always been t e ar excellence n h recreation p of the Polish people, our da ces r famous in histo y and in ballet, our dancers worthy of their traditional inheritance . Our folk a dances have had continuous, robust life and are especially popular between Christmas and Easter when m l farm work is al ost at a standstill , our winters being ong l us and severe . Many of our dances have been ost to in r a m cou se of the centuries but we still possess large nu ber, indicative of our love of music and dancing . i r Poland has had a troublous h sto y, her geographical situation laying her open to perpetual movement between E W . ast and est The country, so easily traversed, can be r r divided into egions fai ly simple to delineate, and the dances of Poland can conveniently be related to these regions . Those of each geographical region have common characteristics . F m B F ro the altic southwards we have the Plain, the orest $ first Plateau plands and the Mountains ; the section, n f a B the Plai , having subdivision known as the altic H i h eights, running from Pomeran a t rough the Mazovian L W H 60 ft. . 0 akes to hite Russia eights rise to about , and if a large- scale map is examined hundreds of tiny r A e lakes will be discovered, emains of the Ice g . This subdivis ion is a very little - developed area and not one to have originated dances . H The second region consists of the Silesian ills, the K G l l L G rakow Jura, the a ician P ateau , the ysa ora, the L H ublin ills and the Podolian Plateau . This region attains too great a height to be labelled a plain ; Forest Plateau

$ plands is an apt description . The Plain furni shes the largest population and the l l greatest number of dances , including the Po onez (Po o L owicz ank a k naise) , , Mazur (Mazur a) and the showy

Oberek . Two factors have allowed these dances to reach full development, the early settlement of this region and its — vulnerability to outside infiuence although there is sur risin l l influence p g y ittle evidence of such , which marks per haps another manifestation of the Polish spirit of inde endence For K a p . the second region rakowi k and Silesian dances are more rob ust than those of the Plain but do not reach the liveliness and agility of the wild mountain dances such as the Goralski and the Harnas .

THE KRAKO WI AK g”

The Krakowiak and Kujawiak are examples of peasant dances in the rough , transformed by the Polish gentry into finished s Lowicz anka more and elegant form . The also was ri L adapted from a folk dance of the dist ct of owicz , while the celebrated Polonaise (of which more later) is possibly Kr not of peasant origin at all . The akowiak, a very popular K a o C and lively dance, originated at r k w ( racow) , and Krakow is named after the legendary Krak who slew a dragon and built the first city on the Wawel hill above ’ t the then swampy V istula . This ci y remained Poland s 1 H Our capital until 596 . ere is the famous church of L Mar acki u ady ( j or Panna Marja) , where a tr mpeter marks l the hours by p aymg the tune called hej nal . Wh en there were no clocks the citizens depended on this call to pause 8 in their daily round and pray to the Protectress of the town . In when Batu Khan and hi s dreaded Tartars over fled ran the country, the people for safety up the Wawel hi ll, but the trumpeter remained at his post down below o hi k A b und by the oath w ch trumpeters ta e to this day . k Tartar arrow struc him as he was sounding his call . In

- memory of this long ago hero the tune always stops short, off cut at the same uncompleted bar . This historical trumpet call has been used very effec tively to open a Polish ballet :

We have historical mention of the ~ Krakowiak being danced 1 1 0 C K . in 5 , under ing Sigismund ompared with the

Polonez it represents a less advanced social development, and is danced by many couples often standing round a

r k . circle, its music in a ve y mar ed rhythm It can also be performed by one couple with dramatic action and then is often danced, accompanied by singing, in an exciting and expressive way . The men wear a quantity of metal rings on the belt which jingle as they spring and strike their heels together . The national dances of Poland show the men to great advantage . They perform with swagger and bravado l l except in the Polonez which, ful of polite and chiva rous k manners, was never a fol dance . The great diiTerence between ‘Polish and Russian dancing is seldom realised : the first showing men and women — whether peasants or aristocrats dancing together ; the o E sec nd, largely based on astern notions, showing for the men m most part and wo en dancing separately . 9 Three categories of Polish dances can be di stinguished : those performed by the peasants , which are the true folk dances ; those like th e Mazur which have become ballroom dances ; and our brilliant stage dances which may be styl l ised and hi gh y developed folk dances as shown on the stage .

”3 P oL ONE z f»

Taniec Polski D Polonais e F This is , the Polish ance ; in rench, G P cc Polonaise ola a. in erman, and in Italian It seems to be one of the oldest of our national dances and is nerhap s the only dance not of folk origin . Tradition has it that it is derived from a procession of noblemen at the celebrations on the ascension of Henri III (of V alois) to the throne of r Poland in 1 573 . Neve theless tradition adds that the still $ older peasant dance Polski was used as the foundation of e this elaborate cort ge . Its French name probably came into use on thi s impor r tant occasion . The Polonez is still a p ocession rather than e the n n a dance prop rly speaking, and was often ope i g item r r at aristocratic and C ou t balls . It is in mode ate time and suits the mature as well as the young . It displays several sides of the Polish character, is stately, grave and di nified and show s courtly etiquette allied to bravura . AS g O time went on and its popularity in aristocratic and other circles gained ground , the composition of a new Polonez m the m m r beca e expected acco pani ent to a g eat occasion ,

' in much the same way as an Englis h masque was produced K s 1 . 2 for celebrations The o ciuszko Polonez , 79 , was dedi ’ c ated e hi C A to a gr at patriot, w le hopin s Polonaise in m m m ajor is the perfect exa ple of such co position . It has been used for dancing for over a hundred years and more m m m lately has beco e al ost a national anthe , being played l in theatres and at officia ceremonies . The Polish radio

See the volumes on Sweden F nland and Denmark in h s ser es for , i t i i h olsk h s t e P a in t os e countrie .

I O 1 used it in the terrible days of September 939, to rally our

Spirits before the dreaded news . E offi cers very State ball opened with a Polonez , wearing -fittin their uniforms, noblemen wearing their close g velvet ma nificent h coats with voluminous sleeves, a g coloured sas k notted in front, and top boots ; over all a black or white k W satin cloa trimmed with fur, a fur cap ith feathers com l At etin . C m p g the picture ourt, as in any odest country u - ho se, the couples promenaded through all the rooms, to finis h with a deep reverence to each other .

fi g MAZ$ R {2

k l The Mazur or Mazurka is as well nown as the Po onaise, for it travelled all over Europe and assumed a simple ball l O room form, now ong passed out of fashion . riginally it r k for came from the province of Mazovia, a t ue fol dance l l eight or sixteen couples in a circle . Ski ful dancers indu ged m m It in uch i provisation, so the dance was full of variety . used to be sung ; its chief characteristic is the strong accent l on the second beat, and it is now often used as a state y t n dance o e d a ball .

” 3+ ZAKOPANE 13»

As m a rule Polish men and wo en dance together, but in m Po dhale n n Za the Tatra ountains, in the regio arou d ’ ’ k find m B opane, we virile en s dances such as the rigands D i . Go . 0 s ance, of which the ralski (p 3 ) a short version It o e fire used to be perf rm d round a , the men facing inwards to orki and beating the ground with their hatchets , p , which are carried to hack out footholds in mountain climbing . Go The bystanders join in the song which , as in all ral m dances, accompanies the dance . There are steps re iniscent C to orki of ossack steps , leaps, waving of p and jumping over “ fire ld k of the . O paintings show us dancers draining a flas

I I Plate 2 Oberek firi wine held in one hand and ng a pistol with the other . Leaping the fire seems to have been part of an initiation ceremony in the robber bands .

” A VI L L A WE DDI 5} 3: GE NG { If you have the good fortune to be invited to a wedding you will be summoned the day before the ceremony by young men h b h W ho wit gay rib ons in t eir hats , clicking their heels ‘ ’ God together at parting, say Stand with . To this you ‘ ’ d o m reply Go lead you . The house to which you g is ade filled of wood, the chinks with wood shavings plaited to m gether ; in very old houses with oss . The sound of music comes from the house and you find several fiddlers playing on two or three - stringed fiddles and a double- bass not ’ much larger than a cello . Probably the players are gyp sies . They are playing in the ‘ black room’ where is the stove and where are benches decorated with holy pictures and ‘ ’ paper cut in intricate patterns ; the white room now holds the bride with two maidens braiding her hair, singing the while . She is brilliantly dressed ; there is constant bustle, and as constant refreshment ; dancing begins , the bride i the groom invit ng women guests . The men stamp vigor ousl y, the gay skirts swirl in dazzling patterns . The girls hi dance in gh laced boots, their Sunday footwear, or every day shoes made of one piece of leather with a thong to w ind round the leg . During the evening each girl gives one of her shoes to be file tw placed in a single of foo ear pointing towards the door . The girl whose shoe finds its place in the doorway will be first the betrothed . ‘ ’ hi dobm nocka the T s day is , good little night or eve of $ wedding . ntil late at night there is feasting and dancing . Often there will be a humorous version of the Robbers ’ D n k a ce in which one robber is illed but cannot be buried . When put in his grave hi s limbs will not remain in position

1 3 l lie fl u when his egs together, his arms y p ; when his arms are secured, his legs spring wide open ; so he is brought back to life and the dance ends in uproarious gaiety . Next morning the guests dance the Krakowiak while waiting for the bridal pair . When the bride and bride r groom arrive they are greeted with b ead and salt, which ’ they eat together, and are then blessed by the bride s s m parents . Several groom en, young men carrying wands flow ers decorated with at the top, help to order the pro n c eedi gs at country weddings .

” M I 3 3g $ S C {

’ At V ll i age festivities the music is supplied by violins, cello , - r fl Bu . t small double bass, a d um of some sort and a ute the fiddle is the chosen instrument for accompanying dan F ’ ll cing . iddles have two or three strings if the cello is ca ed in to strengthen them it is laid across the knees and the rhythm is tapped out on the belly of the instrument as though it were a drum . Sometimes there will be a dulcimer di and the ubiquitous accor on . When calling a dance the - im r men put money into the double bass . They like to p o - r vise verses to dance ai s, the leader beginning, the second n E Beskides man nex t and so o . In the astern we still see a primitive form of bagpipes . They must have been far more are r B common than they now, for a contempora y of ach is ‘ as - quoted as stating, I have heard many as thirty six bag ’ pipes and six violins played together . r ha u inski It is thanks to D . C l b and the sanatorium he opened at Zakopane— whi ch word literally means ‘ beyond ’— cultivation that first the region and then its songs b e k came nown . The doctor discovered a mountain guide, ‘ ’ who one Sabata , possessed a rich store of legends, tales

hi . Go and songs, many of w ch have been collected The ral l l k ni in dances are near y all sung, on oo ers joi ng . Since then k l Al a Paderews i pub ished his Tatra bum of mount in airs .

I 4 Many composers have used our dance forms in their

' m F he B so W . T works . ach did , and his son ilhel riedemann Mazurka with its strong accent on the second beat has been Moniusz ko com constantly used , especially by Stanislaw , r Halka m r pose of the national opera , and so e very att active Mazurkas (Dames M as ovienfzes ) were written by Zygmunt A K k at Noskowski (op . gain arol Szymanows i was tracted by the music of the Tatra mountains and gave us Hamas ie the ballet , which was produced with brilliancy in f ’ Paris by Serge Lifar . O our greatest composer s Polonaises we have already spoken . O ur r m count y has produced so e famous ballet dancers, Idz ikowski o ik i notable amongst whom are and W j c owsk .

” 3+ C OS T$ M E {4

Our country boasts some of the most colourful and interest ‘ ’

m E . N all ing costu es in urope one is national , are regional, V with details varying from village to illage, so that in the L m owicz area, for exa ple, it is as possible to place a man by the cut of his trousers as by his speech . To the south, - m trousers are generally plain, of near white ho espun u material . In the plands the women favour bright, plain r colours for skirts and aprons . Ski ts are made everywhere - flax the from home grown , damped and bleached white in

. W sun hen we climb into the mountains, dress changes and we come to the celebrated Goral costume . For ur Céralski . this dance is worn one of o outstanding ’

m . costu es, developed on the mountain heights The men s trousers are of coarse w hite wool turning with age to shades

r . r e of b own They are ve y tight, and show a strip of blue wool down the outside of each leg and two tufts of red wool Onthe at the ankles . front of the thigh is the traditional ' r e embroidery called pa z mca. The belt is studded with brass r r r r tacks ; it served the b igands as an armou y, car ying thei i o pistols and kn ves . It is now w rn by the head shepherd of

1 5 the high communal pastures as the insignia of his authority E over the j akasi or young shepherds . very man must k possess a sheeps in jacket, and these are worn (often cloak wise) even when the weather is warm, since to be without one would be accounted a sign of poverty . The black felt hat is decorated with cowrie or mussel shells or even pieces of bone ; it is bound with red or mauve and invariably has ’ k an eagle s feather or two stuc in the band . flow ered k The women wear patterns, erchiefs and bright kl nec aces . They have no stockings but wrap linen round - on o their feet under the tied leather shoes, or g barefoot . — A typical costume suitable for Oberek which originally — was from the province of Mazovia (Mazowsze) is a sleeve less coloured jacket, red, yellow and blue striped trousers k l tuc ed into riding boots . In P ate 2 the man has discarded hi s h l k top coat and hat, w ich wou d be blac with a touch F m of colour in the band . arther south a s all , squarish hat without a brim is worn , white, yellow or decorated with ’ m l simple patterns . The woman s costu e consists of a fu l striped skirt and apron and a close- fitting sleeveless bodice fine l k of bright hue over a white linen b ouse . C oral nec

l l - laces are popular, and gir s wear a co oured head band or scarf, or an embroidered cap decorated with gay ribbons hanging down behind . A l The Maz ur also originates in Mazovia . typica cos tume is a military jacket of bright blue and loose red

l - trousers . The ong coat is belted , the hat is square crowned, the band of dyed sheepskin possi bly decorated with a n rosette of flowers and ribbons . Westwards in Pozna the man’s attire is less brilliant and a black stovepipe hat is ’ - m k worn . The girls head dress in Mazovia is re ar able . They vie with one another in producing elaborations of flow ers n ribbons and , the success of this traditional fa cy h H t e . depending on the initiative of wearer igh boots, necklace and ornamented apron add to the gaiety of the m n n - wo e folk . In Pozna head dresses are less elaborate ; a

1 6

OC CAS I ONS WHE N DAN CI NG MA Y B E S E E N

B etween Chris tmas Any where in the countryside when field and Eas ter work is slack .

Carnival Ash , The chief day is the Thursday before a us t Z p y Wednesday .

Ea t tow ns assers s er Monday Practically everywhere . In p r u by squirt scent on the gi ls , in the co ntry

buckets of water are poured over them .

‘ ’ Whits untide G F n The reen east , whe houses are decorated with green leaves and dancing

takes place .

Corpus Chris ti Religious processions with festivities

afterwards .

’ ’ t l ms Eve fires m S . o j Midsummer on the hills, with ju p m ing over them and dancing round the . Girls push floating garlands with lights on them into the river ; men swim after l them, to keep company with the gir .

H r e a vest Hom A . , great festival with dancing and music Doéynki On the last day of harvest a girl with a huge corn wreath on her shoulders and a crown on her head goes to the estate H fi . e owner, singing dances the rst dance w ith her .

m There are also ho e festivals, such as weddings and bap , tisms , which are never without dancing .

1 8 T H E DA N C E S

TE C HN I C AL E DI T O RS M $ R I E WE B ST E R AN D AT E E P T $ C L K H L N . K

AB B RE V IA TI OJVS $ SED I N DE SCRI P TI ON OF S TE PS AND DANCE S

— r - righ referring to R righ describing turns or

- — r l left hand , foot, etc . L left g ound pattern — C clockwise C - C— counter—clockwise

For descriptions of foot positions and explanations of any ballet terms the following books are suggested for reference :

A Primer o lassica B al et C r l f C l l (Cecchetti method) . y i B eaumont .

r F Fi st Steps Ruth French and elix Demery .

’ a A 77mBallet Lover s Pocket B ook. K y mbrose .

Reference books for description of figures

C D t ’ The Scottish ountry ance Socie y s Publications . m h hi C airnmuir Many volu es, from T orn ll, Road , h Edinburg 1 2 .

’ n n The English Folk Da ce and Song Society s Publicatio s . ’ C l H 2 r L n eci Sharp ouse, Regent s Pa k Road , o don

N . W. I .

i — . N l The Country Dance B ook I V I . Cecil J Sharp . ovel o

L n . C o . , ondo 1 9 P OI SE OF B OD Y

l The head is he d proudly, the body erect except in steps which demand a definite for ward and backward movement l O k . of the body, as in bere In the Mazur, the man eans for ward when dancing Pas de Mazur but retains great strength

of back and leg . ’ The characteristic feature of the men s dancing is the vigour of movement which gives a dynamic quality that

cannot be notated . Their movements contrast with the r flowin led mo e g ones of the women although they too , by

the men, can work up to a spirited form of dance . The steps as danced by the men are not only more vigorous than the m those of wo en, they are also deeper and more earth

Holu ie . bound, particularly in p c and Pas de Mazur

ARM GE S T$ RE S AND H OL DS

The holds are described in each dance separately . They r va y according to the step, as shown in the Mazur, where ff l alternative steps are given with their di erent ho ds . The free arm may be held on the hip ; the women some

times hold their skirts . More usually the free arm of both

2 0 dancers is held obliquely outward from the shoulder, arm straight (see sketch opposite) . The term used in the dance ‘ ’ notations to describe this position is arm raised .

B ASI C S TE PS

Polonez (Polonaise) A the rd stately walk, bending supporting leg on every g m l d beat, at the same ti e s i ing the other foot forward and

raising it slightly o ff the ground .

' Holu zec C p _ ( oup de Talon)

- Raise foot slightly in air to side, small spring clipping

air to - the m u heels together in , . land on sa e s pporting foot,

leaving the free leg still slightly raised sideways .

Cwal (Chassé Coupe)

A~ r k m gallop step forwa d , eeping the sa e foot in front or

sideways .

Pas de Valse

Step slightly sideways on r foot .

C 1 hi . lose foot, on ball of foot, be nd r foot

Change weight on to r foot . 1 Repeat, beginning on foot .

Pas de B as q ue

Spring to side on r foot . Transfer weight on to 1 foot on ball in front of

r foot . m n Small sta p on r foot behi d, changing

weight . 1 Repeat, beginning on foot .

2 1 L k V m i e Pas de alse with a s all spring, travelling for r ward rather than sideways and forwa d .

’ Pas d Oberek

L h V ike Pas Marché only muc more igorous, with a strong 1 accent on the st beat . It is often accompanied by a strong forward and backward movement of body and

arms .

Pas de Maz ur ' 1 Chasse forward on foot with r leg extended .

Hold this position . Ho 1 - p on foot with slight heel beat , still hold

ing r leg extended . OH1 the Slight hop foot, to repeat step with a

chassé forward on r foot . ’ C ontinue as above . The woman s step is more flowin g than that of the man , who accents the r I st and grd beats and takes a deepe chassé .

' Réverence k m . Woman akes a court curtsey Man steps bac , relaxing r i back knee, inclining the body forwa d and sweep ng the

same arm as front foot across body .

2 2 KRAKO WI AK

r K o . Southern, o iginally region round rak w

Plate 4 .

Character Lively .

One m Formation C ouple dance . large or several s all

circles with an even number of couples in each . L m ms A . Man is on of wo an . r linked

Dance

STEP 1 : C IR C L E a W e ith slight spring Open feet to side, to s and s htl in k the knees lig y turned , nees relaxed $ ‘ ’ and beat before Bar

l n k s S ight spri g bac to starting po ition , clos t ethee beat I ing heels og $ ] .

m all 8 . Repeat above, to dance it ti es in All Cw al dance (gallop) steps to R in circle .

b Ia Cwal L . Repeat , dancing to

STEP 1 1 : B REAK C IRC L ES ’ k ’ Man s r arm round bac of partner s waist, her 1 hand on his r shoulder ; outside arms C Cwal s raised . ouples dance step forward,

outside feet leading, moving into two large circles and on the last 2 bars dividing to mak e

lines of four behind one another, dancers holdm k g hands behind bac s .

23 KRAKOWIAK

A rranged by Arnold Foster

2 4

M AZ$ R

a 1 Mazovia . Pl te

r ct r Cha a e Stately .

m Formation C L . ouple dance, man on of wo an

Dance

STEP 1 Two A B steps may be used, either (simple) or (advanced)

A . 1 6 C . Pas marchés, travelling in circle ’ The man holds the woman s 1 hand in his r s r l 1 hand, arm fo ward be ow shoulder line, his r k hand on hip and he r hand holding s irt .

B 1 1 w 1 . Pas de Mazur on foot, follo ed by r Pas marché on r foot . Repeat 7 times, t av

elling C in circle . The man has his r arm m ’ 1 1 round wo an s waist, her hand in his hand . He his leans slightly forward ahead of partner, ki ’ loo ng at her all the time . The man s step is deeper and more strongly accented than that fl in ow . of the woman , which is more g

F n r inish in line formatio , th ee or four couples l d in each ine, partners side by si e and facing

forward .

STEP 1 1 on the d 4 Pas marchés spot, hol ing inside

hands .

2 6 MAZ$ R

Arranged b y Arnold Foster

Play twice through with rep eats

27 The man leaps into the air and drops to a H 1 R . e kneeling position on knee, facing to ’ holds the woman s 1 hand in hi s r hand while l\Iaz ur - she dances 4 Pas de C C round him . He allows his r hand to pass overhead as he d watches her dance . He stan s up on the last

b eat .

Repeat ; finish with partners facing one an o other, having let g hands .

STEP 1 1 1 B i t t L a . o h ravel to , r arm r sed 1 Holupiec (coup de talon) with 1 foot raised beat $ I ] . Stamp on 1 foot $beat Hold position $beat Beat r foot without changing weight $beat I ] Hold this position $beats 2 and

R 1 finishi n Repeat to , , with arms raised, g 1 1 with weight on foot . Partners place arms 1 round waists, shoulders almost touching and

r arms raised .

1 Holu iec w p with r foot raised side ays , fol

lowed by 2 stamps on r and 1 feet .

m - R a i C C . epe t th s sequence 3 ti es , turning

Repeat .

STEP IV th e l Repeat Step II . j ust before ast beat partners clap own hands and spring into 4th

position facing each other, the man holding ’ 1 the woman s hand in his r hand, free arms

raised .

2 8 ' Plate 3 Goralski GoRAL S KI

(B rigand dance from the mountains)

Z Podb ale ( akopane) . Plate 3 .

Chdracter Strong and lively .

Formation Solo or group dance for men , who hold the m The toporek or s all axe in their hands . women

may dance Step III , remaining in a group in

the background watchi ng Steps I and II . If men IV danced by only, Steps III and would be omitted— half the group of men dancing t l Steps I and II , followed by the o her ha f.

These two steps would be repeated .

Dance

STEP 1 ki 0-0 l The men s p to form a circ e, holding to orki k p above heads . They continue to s ip

when the circle is formed, turning body slightly to centre of circle and making cutting m to re move ent with po k. The cutting move m fi ure 8 ent traces a g of .

During the last 2 bars skip to face forward if l a solo ; into ines to face each other, if a group

dance .

STEP 1 1 W l t i k k ith s igh spr ng bend both nees, kic ing heels in air $beat

3 0 GoRALSKI

Arranged by Arnold Foster V ivace

Play 4 times 1 b e Small jump on foot, lifting r foot up 1 beat hind, slapping r foot with hand $

l to orek Repeat on a ternate feet, changing p into the other hand with a small throw on

- each knee bend .

STEP 1 1 1 Men saunter or Gwal (gallop) in a semicircle m 8 and watch wo en, who dance Pas de B m e asque into the centre of the se icircle, fr e

hands on hip .

The women then dance 2 Pas de Basque on

2 . . the spot, turning R about Repeat

8 B The women dance Pas de asque, moving

back into semicircle .

STEP IV Men dance forward into lines with 8 Pas de B asque .

STEP V

Repeat Step II .

Repeat the whole dance if desired .

3 2

OBEREK

Arrangedx by Arnold Foster

3 4 Play 3 times

STEP 1 1

Partners release hold and face forward . a w n Step to ards one another on earest foot, the man pushing the woman ’s l shoulder forward r h with his shoulder, bot raising outside feet . Partners step on outside foot moving away m fro , but looking towards, one another and r off r aising inside foot just g ound . i Repeat th s swaying movement .

1 2 m Pas archés round in circle, casting away r from pa tner . b Repeat all .

STE P 1 1 1 Ia Repeat Step .

3 5 STEP IV ’ n ’ 1 Ma s r arm round partner s waist, her arm through his r arm to give support (see Plate

’ M n — ’ a s Ste . 1 d Ob erek p Pas , starting with r and foot moving forward . 1 R Spring on foot, turning half to , hitting t 1 beat I k ground wi h hand $ ] (see s etch) , r leg k extended bac ward, l toe touching ground, and knee well bent $beat

- n R Spring feet together with half tur to , W k d landing ith nees bent ( emi plié) , facing forward $beat ’ — Repeat the Pas d Ob erek and the turni ng step 1 9 30

6 times .

’ ' ’ - d b er k Woman s Ste . 1 O e p 4 Pas , starting r

' foot and turning with the manfleaning well away but assisting him on the spring with feet

together .

’ B 1 d Ob erek oth dance Pas , facing forward

and bending forward .

1 finish ms strong stamp, to with outside ar ’ ’ raised , man s r arm round woman s waist,

her 1 hand on his shoulder . 3 6 ’ PRON $ NCI A TI ON

Every word has the stress on the penultimate syllable .

‘ ’ ‘ ’ A is pronounced as in father E as in men I as in ‘ ’ ‘ m ’ police ; 0 as in ore . 9 ‘ ’ 6 and $ are both as the English $ in rule .

‘ ’ Y 1 s i W . as in p ty , but pronounced ith the lips rounded ‘ ’ ‘ ’ t F b on 1 : F en . a} as in rench 3 as in rench bi ‘ ’

TS in ts K . C is like the bi . It is never pronounced

I ‘ ’ c b et ou - as in y , or in the old fashioned pronunciation ‘ ’ - - t n oor na tclzer . 01 of na ure ( q y gy , not y ) before a vowel m 1 expresses the sa e sound , the being there only to

indicate the softening (palatalisation) . oz is the English OH in

‘ ’ c OH as in Scottish lo h .

‘ ’ G is always hard as in get

‘ ’

E Y et , J is the nglish as in y v ‘ ’ ‘ l ’ L l . L as in eft There is also a hard , spelt , pronounced ‘ ’ as m shall but formed even farther back in the mouth ;

it can sound almost like the English W .

0 o o o c N as m mi mon or more exactly as i n French mignon ‘ i ’ s is always unvoiced as in s t . s - is palatalised, as in the old fashioned pronunciation of ‘ ’ - fissure ss oor sher . (fi y , not fi ) SI before a vowel is pro nounced m the sa e .

$2 E SH is pronounced as the nglish . w E F V . as nglish at the end of a word, as i ‘ ’ in as ou . z 1 is palatalised , as y were before vowel is the

same .

‘ ’ 2 R2 and have the sound of the s in pleasure . 3 7 B — ar Lon er oles A . nd 1 6 AERL E IN RY . No P o on . , HEN g p t L , 93 — M un a T e Ta ra o ns . nd n 1 FIRSOFF V . A . h o o 2 . , t t i L , 94 ‘ ’ K D — Al h M z ur l ab u t e a . T e D n T mes uRY L o EDWARD E . o h anc i , t i g ,

Feb . Dec . 1 8 an . and . 1 93 , J 939

HIM — l sh anorama d 1 1 ains . and G . . Po P . on on . C on J , i L , 94 ( t

photographs of ins truments and costume . ) ‘ 3 H — l Arc v s In er B CZ E S T P ANlE s Danses o na ses . h e L O A W KA S E . L e o , p i i t 1 1 Ill s e na onales de la Dame Par s 1 no . 1 . u tra d ti , i , , , 934 ( t ) — Euro e. R e . ndon MA H . Peas an Cos ume in ev s d cd o NN, KAT LEEN t t p i L l A Bl ck 1 ol ur a s . . C . a 0 . C o ed e , 95 ( p t )

' — f c s M RZ E E KA D I . Teatr P sa D n e IE W S W G ie m. War w 1 . a J , JA A z , 93 3 ( ,

- d a rams d ance son s . i g , g ) — r m D0 . r ow 1 . D ces di a a s MIK MAR N . nki ak an ULA, JA 2y K , 934 ( , g ,

- dance son s llus ra ons . g , i t ti )

- b a k D ces d a rams dance son s . So o k . ra ow 1 . an t K , 934 ( , i g , g ) — d Tra o d n 1 . P R P Pol sh n. n S . The o o U E , AUL i iti L , 939 — E 1 6 Illu I MAx a Cos umes o Eas ern uro e. ondon 2 . s T LKE . n , t f t p L , 9 (

trated . )

— d Dance- on s nd n : I Po s Fo Da es an . o o A et d l . l h lk nc S TY Z KI W C Z . S E , , i g L Pol sh Arm Educa on Bureau a i y ti , $

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