Dances from Two Countries, As Noted by an Oblique (E.G., Germany/Austria), Are Listed Twice in This Document: Once Under Each Country
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A Short Course in International Folk Dance, Harry Khamis, 1994
Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v Dances Page At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ............................... -
Folk Dances for Language Classes, Dona Hyll, Lorraine Fortner, 2001
Folk Dances for Language Classes Dona Hyll Lorraine Fortner September 21, 2001 Louisville, Kentucky Table of Contents About the Instructors...................................................................................................................ii Dances from German speaking regions: GROSSER ATLANTIK .......................................... .......................... Germany....................1 D'HAMMERSCHMIEDSG'SELLN........................ .......................... Germany....................2 LA SALAMANDRE................................................ Alsace............... France......................15 Dances from Spanish speaking regions: CARNAVALITO..................................................... .......................... Bolivia.......................3 ESPUNYOLET........................................................ Catalonia .......... France / Spain..........16 MEXICAN POLKA................................................. .......................... Mexico ......................4 Dances from French speaking regions: AN DRO RETOURNÉ ............................................ Brittany............. France........................5 AVANT-DEUX DE TRAVERS.............................. Brittany............. France......................14 LE BAL DE JUGON ............................................... Brittany............. France........................9 BANNIELOU LAMBAOL...................................... Brittany............. France........................7 BRANLE NORMAND ........................................... -
SYRTAKI Greek PRONUNCIATION
SYRTAKI Greek PRONUNCIATION: seer-TAH-kee TRANSLATION: Little dragging dance SOURCE: Dick Oakes learned this dance in the Greek community of Los Angeles. Athan Karras, a prominent Greek dance researcher, also has taught Syrtaki to folk dancers in the United States, as have many other teachers of Greek dance. BACKGROUND: The Syrtaki, or Sirtaki, was the name given to the combination of various Hasapika (or Hassapika) dances, both in style and the variation of tempo, after its popularization in the motion picture Alexis Zorbas (titled Zorba the Greek in America). The Syrtaki is danced mainly in the taverns of Greece with dances such as the Zeybekiko (Zeimbekiko), the Tsiftetelli, and the Karsilamas. It is a combination of either a slow hasapiko and fast hasapiko, or a slow hasapiko, hasaposerviko, and fast hasapiko. It is typical for the musicians to "wake things up" after a slow or heavy (vari or argo) hasapiko with a medium and / or fast Hasapiko. The name "Syrtaki" is a misnomer in that it is derived from the most common Greek dance "Syrtos" and this name is a recent invention. These "butcher dances" spread throughout the Balkans and the Near East and all across the Aegean islands, and entertained a great popularity. The origins of the dance are traced to Byzantium, but the Argo Hasapiko is an evolved idiom by Aegean fisherman and their languid lifestyle. The name "Syrtaki" is now embedded as a dance form (meaning "little Syrtos," though it is totally unlike any Syrto dance), but its international fame has made it a hallmark of Greek dancing. -
Tom Roby SHORT TUESDAY LIST (Preliminary) 1 May 1996
Tom Roby SHORT TUESDAY LIST (Preliminary) 1 May 1996 EASY NOT SO EASY INTERMEDIATE HARD COUPLE Core Core Core Core Easy Abdala Adjon az Isten Ajde Jano Biˇcak Albanian #1 Ciganˇcica Ajde Lepa Maro Ali Pa¸sa Ca la Balt˘a Brˆıul de la F˘ag˘ara¸s Gamal Polska Alunelul Bardezuh Mer Ciganski Orijent Brˆıul pe Opt Gamal Schottis Bavno Oro Divˇcibarsko Kolo Buˇcimiˇs Karapjet An Dro Makazice/Bela Rada Cekurjankinoˇ Horo Kevi Cs´ard´as Arap Draganovo Belasiˇcko Oro DrmeˇsizZdenˇcina Cetvornoˇ Sopskoˇ H. Kujawiak Bufˇcansko Dedo Mile Dedo Lepa Anka Kolo Vodi ˇ Fatiˇse Kolo Cimpoi Cereˇsna Devojˇce2 Gencsi Verbunk Marin-Congo ´ Hora from Oltenia Cuperlika Durdevica Hora Spoitorilor Gergebunarsko Norwegian Polka Devetorka Dospatsko Kasapsko Oro Godeˇcki Caˇˇ cak R˘uˇcenica po 3 Eleno Mome Gerakina Katja Jove Maloj Mome Slangpolska Ersko Kolo Hora Fetelor ˇ Stabberinglender ˇ Kulska Sira Kulsko Horo Guhnega Horehronsk´y Card´aˇs Numero Vossarull Mure¸sanca Waltz G¨uzelleme Janino Novo Zagorsko Ovˇcepolsko Oro Karamfil Ol´ahos Pandalaˇs Hanter Dro Katuˇse Mome Hora Mare Ovˇcepolska Potrˇculka Plevensko Dajˇcovo Medium Kjustendilska R˘uˇc. Pajduˇsko (3,2,1,4) R˘uka Hora Pe Gheat¸˘a Lefkaditikos Aino Kchume Pajduˇsko, Jambolsko Ripna Maca Ana Lugojana Ivanica Mariˇcensko Pravo H. Preskaˇcanka Topansko Oro Jovano, Jovanke Moja Diridika B´ek´esi P´aros Radomirsko Horo Trei P˘aze¸ste dl GM ˆInvˆırtita [Yves’s] Kalamatianos Ooska Gookas Rustemul Trile¸se¸sti Orijent ˆInvˆırtita de la Sibiu Kendime Sedi Donka ˆ Koftos Orta Anadolu Sej Sej Bop Invˆırtita din Luna T. Osmica Sepastia Bar Uncore Hambo Kostursko Oro Pinosavka Lipa Ma Mar´yca Kritikos Syrtos Sestorkaˇ Ali, Ali Povrateno Alunelul Schiop Michael’s Cs´ard´as Kukunjeˇs´ce Prekid Kolo Sevdalino Maloj Mome Pr´ıdi, Jan´ık Sˆırba pe Loc Avrameanca Legnala Dana Ratevka Dansul Fetelor Rezijankas Lesnoto Sadilo Mome S¸obolanul Siamse Beirte Tropanka iz Dobrudˇza Daronee Maˆıtre de Maison Sandansko Dobrichka Tropanka Slangpolska fr. -
Virtual Dance Room Session # 65 Playlist Friday, June 18, 2021 - 7:30Pm - 11:00Pm-Ish CDT Page #1
Virtual Dance Room Session # 65 Playlist Friday, June 18, 2021 - 7:30pm - 11:00pm-ish CDT Page #1 Play Last Set Origin Session Set Ord Dances Played Date Play Seq Ethnicity Status 6/18 50 0 Set 050 - Repertoire Workshop Set - Paul Co Paul Collins 6/18 50 1 1 Akh Naro Naro Armenian/Modern paul/Teach 6/18 6/11 50 2 2 Karakachansko Horo Bulgarian paul/Teach 6/18 6/11 50 3 3 Hackig's Tamzara Armenian paul/review 6/18 6/11 50 4 4 Zonaradikos #1 Evros/Generic (Economou) Greek/Thrace 6/18 6/11 50 5 5 Esmer (Dyarbakir in Eastern Turkey) (Ozkok)Turkish paul/review 6/18 100 0 Set 100 - Program & Requests - 1 6/18 5/7 100 1 1 Godecki Cacak Serbian/East paul/lead 6/18 6/11 100 2 2 Sardana (Bella Franca) Spanish/Catalonian paul/lead 6/18 2/12 100 3 3 Drmes Iz Zdencine Croatian paul/lead 6/18 1/8 100 4 4 Adana (Atanas) Macedonian Paul/Nakas 6/18 5/21 100 5 5 Aidym Central Asia 6/18 6/4 100 6 6 Sandansko Horo Bulgarian/Pirin 6/18 6/11 100 7 7 Indijski Cocek Serbian/Roma 6/18 6/4 100 8 8 Rukavice Croatian/Slavonian 6/18 6/11 100 9 9 Gorani Armenian Theresa 6/18 4/23 100 10 10 Joc de Fete Romanian diane/lead 6/18 2/19 100 11 11 Cimpoi Romanian Paul 6/18 5/21 100 12 12 Swing Dance USA/Swing Diane/Barbara/Paul 6/18 100 13 Announcement Set 1 Karen Tutkowski 6/18 5/21 100 14 13 Passu Torrau (Celest) Italian/Sardinian Paul/George 6/18 4/23 100 15 14 Haroa Haktana Israeli Leigh/Patti 6/18 4/9 100 16 15 Electric Slide USA/Line Paul 6/18 5/28 100 17 16 Popovicanka Serbian Paul 6/18 2/12 100 18 17 Karapyet Russian Paul/Catherine 6/18 200 0 Set 200 - Guest Host -
The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Fall 2011 The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar Tania Flores SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Dance Commons, Ethnomusicology Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Flores, Tania, "The aB rzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco From South of the Strait of Gibraltar" (2011). Independent Study Project (ISP) Collection. 1118. https://digitalcollections.sit.edu/isp_collection/1118 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. The Barzakh of Flamenco: Tracing the Spirituality, Locality and Musicality of Flamenco from South of the Strait of Gibraltar Tania Flores Occidental College Migration and Transnational Identity: Fall 2011 Flores 2 Acknowledgments I could not have completed this project without the advice and guidance of my academic director, Professor Souad Eddouada; my advisor, Professor Taieb Belghazi; my professor of music at Occidental College, Professor Simeon Pillich; my professor of Islamic studies at Occidental, Professor Malek Moazzam-Doulat; or my gracious and helpful interviewees. I am also grateful to Elvira Roca Rey for allowing me to use her studio to choreograph after we had finished dance class, and to Professor Said Graiouid for his guidance and time. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
Connecting Through Dance
Connecting Through Dance: The Multiplicity of Meanings of Kurdish Folk Dances in Turkey Mona Maria Nyberg Thesis submitted in partial fulfillment of the M.A. degree Department of Social Anthropology, University of Bergen Spring 2012 The front page photograph is taken by Mona Maria Nyberg at a Kurdish wedding celebration. The women who are dancing in the picture are not informants. II Acknowledgements While studying for an exam during my time as a bachelor student, I read a work by Professor Bruce Kapferer which made me reconsider my decision of not applying for the master program; I could write about dance, I realized. And now I have! The process has been challenging and intense, but well worth it. Throughout this journey I have been anything but alone on this, and the list of persons who have contributed is too long to mention. First of all I need to thank my informants. Without you this thesis could not have been written. Thank you for your help and generosity! Especially I want to thank everyone at the culture centers for allowing me do fieldwork and participate in activities. My inmost gratitude goes to two of my informants, whose names I cannot write out of reasons of anonymity - but you know who you are. I want to thank you for allowing me into your lives and making me part of your family. You have contributing to my fieldwork by helping me in in innumerous ways, being my translators – both in terms of language and culture. You have become two of my closest friends. -
EUROVISION 2008 Name in Database Name on CD Track Number CD
EUROVISION 2008 Name in database Name on CD Track number CD number 2008 Alb Zemrën E Lamë Peng (Albania) 2 1 2008 And Casanova (Andorra) 1 1 2008 Arm Qele, Qele (Armenia) 3 1 2008 Aze Day After Day (Azerbaijan) 4 1 2008 Bel O Julissi (Belgium) 6 1 2008 Bie Hasta La Vista (Belarus) 8 1 2008 Bos Pokusaj (Bosnia & Herzegovina) 5 1 2008 Bul DJ, Take Me Away (Bulgaria) 7 1 2008 Cro Romanca (Croatia) 21 1 2008 Cyp Femme Fatale (Cyprus) 10 1 2008 Cze Have Some Fun (Czech Republic) 11 1 2008 Den All Night Long (Denmark) 13 1 2008 Est Leto Svet (Estonia) 14 1 2008 Fin Missä Miehet Ratsastaa (Finland) 16 1 2008 Fra Divine (France) 17 1 2008 Geo Peace Will Come (Georgia) 19 1 2008 Ger Disappear (Germany) 12 1 2008 Gre Secret Combination (Greece) 20 1 2008 Hun Candlelight (Hungary) 1 2 2008 Ice This Is My Life (Iceland) 4 2 2008 Ire Irelande Douze Pointe (Ireland) 2 2 2008 Isr The Fire In Your Eyes (Israel) 3 2 2008 Lat Wolves Of The Sea (Latvia) 6 2 2008 Lit Nomads In The Night (Lithuania) 5 2 2008 Mac Let Me Love You (FYR Macedonia) 9 2 2008 Mal Vodka (Malta) 10 2 2008 Mnt Zauvijek Volim Te (Montenegro) 8 2 2008 Mol A Century Of Love (Moldova) 7 2 2008 Net Your Heart Belongs To Me (The Netherlands) 11 2 2008 Nor Hold On Be Strong (Norway) 12 2 2008 Pol For Life (Poland) 13 2 2008 Por Senhora Do Mar (Negras Águas) (Portugal) 14 2 2008 Rom Pe-o Margine De Lume (Romania) 15 2 2008 Rus Believe (Russia) 17 2 2008 San Complice (San Marino) 20 2 2008 Ser Oro (Serbia) (feat. -
Ö 10 - 1 Royal Empress Tango English Couple I A- 5
MVFD Listing by OLD Number CD Track Dance Name Nationality Type Inst Old # 9 - 20 Canadian Breakdown USA Contra A- 3 9 - 19 Petronella USA Contra I A- 3 ö 10 - 1 Royal Empress Tango English Couple I A- 5 9 - 21 Tango Waltz, The English Couple A- 5 10 - 2 Camptown Races USA Square I A- 8 10 - 3 Old Joe Clark USA Square A- 8 10 - 3 Old Joe Clark USA Contra A- 8 10 - 4 Bonfire (Fisher's Hornpipe) Irish Couple I A- 9 10 - 5 Come Up the Backstairs (Sacketts USA Contra I A- 9 10 - 4 Fisher's Hornpipe USA Contra I A- 9 10 - 5 Sacketts's Harbour (Come Up the USA Contra I A- 9 ö 81 - 17 Aird Of Coigah (Reel of Mey) Scottish Set 4 Couple I A-10 81 - 18 Cauld Kail in Aberdeen Scottish Set 4 Couple I A-10 81 - 15 Gates of Edinburgh (8x32 Reel) S Scottish Set 4 Couple A-10 81 - 13 Hooper's Jig (8x32 Jig) SKIPS Scottish Jig A-10 81 - 16 Jessie's Hornpipe (8x32 Reel) Scottish Contra I A-10 81 - 19 Kingussie Flower (8x40 Reel) Scottish Reel A-10 81 - 14 Macphersons of Edinburgh, The ( Scottish Set 4 Couple A-10 81 - 12 Mairi's Wedding (8x40 Reel) Scottish Set 4 Couple I A-10 81 - 19 Red House Reel (Kingussie Flow Scottish Set 4 Couple I A-10 ö 81 - 17 Reel of Hey, The (8x48 Reel) Scottish Set 4 Couple I A-10 81 - 19 White Heather Jig (Kingussie Flo Scottish Set 4 Couple I A-10 10 - 7 Geudman Of Ballangigh English Contra I A-11 10 - 6 Larusse English Square I A-11 10 - 8 Yorkshire Square Eight English Square I A-11 10 - 12 Dargason English Set 4 Couple I A-12 10 - 9 Little Man in a Fix Danish Set 2 Couple I A-12 Saturday, July 29, 2000 Page 1 of 96 MVFD -
Evolution and Structure in Flamenco Harmony
Evolution and Structure in Flamenco Harmony By Peter Manuel The unprecedented vogue and revitalization of flamenco since the early 1960s have generated a considerable amount of scholarly literature on the subject, written primarily by Spaniards. These studies, while contributing greatly to our understanding of flamenco in its historical and social context, have tended to avoid less overtly humanistic subjects, including any analyt ical discussion of the structural aspects of flamenco as music per se. Hence, such a topic as the structure of flamenco harmony has received only passing mention in flamenco studies or oblique reference in guitar manuals. While flamenco musicians themselves are generally uninterested in theo rizing about their music, flamenco harmony is one of the most crucial expres sive aspects of the genre and certainly merits some study in this regard. On a broader level, an inquiry into flamenco harmony may reveal some of the- processes by which musical acculturation and instrumental idiosyncracies can generate a syncretic and highly distinctive harmonic system. This article addresses certain aspects of the development and present form of flamenco harmony. In brief, it advances two hypotheses: first, that flamen co harmony is a syncretic product of Arab modal practice and European harmony, and second, that many of the most distinctive features of the har monic system, and in particular the use of altered chords, have arisen in direct connection with idiosyncratic characteristics of the guitar. The first of these theses, although difficult to document, is hardly original, and indeed, is widely taken for granted among flamenco scholars. Before proceeding direct ly to these arguments, some introduction to flamenco harmony and style may be appropriate here. -
Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F
LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Boozdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56, 57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56, 57 Medax Tashginag Armenia Ajoian, F. 57 Nor Imatsa (Yerzinga Tamzara) Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Sheleg Al Iri Israel Alpert, A. 18 Ve’shuv Itchem Israel Alpert, A. 18 Yaffo Israel Alpert, A. 18 Normali israel Alpert, A. 18 Or Chadash Israel Alpert, A. 18 Haleluyah Le’Gal Israel Alpert, A.` 18 Hayom Hazeh Israel Alpert, A.` 18 Heya Heya Israel Alpert, A.` 18 Hora Ha’bika Israel Alpert, A.` 18 Carbonero, El El Salvador Amaya, N. 68 Cortadoras, Las El Salvador Amaya, N. 68 Diablo Chingo, El Costa Rica Amaya, N. 68 Xuc, El El Salvador Amaya, N. 68 Yenka Spain Amaya, N. 68 Bereznianka Ukraine Arabagi, G. & I. 14 Bukovinskii Tanets Ukraine Arabagi, G. & I. 12 STOCKTON FOLK DANCE CAMP INDEX 1948-2018 PAGE 1 LISTING BY TEACHER Dance Name COUNTRY INSTRUCTOR(S) YEAR(S) Dansul Tiganilor Basarabeni Moldova (Bessarabia; Rom) Arabagi, G. & I. 14 Hora din Giurgiuleşti Moldova (Moldavian) Arabagi, G. & I. 12 Hora Dragostei Moldova Arabagi, G. & I. 14 Horlitsya Ukraine Arabagi, G. & I. 14 Hutsulka Ukraine Arabagi, G. & I. 12 Joc Mare Ukraine (Moldavian) Arabagi, G.