DENNIS BOXELL
Now a resident of Seattle, Washington, Dennis Boxell is originally from Minnesota but lived in Dayton and Miamisburg, Ohio from 1946-52, where he attended 1st through 6th grade. "Welcome back Dennis!" Between his stay in Ohio and his present residence in Seattle, his travels and research have taken him to many different areas of the world. He is one of this nation's leading authorities on Yugoslav. Bulgarian and Assyrian Dances.
In 1960. while stationed in Germany, Dennis toured Northern Europe with "Kolo," the national Yugoslav dance ensemble from Beograd. Between 1962 and 1965 he studied dance in the Balkans, working with all the major groups in Yugoslavia, as well as with village dancers. Sponsored by Lykeion of Athens, he was able to visit many of the remoter regions of Greece and collect a great number of authentic dances. Under the auspices of the Bulgarian government, he made a regional study of Bulgarian village dances and costumes. Dennis is responsible for over 150 dance tunes commonly used today by most folkdancers, which he recorded while in the Balkans. His continuous research by frequent trips to the Balkans has attributed to his well earned recognition of an authority on the Dances, Music and Customs of the Balkans.
Not only is Dennis knowledgeable in the area of Balkan Folklore. but very creative. Dennis is an accomplished director and choreographer. He is the founder of the Ensemble Koleda, an international performing group that has toured in Europe, as well as the U.S.A. He worked for a while with the Ensemble Sokole in Canada, as well as forming his own performing group in Montreal. Dennis has also worked with many other groups throughout the U.S.A. in the capacity of guest choreographer. He is presently the Artistic Director of the Vela Luka Croation Folklore Ensemble, a group of talented professionally oriented dancers and musicians of Croation descent based in the fishing village of Anacortes, Washington.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Dayton, Ohio INDEX OF DANCES
LOCALE PAGE
Berovka Macedonia (Eastern Region) 1
BHati Assyria 2
Dajtovo Horo Bulgaria-Serbia 3
Djurdjevica South Serbia 4
Drhtavac Croatia (Slavonia) 6
Ekizliisko Horo Bulgaria 7
Gaitanaki Greece (Rhodes) 8
Haniotiko (Kritiko Syrto) Crete 9
Jagneto Bulgaria 10
Kamenopolsko Bulgaria 12
Kofto Sta Tria Greece 17
Lakhana 18
Makedonikos Horos Greek Macedonia 19
Nebesko Sl*vonia - Croatia 20
Omal Pontos Greeks living in 22 Turkey
Ovcepolsko Macedonia 23
Paidushka Bulgaria 24
Pargarusa Slavonia - Croatia 25
Pentozali - Crete Greece 26 Pinosavka Serbia 27 Pleskavac Serbia 28 Sheikhani Assyria 29 Shopsko Horo Bulgaria 30 Sousta Rodou 32 Tris Fores or Trite pati 33 Vlakha Greece - Epirus 34 Zajecarka Serbia Zita .Croatia - Slavonija 36 BEROVKA Macedonia (Eastern Region)
RECORD: Folkraft LP-24, Side A, band 1
FORMATION:Belt hold. R ft free. Line dance, no partners.
TRANSLATION:From village of Berovo
METER: 2f4 STEPS & PATTERN
STEPS: HOP-STEP-STEP (L) (IJ~J ): With wt on L ft, hop on L ft (ct 1). Step on R ft (ct &). Step on L ft (ct 2). TWO-STEP (R) (f). J): Step on R ft (ct 1). Close and step on L ft beside R (ct &). Step on R ft (ct 2). Pause (ct &). Repeat, reversing footwork, for Two-Step (L). RUNNINGTWO-STEP: Same, except a slight leap on ct 1, or on all cts. LEAP-HOP: Same as Step-Hop, except a slight leap on ct 1. STEP-HOP (R): Step on R ft (ct 1). Hop on R ft (ct 2).
Measures Pattern 1 JFJ.J Facing slightly and moving R, Hop-Step-Step (L) fwd (cts 1, &,2). 2-3 Continuing, 2 running Two-Steps (R,L) fwd.
4 Turning to face ctr, Leap-Hop (R) sdwd R.
5 Hop on R ft in place (ct 1). Step sdwd L on L ft (ct &) . Cross and step on R ft in back of L (ct 2).
6 A small leap sdwd Lon L ft (ct 1). Hop on L ft, swinging R f~ fwd, R knee almost straight (ct 2).
7 Cross and a slight leap on R ft in front of L, bending body slightly fwd to swing L ft straight back (ct 1), pause (ct 2).
8 Hop on R ft in place, swinging L ft fwd (ct 1). Turning to face slightly and moving R, a small leap fwd on L ft (ct 2) •
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers
Page 1 BtLAT! (Assyria)
RECORD: Folkraft LP-4 uTanzara"
FORMATION: Arms straight down, fingers interlocked, shoulders close to neighbor's, Kurdish style.
METER: 21.t.; PATTERN
Measure
1 Facing center, step-hop frwd on L ft (ct. 1) ; step-hop bkwd on R ft (ct. 2).
2 Touch L heel frwd (ct. 1) ; Step-hop on L ft frwd (ct. 2) •
3 Step-hop on R frwd (ct. 1); touch L heel frwd (ct. 2).
4 Step bkwd on L ft (ct. 1) ; touch R heel frwd (ct. 2) •
5 Step-hop frwd on R (ct. 1) ; step-hop bkwd on L (ct. 2) •
6 Step-hop bkwd on R ft (ct. 1) ; touch L heel frwd (ct. 2). Frequent variation for Meas. 1 and 2, ct. 1: Turning to face R, step-hop on L ft in pI, tucking L hand into small of back (ct. 1). Turning to face center, step on R ft in pI (ct. 2). Touch L heel frwd (ct. 1).
Notation by Dennis Boxell
Presented by Dennis Boxell Dennis Boxell Weekend, March 21-22, 1981 Miami Valley ?olk Dancers Page 2 v' DAJCOVOHORO (Bulgaria-Serbia)
RECORD: XOPOLP #1
FORMATION:May be done either with joined hands, or holding neighbors' belts. In the latter case, R arm is under, L arm is over.
BACKGROUNDNOTES: This is a dance-type widelu found in S. E. Serbia and W. Bulgaria with numerous choreographic variations, melodies and names.
RHYTHM: The dance is found either in 5/4 or 9/8 rhythm, and is most easily broken down for descriptive purposes into a "1-2-3-4-hold" pattern.
PATTERN Measure 1 Ct. 1 - Hop on L ft, moving in a direction forward R from place Ct. 2 - Step on R ft, continuing in this direction Ct. 3 - Step on L ft, continuing in this direction Ct. 4 - Step on R ft, continuing in this direction Ct. &- Hold
2 Ct. 1 - Hop on R ft, continuing in this direction Ct. 2 - Step on L ft, continuing in this direction Ct. 3 - Step on R ft, continuing in this direction Ct. 4 - Step on L ft, continuing in this direction Ct. & - Hold
3 Ct. 1 - Hop on L ft, facing direct center, moving straight back Ct. 2 - Step on R ft, facing direct center, moving straight back Ct. 3 - Step on L ft, facing direct center, moving straight back Ct. 4 - Step on R ft, facing direct center, moving straight back Ct. &- Hold
4 Ct. 1 - Hop on R ft, moving L and facing slightly L Ct. 2 - Step on L ft, moving L and facing slightly L Ct. 3 - Step on R ft, moving L and facing slightly L Ct. 4 - Step on L ft, moving L and facing slightly L Ct. & - Hold
NOTE: During the basic pattern of Dajcovo Horo, the dancer traces an incomplete triangle as follows:
-meas. meas. 3 meas. 1
The whole line gradually moves R during the whole dance. Presented by Dennis Boxell Seattle, June 20-25, 1977
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 3 DJURDJEVICA (South Serbia)
RECORD: Folklorist 101
FORMATION: ''W'' position. Right foot free.
METER: 2{4 PATTERN
Measure: FIGURE I (Music A)
1 Facing slightly and moving R, step fwd on R ft with double bounces.
2 Step fwd on L with double bounces.
3 Two quick steps fwd (R, L) (cts 1,2). 4 Step fwd on R ft with double bounces.
5-6 Same as measures 3-4, but with opposite footwork.
7-8 Same as measures 3-4.
9-12 Turning slightly and moving L, repeat pattern of meas. 1-4, reversing direction and footwork.
13 Turning and moving R, step fwd on R ft (ct 1); step fwd on L (ct 2).
14 Turning to face ctr, step sdwd R on R ft with double bounces.
15-16 Repeat pattern of measures 13-14, reversing direction and footwork.
FIGURE II (Music B) 1-3 Facing slightly and moving R, three hop-step-steps (L).
4 Facing ctr, three stamps (R, L, R) in place. 5-8 Repeat pattern of meas. 1-4, reversing direction and footwork.
9-16 Repeat pattern of meas. 1-8.
FIGURE 111 (Music C)
1 Facing ctr, hop on L (ct 1); cross and step on R heel in f~9nr.of L (ct &); step bk on L in pl (ct 2). 2 Hop on L in pl (ct 1); cross and step on R heel in ~ of L (ct &); step on L in pl (ct 2). 3 Repeat pattern of measure 1. 4 Three stamps (R, L, R) in place. 5-8 Repeat pattern of measures 1-4, reversing footwork. 9-16 Repeat pattern of measures 1-8.
Dennis Boxell Weekend, March 21-22, 1981 (Continued) Miami Valley Folk Dancers Page 4 DJURDJEVICA (Continued)
Measure FIGURE IV
1-2 Facing and moving R, two hop-step-steps (L) fwd.
3 Turning to face L, two steps bkwd (R,L).
4 Three stamps in pl. (R,L,R). 5-8 Reverse pattern and footwork of measures 1-4.
Dance notations by Dennis Boxell
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 5 DRHTAVAC
Republic: Croatia Region: Slavonia Village: Gundinci
RECORD: KF-7221
FORMATION: Circle - Baskethold Note: The 3 measure pattern of this dance indicates it is one of the oldest type of Slavonian dances.
METER: 2/4 PATTERN
Measure Counts
(Note: Measure one is danced only ~ to begin the dance.) 1 J Facing center. feet together. bounce on both heels in place (ct 1).
Two quick bounces on both heels (cts 2, 2&).
2 Same as measur~1. 3 J Bounce on R heel only, extending L ft sideward left near ground (ct 1).
Stepping on L ft about 10" apart from R ft. two quick bounces on both heels (cts 2.2&).
(Note: This measure takes the place of Meas. 1 during the dance.)
4 ) Bounce on L heel only (ct 1). J) Clas!ng R ft to L ft. two quick bounces on both heels (c.s 2> 2&).
Presented by Dennis Boxell
Dennis Boxell Weekend, March 21-22. 1981 Miami Valley Folk Dancers Page 6 EKIZLIISKO HORO (Bul&aria)
RECORD: Folkraft 1548 x 45, MH3052, MHLPI
FORMATION:Line dance. Belt hold, R arm in front, L arm behind.
NOTE: Dance came from villaie of Lulin near Yambol in Thrace. The villaie was oriiina11y known as Ekiz1ii.
METER: 2f4 PATTERN
PART I
Measure
1 Facini center, step sideward R on R ft. Cross and step on L ft behind R ft. 2 Step sideward R on R ft. Cross and step on L ft in front of R ft. 3 Same as Measure 1. 4 Step sideward R on R ft. Hop on R ft, 1iftin& L knee s1i&ht1y. 5-8 Repeat pattern of Measures 1-4, reversini footwork and direction. 9-16 Rep~atpattern of Measures 1-8.
PART II 1 Facini center, step sideward R on R foot. Cross and step on L ft behind R ft. 2 Step sideward R on R ft. Hop on R ft, 1iftini L knee sliiht1y. 3 Step sideward L on L ft. Cross and step on R ft behind L ft. 4 Step sideward L on L ft. Hop on L ft, liftini R knee sliihtly. 5-6 Same as Measures 1-2. 7 Facini center, step forward on L ft. Close and step on R ft next to L ft. 8 Stamp forward on L ft. Hop on L ft.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 7 GAITANAKI
Greece (Rhodes)
TRANSLATION:Gaitanaki: a kind of braiding.
RECORD: Kleftes KL-IOl B
FORMATION: Circle dance for women. "Basket hold", right arm under, left arm over.
METER: 2!4 PATTERN
Measure PART I
1-2 Facing slightly R and moving R, two steps (R,L) forward. (Ct. 1-2, 3-4) 3 Turning to face center, step sideward R on R ft (ct 1). Close L ftto R without touching (ct 2). 4-6 Repeat pattern of Measures 1-3, reversing direction and footwork. 7 Facing center, step forward on R ft (ct 1). Close L ft to R without touching (ct 2).
8 Step-C10se* (Left) backward (cts 1-2). 9 Cross and step on L ft in back on R, bending knees slightly (ct. 1-2).
10 Step-Close (Right) sideward R (cts 1-2).
11 Step sideward R on R ft (cts 1-2). 12 Turning to face slightly R, step forward on L ft (cts 1-2).
REPEAT pattern of Measures 1-12 for a total of 4 times.
PART II 1 Turning to face center, step sideward R on R ft (ct 1). 2 Close L ft to R without touching (ct 2).
3-8 Same as Measures 7-12 above. 9-15 Repeat pattern ot Measures 1-8 for a total of 2 times.
*Step-Close (Right), Step on R ft (ct 1). Close and step on L ft beside R (ct 2). Repeat, reversing footwork, for Step-Close (Left).
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 8 HANIOTIKO (KRITIKO SYRTO) (Crete)
RECORD: Folklorist LP 1.
FORMATION:Line dance. ''W'' hold.
METER: 4/4 PATTERN
Measure 1 Facing center, brush L ft forward (Cts 1-2). Step backward on L ft (Ct.3). Step sideward R on R ft (Ct 4) . 2 Turning to face slightly R, cross and step on L ft in front of R ft (Cts 1-2). Turning to face center, step sideward R on R ft (Ct 3). Step on L ft in place (Ct 4). 3 Turning to face slightly L, cross and step on R ft in front of L ft (Cts 1-2). Step back on L ft in place (Ct 3). Turning to face center, step sideward R on R ft (Ct 4). 4 Turning to face slightly R, cross and step on L ft in front of R ft (Cts 1-2). Turning to face center, close and step on R ft next to L ft (Cts 3-4). Variation
4 Turning to face center, close and touch ball of R ft next to L ft (Ct 3). Step on R ft in place (Ct 4).
Note: This is the basic Cretan dance version as danced in the villages near Heraklion by most of the people most of the time. In addition to the above basic version, there are any number of improvised steps which can be performed by the leader.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 9 JAGNETO
Jagneto (means lithe lamb") is a popular variation of the Bulgarian dance also known as Pravo Boro ("s traight dance ") , Narodno Horo ("folk dance"--for many bulgarians, especially in city life, this is the folk dance, and so when they say "Let's do the folk dance," they mean this one), and many other names. It is done allover Bulgaria, sometimes in different styles depending on the back ground of the dancers, and with many variations.
Recently American folk dancers have become familiar with what could be called Pravo Trakijsko Horo, tba~is, this same dance done in the style of Thracian Bulgarians, with heavy, "into the ground" body motions, deep flexing of the knees, usually a belt hold, and alternating slow and fast music, sometimes with a complicated tapping step ("tropoli") done by men during the fast part. The particular Pravo variation being taught here was seen by Dennis Boxell in the vicinity of Kjustendil, in the ~opregion, and is being taught with a ~opstyle; but Bulgarians of different backgrounds would also probably feel comfortable with it and consider it "their" dance too. It is possible that the Pravo, along with several other dances now popular throughout Bulgaria, such as the Daj~ovoHoro and Eleno Moue, originally came from the North.
The ~opstyle is characterized by a certain heaviness. Dancers bend their knees and "sit into" the dance. At the same time there is a certain lightness, a trembling quality, as if, as one teacher puts it, the dancer was hovering over the ground and at any minute might take off. In moments of excitement Sop dancers often stress upward movements and "upbeats," so that for example in a stamping or slapping motion the knee or lower leg might be raised sharply but "on" the beat the foot might hardly touch the ground. Whether in a belt hold or a hand hold, the arms are held fairly straight and the chest is thrust out, but the shoulders remain loose so that they shake with the motion of the dance. ~opmusic and dancing is often vibranC and exciting--"they throw at you everything they have"--in contrast with the deeper, more sympathetic dance forms of Dobrudja and Eas t. Thrace.
RECORDS: Pravoto XOPO 312; Dunavsko Horo XOPO 326. Voisilsko Shopsko Horo on "Bulgarian Folk Dances" (LP) B-4000; Pravo Horo or Radino Horo on Boris Karlov LP, Balkanton BHA 402; many others.
FORMATION:Dancers in mixed lines, holding hands ("V" position); or belt hold.
METER: 2/4 PATTERN
Measure 1 Facing slightly right and moving in line of direction, step on right foot, hop. Step-hop again, this time on left. 2 Turning to face center, step sideward on right foot. Step on left next to right (closing), or behind right (crossing). Step sideward on right. Hop on right; left foot comes off ground, may swing low in front of right, but does not kick. Count "one-and-two-and"
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 10
(Continued) JAGNETO (Continued)
Measure
3 Step on right foot in place ("one- Hop on right, as at end of measure 2 and- Step on left in place two- Hop on left; right foot swings low or lifts and")
4 Turning to face slightly left, step in RLODwith left Step on right in front of left, crossing Turning to face center, step sideward on left Hop on left, right foot swings low or lifts
Count "one-and-two-and"
This pattern repeats, over and over, until the dancers or the musicians can't dance any more (or until the record ends).
Native dancers do a certain amount of embellishment of these steps, for example dancing three quick steps in place instead of any or all of the step-hops, especially as the music picks up in tempo and the dancers "warm up."
In this particular Pravo variation, as the dance picks up the dancers often carry the line into an elliptical movement clockwise on the floor, moving to the right and into the center on measure 1, curving around the right end of the ellipse on measure 2, and so on.
Presented by Dennis Boxell Seattle, June 20-25, 1977
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 11 KAMENOPOLSKO
Kamenopolsko (means "fron the region of Kamenopolsko (means "from the region of Kamenopolje"-- literally, "rocky field"-- in the district of Pleven, North Bulgaria) is in some ways a very characteristic North Bulgarian dance, or combination of dance movements. In Part I, the forward-and-back or "chorus" figure, are movements ~jpicalof the Pleven-style r~~enica,~ekurjankino,etc. In Part II are the quick and sometimes complicated crossing steps found in many North Bulgarian dances and across the border in southern Romania. Part III is essentially the dance "Kokonje'te", done in North Bulgaria and Northeast Serbia--that is, also in areas where there is "Romanian influence." (The word "Kokonjeste," spelled in many ways partly through transliteration from the Cyrillic alphabet ~ndpartly because different speakers pronounce it as "kokonjeste," "kukunjel~e,"etc., seems to be of Romanian origin and probably means "in the style of a young nobleman." A 45 rpm recording on the XOPO label, XOPO327 "Kukune~koHoro," fits very nicely the North Bulgarian-style "Kokonje~te"(asin Part III of Kamenopolsko) .
Native dancers rarely do this dance in any set sequence of steps. They ma~ begin with the "chorus" step for a while, then do some of the crossing steps, then possibly return to the "chorus" step. As the dance was originally seen in Bulgaria by Dennis Boxell, after some chorus steps and crossing steps the dancers would eventually move into the "Kokonje~te"steps of PaEt III, and the musicians would adjust, perhaps with a pause to let the dancers finish what they were doing. Experienced folk dancers in the United States often do not try to remember a sequence of steps, but simply do the dance however it is called by the leader whether or not they end up "with the music" when the record is over. As the dance is usually done in short lines, each with its own leader, each line may be doing a different part of the dance at any moment.
RECORD: Folkraft LP-26 "Bulgarian Folk Dances, Vol. I"
FORMATION:Dancers in short lines, belt hold, mixed men and women or men and women in separate lines. The lines each stay fairly straight ~s they move back and forth on the floor (na lessa"--as if the dancers were strung on a stick) but the lines are in no particular formation.
METER: 2/4 PATTERN
Measure PART I- Chorus step 1 Bending slightly forward at the waist, step forward on right, step slightly forward on left so that left toe is approximately behind right heel, step forward firmly on right bending right knee slightly --count "one-and-~." 2 The same, starting with left foot. 3 The same, as in Meas. 1. 4 Straightening up, hop on right foot, thrusting left foot out sharply and slightly in front of right. Just before the second beat, hop again on right; on the beat, bring left behind right and step--count "ah-~."This is a "reel" step. (Continued) Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 12 KAMENOPOLSKO(Continued)
aART I (Cont.) Measure 5 Another "reel lt step, hopping on the left and bringing the right foot around behind and stepping on it. On the second beat, leap on left foot in place, raising right knee slightly. (Optional variation: just after the second beat, tap right heel slightly forward. This is a "grace-note," sometimes omitted). "Talker cut" for chorus step; right-two-three, left-two-three, right-two-three, kick, ah-one, ah-two, leap (or leap-tap). Note that chorus step does not match music phrase in length.
PART II - Crossing steps Basic step for Part II 1 Step on right foot directly in front of left (crossing). Step back on left in place. Step on right beside left. Step on left foot directly in front of right (crossing). "Talker cut": half-a-ba-sic .•• 2 Step back on right foot in place. Step on left beside right. Step on right foot directly in front of left (crossing). Step back on left in place. "Talker cut": ... half-a-ba-sic. 3 Step on right in place beside left. Hop on right, thrusting left foot out sharply. 4 Slight leap onto left in place, thrusting right foot out sharply. Slight leap onto right in place, thrusting left out sharply. This is a "scissors step." Feet stay approximately parallel to the floor. 5 Turning to face slightly to the left, a slight leap onto left foot in place. Hop on left foot, bending right knee to raise right foot up in back. (Optional "grace-note": just after second beat, tap right heel slightly forward) • "Talker cut" for Part II basic step: half-a-ba-sic, half-a-ba-sic, right-hop, scis-sors, leap-hop (or lead-hop/tap). You may not like "talker cues," but many brave hearts fell asleep in the deep of Kamenopolsko without 'em! Thanks to Ken Spear of Flushing, New York for "half-a-ba-sic. half-a-ba-sic." In Part II the solid, almost "piston-like" quality of much of the Pleven-style dance can be seen clearly. The rhythm is very even in the crossing steps. the feet step firmly and even hop firmly, unlike the ''bouncy'' Sop style. The knees come up fairly high, especially for men. (Continued) Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 13 KAMENOPOLSKO(Continued)
Measure PART 11-- variation: "Twos" or "Two on the left" 1 Step slightly in front of left with right foot. Step back on left in place. Step slightly back with right foot. Step forward on left in place. This is like a "rocking" step. The body faces center, but the action of the step is at about "eleven o'clock." 2-6 Continue with the basic step, measures 1-5. "Talker cut": one-two-three-four, half-a-ba-sic, half-a-ba-sic, step-hop, etc. PART II--variation: "Double twos" 1 As "twos" above. 2 As in measure 1 of basic step. 3 Step in place with right foot. Step slightly back with left foot. Step in place with right foot. Step slightly in front of right with left foot. 4-7 Continue with basic step, measures 2-5. This gives "one-two-three-four, half-a-ba-sic, one-two-three-four, half-a-ba-sic, right-hop," etc.
PART II--variation: "Threes" 1 As in measure 1 of "twos." 2 Now do another of the same thing ••. 3-7 •.• and continue with the rest of "twos," meas. 1-6. This gives "one-two-three-four-five-six-seven-eight, half-a-ba-sic half-a-ba-sic, step, hop," etc.
PART 11-- variation:"Threes and twos" 1 As in measure 1 of "twos." 2 Now do another of the same thing ••• 3-8 .•• and continue with the rest of "double twos," meas. 1-7. This gives "one-two-three-four-five-six-seven-e:lght, half-a-ba-si:c, one-two-three four, half-a-ba-sic, right, hop," etc.
PART 11-- variation: ''Double Threes" 1-2 As in first 2 measures of "threes." 3 As in measure 1 of basic step. 4 As in measure 3 of "double twos" with ... 5 ... another of the same thing and ••. 6-9 .•. continue with measures 2-5 of the basic step.
Dennis Boxell Weekend, March 21-22, 1981 (Continued) Miami Valley Folk Dancers Page 14 KAMENOPOLSKO(Continued)
Measure PART II - variation "Double Threes" (cont.) This gives "one-two-three-four-five-six-seven-eight, half-a-ba-sic, one-two-three four-five-six-seven-eight, half-a-ba-sic, right, hop, scis-,-sors, leap, hop (or hop-tap) ." By this time you should be plenty ready for Part III.
PART III--"Kokonjeste" steps 1 Facing slightly to the right and moving in LOD, a quick hop on the left and step on the right--like a skipping step: "ah-one" Continuing in LOD, another skipping step onto the left: "ah-two" 2 Just before the first beat, a quick hop on the left •...• then three quick steps right left right, stepping loudly onto the right on the last step: "ah-one-two-three. " 3 Hop on right foot, swinging left leg counterclockwise in a small arc and turning the body to face slightly left. Step quickly in back of right with left foot, left knee straight. Step on right foot in place, right toe pointing to center.
4 Hop on right foot, winging left leg clockwise in a small arc and turning the body to face center. Step quickly in front of right with left foot, knee straight.
Step on right foot in place.
Measures 3 and 4 are the "one-and-two, one-and-two" or "hop-step-step, hop-step stepll rhythm common in many Balkan dances. Sometimes the last step in Meas. 3 or 4, or both, is accented as in Meas. 2 - sometimes the Meas. 2 last step is not accented. This stamp-taking-weight is a kind of lIexclamation point" used by the individual dancer now and then. 5-8 Repeat the pattern of Meas. 1-4 facing slightly to left and moving in RLOD, with opposite footwork.
PART III -- variation: "reel ll
As in basic step for Pa~tIII, except: 3-4 Turning to face center, four skipping "reel ll steps moving very slightly backward: ah-left, ah-right, ah-left, ah-right.
PART III - "grapevine" 1 Facing center, step sideward to the right on ball of right foot. Step on left in front of right (crossing). Step sideward on ball of right foot as before. Step on left in back of right. 2 The same again. (Continued) Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 15 KAMENOPOLSKO(Continued)
Measure PART III - "grapevine" (cont.)
This forma a kind of "grapevine" step, with body facing center, moving in LOD with a very regular rhythm: right-left-right-left, knees fairly high.
3 Leap sideward onto right foot. Stamp left heel diagonally forward, at about "ten o'clock," taking no weight; left knee straight. Stamp left heel as before but straight forward, hold slightly. 4 Leap onto left in place. Stamp right heel in place, no weight. Leap onto right in place. Stamp left heel in place, no weight. This gives "Right-two-three-four-five-six-seven-eight, leap-heel-heel, leap-heel, leap-heel."
5-8 Repeat the pattern of Meas. 1-4 in RLOD, with opposite footwork.
PART III - men's variation
As in ~grapevine"above, except:
3 Turning to face slightly right, squat and kick right. 4 Squat (if you rose while kicking) and kick left.
The same with opposite footwork on Meas. 7-8.
Kamenopolsko to recorded music is like a buffet lunch with a limited appetite. If you want some of everything you have to skimp a little. For those who like a set sequence and want to come out "with the music," here's one sequence:
Wait one measure for introduction ("one-and-two-and It) 2 chorus step 2 basic step 2 "twos" 2 "double twos" 2 more chorus step~ 2 "threes" 2 "threes-and-twos" 1 "double threes" Then 2 each in Part III --- end with grapevine step.
Presented by Dennis Boxell Seattle, June 1977.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 16 KOFTOSTA TRIA
(Greece)
RECORD: Folklorist LP-l
FORMATION: Line dance, "w" position.
METER: PATTERN
Measure VARIATION I
Facing slightly right, two walking steps forward RL (ct. 1 & 2). Turning to face center, step sideward right on R ft (ct. 3). Lift* on R ft, swinging L leg, knee bent in front of R leg (ct. 4). Step sideward Lon L ft (ct. 1). Lift* on L ft, swinging R leg, knee bent, in front of L leg (ct. 2). Crossing in back of L ft, step on R ft slightly to left of L ft (ct. 3). Lift on R ft, closing L ft to R ft (ct. 4).
VARIATIONII Facing slightly right, two walking steps forward R,L (ct. 1 & 2). Turning to face center step side on R foot (ct. 3).
Cross and step on L foot directly in front of R foot (ct. 4). Step back on R foot in place (ct. 4 and). Step sideways left on L foot (ct. 1). Cross and step on R foot directly in front of L foot (ct. 2). Step back on L foot in place (ct. 2 and). Quick step on R foot next to L (ct. 3). Cross and step on L foot in front of R (ct. 3 and). Close R foot next to L foot (ct. 4).
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 17 LAKHANA
(Pontos Greeks living on Black Sea in Turkey)
RECORD: Folklorist LP-l
FORMATION: Line dance. High "w" position
METER: 9fl6 PATTERN
Measure: ''WARMUP"
1 Facing center, step sideward R on R ft. Close and step on L ft next to R ft. A small step sideward R on R ft.
2 Cross and 'step on L ft in front of R ft. Step sideward R on R ft. Cross and step on L ft in front of R ft.
VARIATION I
1 Facing center, a quick hop on L ft, simultaneously stepping sideward R on R ft. Cross and step on L ft behind R ft. Step sideward R on R ft.
2 A quick hop on R ft, simultaneously crossing and stepping on L ft in front of R ft. Step sideward R on R ft. Cross and step on L ft in front of R ft.
VARIATION II
1 Facing center, hop on L ft. Step sideward R on R ft. Cross and step on L ft behind R ft. Step sideward R on R ft.
2 Turning to face slightly R, hop on R ft. Cross and step on L ft in front of R ft. Step sideward R on R ft. Cross and step on L ft in front of R ft.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 18 MAKEDONIKOSHOROS
(Greek Macedonia)
RECORD: Kleftes KL-lOl A
FORMATION: Line dance, men and women. ''W'' position.
METER: 2/4 PATTERN
Measure Count PART I (Slow)
1 1-2 Two small steps diagonally backward (R ft, L ft).
2 1 Facing center, a small step sideward right on R ft. 1 & Close and step on L ft next to R ft. 2 A small step sideward right on R ft.
3 1 A small step forward on L ft. 1 & Close and step on R ft next to L ft. 2 A small step forward on L ft.
PART II (Fast) "Skipping"
1 & Facing diagonally backward right, hop on L ft. 1 Step backward on R ft. & Hop on R ft. 2 Step backward on L ft.
2 & Turning to face center, hop on L ft. 1 Step sideward right on R ft. & Close and step on L ft. next to R ft. 2 Step sideward right on R ft.
3 & Hop on R ft. 1 Step forward on L ft. & Close and step on R ft. 2 Step forward on L ft.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 19 - --- Record: KF-7221
SLA VONIA CROATIA n....H
.~ -;- -j--
.J n J j J j n J r-1 STEP-BOUNCE-BOUNCE STEP-BOUNCE- BOUNCE STEP-BOUNCE-BOUNCE STEP-BOUNCE-BOUNCE
Facln~center, Step- ounce-bouncc· Y- -I. h sideward L.
~ CIRCLE DANCE ·Step-bounce-bounce (L) Step sideward L on Lft (ct 1) closing R to Lft, bounce twice on both heels (cts 2, 2&).
,,_ 4t -
II!7 j ..1 n J .rJ .J J J r1 STEP-BOUNCE-BOUNCE STEP-BOUNCE-BOUli~JST EP-ROTTNl:E-ROTTNC.E..-STEP- -
Facln~center, Step- ouncc-bounc~ 'l. % % sideward R.
--
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 20 11· It ...... ~. I • ...... • • • J n J 1J .J J J J
CJ(.t1) 10(.1.) '3(1" 14 (U.) Jump in place with both feet para lIe I, 2 quick jumps on but Lft sli$htly fwd Repeat pattern of both feet Same as (ct I). Wuhout measure 9, alternating Lft fwd measure 13 .. movin~ feet, bounce reversing footwork. Rft fwd (cts I, 2). twice ightly on both heels (cts 2, 2&).
II ...
., ~
..1
'1
Close and jum in place ~ithbot b feet together and parallel (ct I), pause (ct 2).
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers
Page 21 (Pontos Greeks living on Black Sea in Turkey)
RECORD: Folklorist LP-l
FORMi\TION: Line or circle dance; high ''W'' hold.
METER: 9f8 PATTERN
Measure
1 Facing center, step on R ft in place, raising R heel. Step on L ft in place, raising R heel. Step on R ft in place, raising L heel.
2 Same as Measure 1, only reversing footwork.
3 Turning to face slightly R, step sideward R on R foot. A slight hop on R ft. Cross and step on L ft in front of R foot. Turning to face center, stamp on R ft next to L ft.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers
Page 22 ., OVCEPOLSKO (Macedonia)
RECORD: Folklorist 104
FORMATION: "V" position (hands joined down at sides) Note: After reaching Fig. IV in progression, rpt. Fig. IV to end.
METER: 11[16 (counted 1,2,3,4,5 or Q-Q-S-Q-Q) PATTERN
Measure FIGURE I- warming up . 1 Facing slightly R, step sdwd on R on R ft (ct 1); crouch (ct 2); cross and step on L ft in front of R ft (ct 3); hop on L ft straightening up (ct 4); continuing step slightly R, step frwd on R (ct 5). 2 Hop on R ft (ct 1); step frwd on L ft (ct 2); hop on L ft, turning to face ctr. and kicking R ft sharply frwd close to floor, stopping frwd momentum of R ft abruptly to end kick "like kicki.ng a wall" (ct 3); hop on L ft (ct 4); step back on R ft (ct 5). 3 Step bk on L ft (ct 1); step frwd on R ft (ct 2);hop on R ft kicking L ft sharply close to floor as above (ct 3); hop on R ft (ct 4); step back on L ft (ct 5). Repeat pattern of meas. 1-3 until music begins to speed up. FIGURE II - running 1 Facing slightly R, step frwd on R ft (ct 1); step frwd on L ft (ct 2); step frwd onto R ft, bending both knees (ct 3); hop on R ft (ct 4); step frwd on L ft (ct 5). 2 Slight leap frwd onto R ft (ct 1); step frwd on L ft (ct 2); hop on L ft turning to face ctr and kicking R ft sharply frwd as in Fig. I (ct 3); hop on L ft (ct 4); step back on R ft (ct 5). 3 Step bk on L ft (ct 1); step bk on R ft (ct 2); hop on R ft,kicking L ft sharply frwd as above (ct 3); hop on R ft (ct 4) step back on L ft (ct 5). Repeat pattern of meas. 1-5, Fig. II for a while. FIGURE III - traveling to the L 1-2 Same as meas 1-2, Fig. II. 3 Step back on L (ct 1); step frwd on R (ct 2); kick L ft sharply as above (ct 3); hop on R ft, turning to face slightly L (ct 4); continuing to L, step frwd on L ft (ct 5) 4 Hop on L ft (ct 1); continuing L, step frwd on R ft (ct 2); kicking L ft sharply frwd as above and turning to face ctr, hop on R ft (ct 3); hop on R ft (ct 4); step back on L ft (ct 5). Repeat this variation for a while. FIGURE IV - turning 1 As in Fig. II 2 Cts 1-2 as in Fig. II; hop on L ft, turning to face ctr, releasing hands and placing on hips, kicking R ft sharply frwd as above, this begins 360 deg. turn CCW(L)(ct 3); cont. turn (CT), hop on L (Ct 4). CT, step On R ft next to L (ct 5). 3 CT, step on L ft, (ct 1); CT, step on R ft (ct 2) completing turn to face ctr, hop on R ft, kicking L ft as above (ct 3); hop on R ft, turning to face slightly L (ct 4); cont. to L, step frwd on L ft (ct 5). 4 As in Fig. III, returning hands to hips. Dennis Boxell Weekend, March 21-22, 1981 Miami V'alley Folk Dancers Page 23 PAIDUSHKA
(Bulgaria)
RECORD: Folklorist 103 x 45
FORMATION: Line dance, "V" position.
METER 5/8 PATTERN
Measure 1 Facing slightly right, hop on left foot (ct 1). Step sideward R on R ft (ct 2).
2 Hop on R ft (ct 1). Cross and step on L ft (ct 2).
3-4 Same as Measures 1-2. 5 Turning to face center, cross and step on R ft in front of L ft (ct 1). Step sideward Lon L ft (ct 2).
6-7 Same as Measure 5.
8 Hop on L ft (ct 1). Step backward on R ft (ct 2).
9 Hop on R ft (ct 1). Step backward on L ft (ct 2). 10 Cross and step on R ft in front of L ft (ct 1). Step back in place on L ft (ct 2) .
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 24 Record: KF-?221
( SLAVONIA CROATIA
It ... 4 A I I .. • -t A E ~r J rJ J n J .rJ J .n
Facin~center, Bounce on R heel Bounce on L heel step s de ward only, extending only (ct 1). L on Lft (ct 1). Lft sideward L 1). near floor (ct Sam e as measure 2. Clos1n~Rft to Ut, Two quick bounces Closin~Rft to Ut, two qu ck bounces on both hee ls, two qu ck bounces on both heels feet Sli\htly apart on both heels (cts 2, 2&). (cts 2, &). (cts 2, 2&). \ .- , --.--_.---
~ CIRCLE DANCE
Note- The above is a 2 measure dance sequence ~ - However, to begin the dance a step sideward L is done in place.of a L heel bounce. £ ~? IT ( fl. 4- .. .. L f • - . u E S1 £ ~? J .n .J r1 .J .r"j J rJ -_. --_. Boun ce on L heel Feet together, Bounce on R heel only (ct 1). bounce on both only, extending heels in place Lft side ward L (ct 1). J:lear floor (ct 1). Closina Rft to Lft, Same as two qUIck bounces Two quick bounces measure 2. Two quick bounces on both heels on both heels on both heels, (cts 2, 2&). (cts 2, 2&). - feet slightly apart (cts 2, 2&) •
.j
'EJ PARGARU~ARQPlLA PARGARA. '£1 NE STALO JOJ ZITA IZ HAMBARA. .'EJ PARGARNA PARGAR, NEK SE PARGARPARA. MENE MAM~ RODILA. - ZA TEBE BECARA.
D~nnisBoxell Weekend, Marcn 2l~22,19~1 Miami Valley Folk Dancers Page 25 PENTOZALI- CRETE
(Greece)
RECORD: Folklorist LP 1
FORMATION:Line dance. Men only. Soulder hold.
METER: 2/4 PATTERN
Measure 1 Facing center, step in place on R ft, (ct 1), swinging L ft low and in front of R ft. Hop on R ft (ct 2). 2 Step in place on L ft (ct 1). Hop on L ft, swinging R ft low in front of L ft (ct 2). 3 Step in place on R ft (ct 1). A small step sideward Lon L ft (ct 2). Cross and step on R ft in front of L ft (ct 2&). 4 Step in place on L ft (ct 1). A small step sideward R on R ft (ct 2). Close and step on L ft next to R ft (ct 2&).
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 26 PINOSAVKA (Serbia)
RECORD: Mediterranian 4003A
FORMATION: Line dance, men and women. "Linked elbows." (Left hand on left hip, for women; for men, left hand on front on belt. Right arm is linked to neighbor's left elbow).
METER: 2/4 PATTERN
Measure Count:
1 1 Facing slightly right, step sideward right on right foot. 2 Cross and step on left foot in front of right foot.
2 1 Turning to face center, step sideward right on right foot. 2 Close and touch left foot next to right foot.
3 1 Step sideward left on left foot. 2 Close and touch right foot next to left foot.
4 1 Step sideward right on right foot. 2 Close and touch left foot next to right foot.
5 1 Turning to face slightly left, step forward on left foot. 2 Step forward on right foot.
6 1 &: 2 Turning to face center, a "Step-2-3" back (L-R-L).
7 1 &: 2 "Step-2-3" sideward right (R-L-R).
8 1 &: 2 Turning to face slightly right, cross and a "Step-2-3" (L-R-L).
VARIATION (Slip Step)
8 1 Turning to face slightly right, cross and step on left foot forward.
1 &: Slide and leap on to right foot next to left foot, simultaneously extending left leg forward. 2 Step on left foot in place.
Dennis Boxell Weekend, Karch 21-22, 1981 Miami Valley Folk Dancers Page 27 PLElKAVAC (Serbia)
RECORD: Folkdancer MH1009
FORMATION:Line dance, 'ty" posi tion.
METER: 2/4 PATTERN
Measure PART I
1 Facing slightly right, step sideward right on R ft (ct.l). A slight jiggle* (ct. 2). 2 Cross and step on L ft in front of R ft (ct. 1). A slight jiggle (ct. 2). 3-4 A 3-step si~ewardR (R,L,R) (Q,Q,S). 5 Turning to face center, step back on L ft (ct. 1). A slight jiggle (ct. 2). 6 Step back on R ft (ct. 1). A slight jiggle (ct. 2). 7-8 A 3-step in place (L,R,L) (Q,Q,S). 9-16 Repeat pattern of Measures 1-8.
PART II 1 Facing center, step forward on R ft (cts. 1 & 2 - no jiggle). 2 Step forward on L ft (cts. 1 & 2 - no jiggle). 3-4 Three stamps in place (R,L,R). 5 Step backward on L ft (cts. 1 & 2 - no jiggle). 6 Step backward on R ft (cts. 1 & 2 - no jiggle). 7-8 Three stamps in place (L,R,L). 9-16 Repeat pattern of Measures 1-8.
Note: All jiggles can become slight hops at discretion of dancer.
CALLS:
1) Leader: Tri su babe Jedan zub: Dancers: Opa, Opa, Opa, zub~
2) Leader: Haj, Haj, Boze daJ: Dancers: Lijepsa cura nego raj~
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 28 SHEI KHANI (Assyria)
RECORD: Folkraft LP-4; Folkraft 1547 "Aino Kchume" "Sheikhani"
FORMATION: Arms straight down, shoulders close to neighbor's, fingers interlocked, Kurdish style.
METER: 2(4 PATTERN
Measure
1 Facing center, step frwd. on L ft (ct 1); step-close R, L (cts 2,2&).
2 Step frwd on R ft (ct 1); touch L heel frwd (ct 2).
3 Step bkwd on L ft, pivoting to face R, tucking L hand and neighbor's R hand into small of back (ct 1); continuing R, step frwd on R ft (ct 2).
4 Step frwd on L ft (ct 1); step-close R, L (ct 2,2&).
5 Step frwd on R ft (ct 1); step-close L, R (ct 2, 2&).
6 Step frwd on L ft (ct 1); turning to face center, step bkwd on R ft and bring hands straight down to begin dance steps.
NOTE: The walking in measures 3 and 4 (ct 1) can also be step-hops. Same in measure 5 (ct 1) and measure 6 (ct 1).
Notation by Dennis Boxell
SOURCE: Sheikhani is the national Assyrian dance. The Assyrians today are a minority living in Iraq and parts of Iran. Sheikhani is a boy's name, and it is derived from the ancient Assyrian ta-ka'-ni, which means "come, be happy."
Presented by Dennis Boxell
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 29 SHOPSKOHORO (Bulgaria)
RECORD: Folklore Dances of Bulgaria XOPO
FORMATION:Men and women using belt hold. Lines of 8-10 dancers.
SOURCE: This dance is actually a medley of steps from Graovsko Horo, Zidarsko Horo and original source material learned by Dennis Boxell in Bulgaria.
METER: 2[4 PATTERN
Measure "SHOPKA" Step 1 Weight on balls of both feet, predominantly on R ft (ct. 1) Bounce on balls of both feet, barely leaving ground. Weight is for a moment predominantly on L ft (ct &) Put all weight on R ft, raising L ft off ground and bending L knee. 2 Same as above, but opposite footwork.
"GRAOVSKO"Step (Sequence of 4 measures) 1 R ft traces a double circle CW in the air, R knee bent, eight on L ft. 2 Step on R ft in place (ct 1) Slap sole of L ft strongly forward on ground, L knee straight, bending R knee (ct 2) 3 Step backward with L ft (ct 1) Step backward with L ft (ct 2) 4 Step backward with L ft (ct 1) Hop on L ft in place, R knee bent in low lift
"ZIDARSKO" Step (Sequence of 5 measures) 1 Hop on L ft in place, bending R knee and raising it high (ct 1) Strike R heel on ground forcefully, slightly forward (ct 2) 2 Step on R ft in place, bending L knee and raising it high (ct 1) Strike L heel on ground forcefully, slightly forward (ct 2) 3 With scissors-like movement, slide L ft back and put weight on it momentarily (ct 1) With scissors-like movement, slide R ft back and put weight on it momentarily (ct 2) 4 Step on L ft in place, beginning to raise R leg forward (ct 1) Continue to raise R leg (ct 2) 5 Hop on L ft in place (ct 1) Bring R ft down with a slap on the ground (ct 2)
"TRAVELINGHEEL" Step 1 R leg straight, hit R heel forward, weight on L ft (ct 1) Step on R ft forward (ct 2) 2 Alternate footwork.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 30 SHOPSKOHORO(Continued)
Measure FIGURE I 1-2 Four running steps to R, knees raised slightly (R, L, R, L) 3-6 Fo~rSHOPKAsteps in place. 7-10 Four TRAVELINGHEELS forward, beginning on R ft 11-14 GRAOVSKOstep 15 Step R ft in place (ct 1) Hop on R ft, raising L knee to low lift (ct 2) 16 Step on L ft in place (ct 1) Hop on L ft raising R knee to low lift (ct 2)
FIGURE II 1-4 Four light "running threes" to R, beginning on R ft 5-7 Three SHOPKAsteps in place, facing center, but on ct. 2 extend free foot forward close to ground 8 Closing L ft with clbck of heel to R ft 9 PAWINGstep. Hop on L ft bringing R ft straight up below knee (ct 1). In a circular motion, extend R ft out and down, brushing floor (ct 2). 10 Repeat measure 9. 11 Hop on L ft, raising R knee (ct 1) Strike R heel on the ground forcefully, slightly forward (ct 2) 12 Step on R ft in place, bending L knee (ct 1) Strike i heel on ground forcefully, slightly forward (ct 2) 13 Run back on L ft (ct 1) Run back on R ft (ct 2) 14-16 Three step-lifts as in Figure 1, beginning with L ft.
FIGURE III 1-2 Four running steps to R 3-6 Four SHOPKAsteps in place 7-11 ZIDARSKOstep 12 Step on R ft in place with emphasis (ct 1) Stamp L ft close behind R ft almost perpendicular to R ft, L ft does not take weight (ct 2) 13-16 Same as measures 13-16 in Figure II
FIGURE IV 1-2 Four running steps to R (R, L, R, L) 3 Turning to face center but moving sideward R, cross and step on R ft in front of L ft (ct 1) Step sideward R on L ft (ct 2) 4 Cross and step on R ft behind L ft (ct 1) Cross and step on L ft in front of R ft (ct 2) 5 Hop on L ft extending R ft in air sideward R (ct 1) Cross and step on R ft in front of L ft (ct 2) Step sideward R on R ft (ct 2&)
Presented by Dennis Boxell Seattle, June 20-25, 1977
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 31 SOUSTARODOU
RECORD: FEZ 708-B and Kleftes KL-10l B
FORMATION:"Basket Hold" R arm under, L arm over.
METER: 2[4 PATTERN
Measure VARIATIONI
1 Facing center, step sideward R on R ft (ct 1) Close and step on L ft next to R ft (ct 2).
2 Same as measure 1 except not to take wt on L ft (ct 2) • 3 Step fwd on L ft (ct 1). Close R ft to L ft (no wt) (ct 2).
NOTE: These steps are bouncy and on the ball of the foot.
REPEATpattern of Variation I as often as desired.
VARIATIONII 1 Facing center, a small leap sideward R on R ft at the same time swinging L ft across in front of R ft (ct 1). Hop on R ft (ct 2). Step on L ft behind R ft (ct 2 and) 2 Step backward on R ft (ct 1). Two little steps fwd (L,R) (cts 2, 2 and) 3 Continue fwd on L ft (ct 1) Cross and step on R ft in front of L ft (ct 2) Step on L ft in place (ct 2 and)
REPEATpattern of Variation II as often as desired.
Presented by Dennis Boxell
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers
Page 32 TRIS FORES OR TRITE PATI
(Greek Macedonia)
TRANSLATION: Three Times
RECORD: Folkraft LP-24, Side B Band 3
FORMATION: Line dance, no partners.
STARTINGPOSITION: "V" position, right foot free.
METER: 7/4 (J,J cJ~counted 1-2-3, 4-5, 6-7
Measure PATTERN
1 Facing center, step sideward right on right foot (cts 1-2). Close and step on left foot next to right (ct 3). Step sideward right on right foot (cts 4-5). Turning to face slightly and moving right, step forward on left foot, bending right knee slightly to swing foot across in front of left leg (cts 6-7).
2 Continuing, step forward on right foot (cts 1-2-3). Step forward on left foot (cts 4-5). Turning to face center, step sideward right on right foot, swinging left foot across in front of right leg (cts 6-7).
3 Turning to face slightly and moving left, step forward on left foot (cts 1-2-3}. Step forward on right foot (cts 4-5). Turning to face center, step sideward left on left foot, swinging right foot across in front of left leg (cts 6-7).
NOTES: 1) When tempo increases, the walking steps of measure 2-3 become skips and there are small Jumps on both feet (count 6 of measures 2-3) as free knee is raised slightly (count 7). 2) Native dancers from the villages of Promaki and Orma begin the dance on counts 6-7 of measure 3.
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 33 VLAKHA (Greece)
A dance from Epirus -- from villages near Yanina.
RECORD: Folklorist LP 1. WWFL8001.
FORMATION: ''W'' posi tion .
METER: 7[8 PATTERN
Measure VARIATIONI
1 Facing and moving R, step forward on R ft (Ct 1). Rock backward on L ft (Ct 2). Rock forward on R ft (Ct 3).
2 Same as Measure 1, only reversing footwork.
3 Turning to face center, step sideward on R ft (Ct 1). Cross and step on L ft in front of R ft (Ct 2). Step back on L ft in place (Ct 3).
4 Step on L ft in place (Ct 1). Cross and step on R ft in front of L (Ct 2). Step back on L ft in place (Ct 3).
VARIATIONII 1 Facing forward, step sideward R on R ft (Ct 1). Slowly draw L ft in cw circling motion next to R ft (Ct 2,3), (toe touching floor, heel up). 2 Cross and step on left foot in front of R ft (Ct 1). Slowly draw R ft in ccw circling motion next to L ft (Ct 2,3), (toe on floor, heel up). 3 Step sideward R on R ft (Ct 1). Raise and swing L leg in front of R leg (Cts 2,3).
4 Step on L ft in place (Ct 1). Raise and swing R leg in front of L leg (Ct 2). Swing and almost tuck R ft behind L knee (Ct 3).
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers Page 34 ZAJECARKA (Serbia)
RECORD: Folkraft 1532x45
FORMATION: '''1" position. Right foot free.
METER: 2/4 PATTERN
Measure PART I- Fast (Music AA)
1 Facing slightly and moving right. two running steps. right. left) forward.
2-4 Turning to face center, three PAS DE BASQUES* (R. L, R) in place.
5-8 REPEAT pattern of measures 1-4 reversing direction and footwork.
PART II - Slow (Music BB) 9 Facing slightly and moving right, two walking steps,(right, left) forward. 10-12 Turning to facing center. three STEP-TOUCHES** sideward (right. left. right).
13-16 REPEAT pattern of measures 9-12 reversing direction and footwork.
*PAS DE BASQUERIGHT ())J): A slight leap sideward right on right foot (ct 1). close and step on left foot beside right, or cross and step on left foot slightly in front or in back of right (ct and), step on right foot in place, bending knees slightly (ct 2), pause (count and).
Repeat. reversing direction and footwork. for Pas de Basque Left.
**STEP-TOUCH RIGHT ())): Step on right foot (count 1). close and touch left foot beside right without taking weight (count 2). Repeat. reversing footwork. for Step-Touch Left.
(Translation: from town of Zaje~ar.)
Dance description by Dennis Boxell and Rickey Holden.
Dennis Boxell Weekend. March 21-22, 1981 Miami Valley Folk Dancers Page 35 ~ITA
Croatia - Slavonija
RECORD: Folklorist FL l02-45A
FORMATION: Closed circle, front basket hold, joining middle fingers, R arms over, L arms under.
METER: 2/4 PATTERN
Measure PART I (Music A)
1-4 Four step-bounce-bounces sdwd L.
5-8 Four step-bounce-bounces sdwd R.
PART II (Music B) 1 Touch L heel diag. frwd L (ct 1); touch L heel across in front of R (ct 2).
2 Same as measure 1.
3 Two quick step-close-steps sdwd. L.
4 One quick step-close sdwd. L (cta 1,1&); step sdwd. Lon L ft (ct 2). 5-8 Repeat pattern of measures 1-4, reversing footwork and direction.
Notation by Dennis Boxell
Dennis Boxell Weekend, March 21-22, 1981 Miami Valley Folk Dancers
Page 36