SALTY DOG RAG American Novelty Dance Record Decca 9-27981
FORMATION: Couples side by side, facing counterclockwise around the Ring. Lady to Right of Man. Hands cross in front,skaterfs position. The style is free and easy - very jivey. Let yourself Go! Part I: Both begin with the Right foot and move sidewards with this step: Step to Right on Right foot. (Count l) Step on Left foot behind Right foot (Count and) Step to Right on Right foot. (Count 2) Brush-Kick Left foot forward. (Count and)
Now moving sidewards to the Left both dancers do this step: Step to Left on Left foot. (Count l) Step on Right foot behind Left foot (Ccunt and) Step on Left foot to Left. (Count 2) Brush-Kipk Right foot forward. (Count and)
Walk forward 4 step-brush steps: R, brush L; L, brush R; R, brush L; L, brush R (4 counts) Repeat all of Part I. (8 counts) CHORUS: Face partners and keep left hands joined. (Men have backs to center of ring. Move sidewards to own Right with a Right, Left, Right, Brush-Kick (same foot-work as Part l). Moving sidewards to own Left with a Left, Right, Left, Brush-Kick, changing hands to a Right hand hold as you do so. Retaining a Right hand hold with elbows bent, walk-strut around clockwise to change places with your partner (4 counts) Repeat Chorus in partner's place, beginning with the L hand hold and walk-strut home (4 counts) VARIATION on Chorus: Move sidewards to the Right with a R,L,R, Brush Left. THEN Turn once around to Left (CCW) with a L,R,L, pause, aid Clap own hands. "Then join Right hands and change laces with strutting steps, as above. Use the variation with more advanced groups only, please.) PART II: (This part of the dance, too, should be used only with more advanced dancers. With beginners just do part I twice, and Chorus twice, as given above. With advanced dancers do Part I then the Chorus, then Part II followed by the Chorus.) Place Right heel forward, then bring it down beside Left with full weight on it. Place Left Heel forward then bring it down beside Right foot. (Count 1, and, 2, and) Feet are now together and with feet flat on floor twist both heels outward, then together (count 3> and) Place Right Heel forward, then Right toe, down beside Left foot without any weight on it. (Count k, and) Then walk forward 4 strutting steps: R,L,R,L. (4 counts) Repeat Part II. (8 Counts)
PRESENTED BY IVY KREHM, ONTARIO FOLK DANCE CAMP - MAY,1963• SAPRI TAMA (TELL ME MY INNOCENT ONE) DANCE: Yoav Ashriel MUSIC: Ancient Yemenite Melody RECORD: Dancecraft LP 123301, Side A, Band 2.
FORMATION; Solo (DO NOT HOLD HANDS) All face same direction.
FIGURE I - Arms held above h«ad. 1: Step on R ft- to R side swaying to R 2: Bend R kne'-.-. Snap fingers. 3: Step on L ft. to L side, swaying to L 4: Bend L knee. Snap fingers. 5-6: Step on R foot making quarter turn to the R 7: Close L ft. to R ft. bending both knees and bringing hands down ir, front of chest, Snap fingers. 8: Hold. 9-12: Yemenite step to R (Hands are down) 13 - 16: Yemenite step to L,
FIGURE II 1-2: Step on *:. ft. to F; turning slightly to R side. 3-1: Raise L leg across R leg bending R knee. L leg is turned out with bent knee arvl floxed foot. Snap fingers. Hands are in front of chert, elbows bent. 5-8: Repeat counts 1-4, opposite footwork, turning slightly to L side.
FIGURE III 1-2: Step on R ft. to R. Arms straight cut to sides. 3-4: Cross L ft. over R ft, bending kneeo. 1-r.nds are crossed in front of ch-3St. 'R hand over L hand). Snap fingers. 5-8: Repeat counts 1 - 9-12: Yemenite step to R. Hands down. 13 - 24; Repeat counts 1-12 with opposite feet to the left side. Tell me, do tell Tell me, do tell Innocent dove.
Tell me and we'll rejoice .in wen lor Tell me ~nd we'll rejoice in wonder They'll ascend, I feel they'll ascend; They'll ascend, I know they'll ascend*, They'll ascend to Zion. To Zion in the east To Zion in the east. YEMENITE STEP: (can be done with either foot) 1. Step on R ft. to R side with bent knee 2. Step on ball of L ft. beside R heel 3. Cross R ft. in front of L ft. 4. Hold.
Reprinted from instruction booklet accompanying the record "Dance Israel". Presented by Teme Kemerman at the Collero of Education Folk Dance Workshop, November 30, 1968. SARBA - A Romanian Dance
RECORD; National 4513B - Romany Mood The first part of the record listed is a slow Doina during which the dancers can sway from side to side and sing.
There are many steps in the Sarba and they are not done in any special sequence. The dancers should learn the calls so they can follow the leader who calls the steps as he likes.
[ATION: No partners in a circle formation. Traditionally the dance is done with hands on each other*s shoulders. While learning the dance, and until everyone in the circle knows the steps well, it is wisef to just hold hands.
NOTE: It is also traditional to begin the dance with a lively step- hop on left fool/ before proceeding into the dance proper. The names of th4 dance steps are given phonetically. The Basic Step is usually done after each step. Dancers do each step called until the leader-shouts "Go Ahead" or ^shee-Ba-yee-teh^*
BASIC STEP Step to right m right foot. Step on left behind right. -Step-hop on right foot swinging left foot over right. Step-hop on left foot swinging-right foot, over left. Continue in this manner-moving to the right.
BATUTA Slide to right 3 times, then step-hop on R foot swinging L foot over right. Step-hop on L foot swinging R foot. Do this step over until the leader calls next move.
SERITA Step to right on R foot. Step on left behind right. Do a "pas de basque" to the right and to the left. Continue until the next call.
FEE-LOC Get into the step by stepping on right foot to right. Step left behind right. Step-hop on right foot...now the step begins: Cross left foot in.front of right and chug back on it as you swing R foot forward. Cross R foot over left and chug back on right as you swing L foot forward. Rock in place quickly-forward on left, back on right, forward on left. Hop on L foot in preparation for a repeat of step with other foot: Cross R foot in front and chug back on it. Cross L fooi in front and chug ba'dc on it. Rock in place, R, L, R. Do it once more starting with L foot. Then go into the basic step.
(continued) SARBA continued
OFITSARSKA YA When you have a small circle the dancers should straighten out into a line for this figure, otherwise keep in circle formation. Do one basic step to right: then to left: then to center: then back from center, like this: Step right. Step left behind right. Step-hop on right. Step left* Step right behind left. Step-hop pn left. Move forward 3 steps ,v R» I*i R, hop on right. Move-backwards 3 steps, L, . R, L, hop on left.
SHEENA-POY Begin the step by stepping on R foot to right, L foot behind right. Step-hop on right swinging L foot over right. Step-hop on left AND NOW TURN LEFT without dropping hands and swing R foot forward* Place R foot down with knee bent slightly. Chug forward a little on the L foot as right knee is brought sharply up. Repeat step 3 times from *. On the last count turn to right and hop on R foot ... swinging L foot forward and do 3 of the same steps in other direction step-chugging on R foot and raising left knee. Face center and step—hop on L foot. Cross R foot over left and step-hop on it. Cross L foot over right and step-hop on it. Stamp 3 times on R foot. Continue immediately with basic step,
BAH-NOOL MA-ROC-CHEE-NEE Step to right on R foot. Step on left behind right. Hop on R foot as you place left toe (heel up) to left. Hop on R foot and place left heel down in same spot. Hop on R foot and kick L foot underneath right kneecap (in front). Hop on R foot and kick L foot forward and to the side in air. Repeat ««ith other feet ... step to left on L foot, place riejht behind left. Hopping on L foot do the toe, heel, kick, kick with R foot. Do the step until the caller shouts the next figure. SAVAMALSKO KOLO
Serbian Circle Hance, as learned from Dick Cram.
RECORD: Festival 4815
FORMATION: Circle, hands joined down at sides
BARS Part I
1-2 Beginning R, 3 steps to right, and hold, turning slighly left
3-4 Repeat to Left, beginning L
5—8 Beginning R, ceven steps to right and hold
9-16 Repeat bars 1 - 8 in opposite direction
Note: During this first part of the dance, the joined hands swing rather strongly with the steps, beginning in on the first count each time.
Part II - Kokcnjeste steps
17 Beginning R, 2 running steps to right, R,L. 18-20 Facing centre,, three "threes" in place, RLR LRL RLR. 21-24 Repeat bars 17-20 but with opposite footwork and direction. Page 21
SAVILA SE BELA LOZA From Sumaciija. a villiage in the Serbian State of Yugoslavia.
RECORD FK 1496 x 45
TRANSLATION A (Grape) Vine Entwined Itself
FORMAT ION Line hands joined low at the side right foot free
BASIC STEPS Running and schottische
STYLE NOTES Snort Sharp steps, arms g, body straight almost ridgi.d Last step has a pronounced bounce or body shake
MEASURE One measure equals one bar or the amount of music needed for two regular running steps in tempo
PART 1 Music AA 1-10 Facing and moving right twenty small running steps forward, starting with right foot..
11 - 20 REPEAT pattern of measures i-10 reversing direction and footwork
PART 2 Music BBB 21 • 22 Facing forward and moving right one SCHOTTISCHE STEP* right foot starting.
23 - 24 REPEAT pattern of measures 21-22 reversing direction and footwork
25 - 32 REPEAT pattern of measures 21-24 twice, for a total of 3 times
"SCHOTTISCHE STEP RIGHT Step on right foot (count 1) close and step on left foot beside right (count 2) step on right foot (count 3) hop or lift on right foot
(count 4)^ Tki£. step may also be done with a cross in front on ct. 1 NOTE "" ~ ' It may also be done with a cross behind on count 2 and kicking the free foot forward on the hop. count 4. There are many other variations most extremely intricate These have been developed because in its' original form at the village fairs etc. the Kolo was a creative experiment Each dancer developed his own steps within the accept framework There appears to be only two rules the first that he must keep to the Rhythm, was dictated by the Music The second that the variations must not interfere with his neighbours enjoyment of the dance was dictated by common courtesy. This record has a vocal arrangement, below are the words in Serbo-croation. phoneticallv and English translation.
Savila se bela loza vinova A pretty grapevine entwined itself Uz tarabu vinova (3) 2 Along a fence a grapevine (3) Todor Todi podvalio, Todor tricked Toda Triput curu poljubio 3 Kissed t.he girl three times
To ne bese bela loza vinova It was not a pretty grapevine Uz tarabu vinova. Along a fence a grapevine
Vec to bese dvoje mili i dragi It was rather two lovers. Two lovers SELJ.ANCICA Serbian
Pronunciation: Sell-yahra8-chee—tza (Village girl or village kolo)
Record: MH1006
Formation: Open circle with the leader at the extreme right, hands joinded and down at sides. The leader generally flourishes a large handerkerchief in circle dances of the Balkans, Basic steps: Schottische, step-hop, running.
Part I: Schottische steps in place moving very slightly from side to side. Step right with right foot, step behind with left foot, Step right with right foot, right and hopj repeat to the left, right, and left, reversing the foot work each time.
Part II: Four small step-hops in place, beginning right.
Part III: Turn slightly to face right and take 7 running steps beginning right, turn en count 8 and repeat to the left* beginning left.
NOTE: This village kolo or hora (circle dance) is also danced in Macedonia and Croatia. The dance is also known as the "Serbian Kolo". In part III the "hop-step-step" or Balkan two-steps are substituted for running steps.
NOTE: No introducation on MH1006 record. Keep movements small, close to ground. •••Hi mm
••••I .," * - •>»' «•;
• - • '- • • • HHnBVflHWJ ,../2
SBPASTIA BAR continued
BEGIN AGAIN
SECOND VARIATION MOVING: Drop hands. Boys move to Right, hands on hips clapping on the touch step with extended, arms next to the head of the girl in front of him. Girls move to Right making one full clockwise turn during the three two-steps and clapping on the touch step with arms extended but looking at boy behind her. NOTE: The girls hands are free during this turn but normally held forward with delicate gestures.
Directions by Steve Glaser S E T N J A
(Serbian)
FORMATION: Dancers in an open circle in "escort position"', i.e. grasping right hand neighbour's L. elbow with your R. hand. This hold is used for the first or slow part of the dance. Later, as the music speeds up, dancers simply join hands down at sides as in other kolos.
RECORD: MH 3029
Part 1 - Slow
Meas. 1-2 Moving R, step R L (two slow steps) then RLR (Quicker) Meas. 3-4 Facing center and moving slightly backwards away from center, take two step-hops in a sort of reel style (L-hop R-hop), placing active foot directly behind inactive heel each time, then take three small steps: L in place, R in place, L across in front ofR ft.
Part 2 - Fast The steps are essentially the same as during the slow part, excepting that they are speeded up, and a hop is inserted after each step, making the whole dance more peppy and lively.
Traditionally, this dance is performed as an introductory kolo at village festivals. A young man pays the musician to play for him and then goes about the green gathering his friends and dancing Setnja all around the dancing area. As soon as he has gathered enough dancers, the musician changes to another kolo and the dance "programme" for the afternoon has begun. For those who enjoy singing along with folk dances, here are some of the words for Setnja:
Serbizn: Dodji, Mile, u nas kraj, pa da vidis sta je raj (Rep.) Phonetic: (Do-JEE K2E-LEH 00 NAHSH KRY, PA DA VEE-DEESH SHTA YE RYE) Hey, haj u nas kraj, pa da vidis sta je raj (Rep) (HEY HY 00 NAHSH KRY, PA DA VEE DEESH SHTA YE RYE) It means: Hey, Mile (boy's name) come out where we live and see what heaven is like! SHERELE FOR THREE Jewish Dance Record IMF 115
This dance was createdby Edith Siegel, noted author and poet, baaed on Jewish traditions.
FORMATION: Sets of threes, all facing counterclockwise around the room. Preferably one man two ladies, but can be done with two men and one lady, or all women, or all men. PRT # 1 Starting on Rft, all promenade around the ring 8 walking steps. All three make a circle and walk to Left, 8 steps and open up to face CCw again.
Promenade around again 8 steps, and circle Left once more.
ALL DROP HANDS, and moving sidewards to Right take 4 side steps and clap own hands with each step...4 times.
Repeat all of above again.
& PART # 2
Man face lady on R ( outside lady) and do the "sher" like this: Man and lady walk towards each other with 4 walking steps, stamp on 4th step, and stop at each other's LEFT SHOULDERS. Do a solo turn left with 4 walking steps and finish facing each other. With shoulder position of arms, turn in place CCW with 8 walking steps and finish with Man ( or center person) facing the L hand dancer or inside person.
Repeat the "sher" with the inside person as described above. The center person, now steps slightly back go give room to:
The two outside dancers, (the R and Lhand dancers) now do the"sher"
All three now join hands in a ci-clc -Si three and dance around to the Left 8 steps, but this time, they open c-. into a big circle/.With the other sets of. threes to make one ring facing center of circle.
All statt with Right foot ani - :1 k to center 6 steps, stamp TWICE on R foot. All walk backwards 6 steps, buc this time, stamp once ONCE.
Repeat going into the center and stamping and coming back to place.
Repeat the whole dance from the beginning.
V
Record and dance directions from FOLK DANCE HOUSE POUox 201 Flushing L/. HY 11352 Michael Herman, Director SHIRU HASHIR (SING THE SONG)
Dance: Leah Bergstein Music: Mattetyahu Shelem Record; Tikvah 117
Formation: Line Dance. Join Hands. Face ccw.
Figure 1 1 Leap onto R ft, bending body 2 Step on L ft Straightening body 3-6 Four small leaps from side to side beginning with R ft to R side. Face Front.
7-8 Face ccw again: Step Hop on R ft in place while extending L ft fwd.
9—11 Three scissors steos bkwd. (kick lei:,s bkwd) beginning with L ft. Legs are bent and body leans fwd. Slightly. 12-13 Step hop on R ft. while swinging L ft fwd. lix-15 Step hop on L ft while swinging R ft bkwd. 16-30 Repeat counts 1-15.
Figure 2 Face Front 1 Brush R ft fwd and around to R (small Movement-close to floor) 2 Leap onto R ft 3-h Repeat counts 1-2 But with opposite footwork 5-8 Repeat counts 1-1+ 9 Stamp on R ft. Bend body fwd and swing arms bkwd sharply. Lift L leg slightly bkwd bent at knee. 10 Pause 11 Cross L ft behind R 12 Hop on L straighten body and swing arms up. Turn head to R. •i-j iicpcoo ovjvmos yj-i. onree more iixnico. iiavci gj.aiaunxj.jr '-•>_> it.
Figure 3 1 R ft crosses in front of L. Body turns slightly to L. 2 Small leap onto L ft in bkwd. 3 Step on R to R side. k-6 Repeat counts 1-3 in reverse. 7 R ft crosses in front of L. Body turns slightly to L 8 Small leap onto L ft. bkwd. 9 Face ccw. jJRun R fwd. 10 Run L fwd. 11 Leap onto R bkwd turning to L (face cw). Swing arms up. 12 Step on L bkwd. Arms down. Be ready to face ccw to begin the dance from the beginning. SHOEMAKER'S DANCE (Denmark)
The action of this dance suggests the movements of the shoemaker at work. This is the Danish version, although the dance is enjoyed in many countries by young and old.
OPENING FORMATION: Double circle with girls on outside, facing partners. Hands on own hips.
PART 1: Meas 1: "WINDING THE THREAD" - With forearms held horizontally, clench fists in front of chest. Revolve fists around each other forward and rapidly.
Meas. 2:
Revolve fists rapidly backward.
Meas. 3: "PULLING THE THREAD" - Pull elbows backward twice, vigorously and with a strong jerk, as if breaking thread across chest.
Meas. 4: "DRIVING THE PEGS" -
Clap own hands 3 times (or pound one fist on the other).
Meas. 5-8: Repeat all Part 1
PART 2: Meas. 9-16 In shoulder-waist position, polka around the circle. (Children may prefer to join inside hands and skip forward 8 counts) SICILIAN CIRCLE
RECORD: Paxton EPD 007 U5 RPM Also LPM - 1620 "Happy Fok Dances" - soldier's joy
English Country Dance Also popular with Square Dancers.
FORMATION: Couple facing couple in a double circle all round the hall. Each man has his partner on his right hand side. (N.B. "Sicilian Circle" is the name given to a formation rather than a particular dance, and there are several alternative movements which can be used at the discretion of the teacher or M.C.)
MUSIC
MEASURES One measure equals one bar, or the amount of music needed for two regular"walJking steps in tempo.
Al 1-8 Join hands in fours and circle to the left for eight counts (walking step) and back A2 9-16 Right and left hand star (walking step) Bl 17 - 24 Do - si - do your opposite do - si - do your partner B2 25-32 Join inside hands with partner and face opposite couple. Move forward four steps, retire four steps, then forward again to change places, with clockwise facing couples making an arch for the others to pass through 8 steps.
Repeat with each successive "new" couple. Some alternative movements are "basket swing" for two couples; Ladies chain SICILIAN TARANTELLA (Italy)
Record: EPA 4133 - 3
The Tarantella is the one dance everyone associates with Italy. There are many forms of this dance, each section having its own Tarantella. This is a Sicilian version. It has figures quite similar to some of those found in American square dances, but done in Italian style they take on a different character. It is truly one of the favorite dances with all people, regardless of their nationality.
OPENING FORMATION: Two couples in a act, two men side by side facing two ladies side by side. Before starting dance, number the dancers ONEs and TWOs. The ONEs are diagonally across from each other, not opposite each other.
PART I: Facing partner, clap own hands once, at the same time stepping on right foot and hopping, swinging left foot forward. Clap again and step-hop on left foot. Now take 4 tiny running steps in place, raising both hands overhead and snapping fingers. If you use a tambourine, substitute a slap of the tambourine for the clapping steps.) The pattern given above is done 3 more times, or a total of 4 times.
PART 2; Dancers run toward each other with 4 running steps, crouching low, snapping fingers (or shaking tambourines), straightening up and raising hands as they approach partner. Return to place, lowering hands with 4 steps. Repeat the pattern 3 more times, or a total of 4 times. This figure should be done with arms freely waving around partner's body in a flurtatious manner, but without touching in any way.
PART The number ONEs book right elbows and skip around 8 steps. Then the number TWOs do the same. Repeat above, starting with left elbows. Number ONEs do a "do-si-do" Italian style around each other, passing right shoulders. Then number TWOs do the same. (In an American style, "do-si-do" partners move forward, passing right shoulders, then pass around each other, back-to-back, returning to pla^e, passing left shoulders. In the Italian style, dancers snap fingers, and do the figure with twirls and gay, flirtatious movements of body and arms,) The "do-si-do" is now repeated, passing left shoulders, first by the ONEs then by the TWOs.
PART 4: All face to the right around their own set, so that left shoulders are towards centre of set, and with hands on hips skip forward counterclockwise 8 steps in a circle. About-face and do 8 more skip-steps in the other direction (clockwise) in circle. Join left hands in center (left-hand star) and skip around counterclockwise 8 steps. Turn about making a right-hand star and skip clockwise 8 steps. Repeat dance from beginning. The dance is done 2 1/2 times on this record. SIEBENSHRITT
Country: Germany Record: MH 1048 Formation: X0 in circle. Inside hands joined. Face CCW. Steps described for Men. Women use opposite footwork.
Part I
1 - 8 Begin with L ft. Run 7 steps forward. Hold 9-16 Rpt. cts. 1-8 Part I backwards. Begin with R ft,
Part II
1 - k Schottische away beginning with L ft., move diag. fwd. to L 5-8 Schottische toward partner moving diag. fwd. to R. 9-16 k step-hops around w/partner shoulder - waist position 17-32 Repeat Part II
Note: Dance can be done as a couple dance or as a mixer
SJngle Mixer: M. moves fwd to new partner on second schottische figure. W. returns to place
Double Mixer: M. moves fwd. to new partner with each schottische figure SIEMSE HERTE (JOY FOR TWO)
Ireland
RCA Victor EPA 4136
Can be done with either R or L ft.
Schottiche step: 1. Step fwd on R ft 2. Step fwd on L ft 3. Step fwd on R ft 4. Hop on R ft Sideward Schottiche step: 1. Step to L with L ft 2. Close R ft to L ft 3. Step to L with L ft 4. Hop on L ft
Hornpipe Step: Stand on toes with one ft crossed in front of the other. . 1. Lower heel of -front ft to floor while raising haak heel off floor. , 2. Lower heel of tfgSl&ft as ft is raised 3. Lower heel of .JTneftt ft as fegtek heel is raised. P*1-* v*n¥ 4. Hold NOTE: That toes stay on floor throughout the step. Keep ankles close together while rocking from one ft to the other.
Couples in circle. Face partner. Man's back to centre. Join R hands. Free L hand is down at side. Steps described are for man. Lady uses opposite footwork.
One sideward schottiche step to man's L (Sideward) One sideward schottiche step to Man's R Step on L ft close behind R ft Hop on L ft RPT counts 9-10 with R ft
Place L ft behind R ft and do hornpipe step (LB L)
One sideward schottiche step to man's L Change places with one schottiche step, turning to face partner on hop. Lady makes a CCW turn under joined R hands and Dancers change places. Lady now has back to centre. RPT counts 1-8 of Fig. 2 changing places again. Partners are now in original position with man's back to centre. Siemse Berte (cont'd.) - 2 -
FIGURE 3 '"Wrap-Around". Partners still have R hands joined. Join L hands under R hands. Man extends elbows sidewards and lady rests her arms on his arms.
1-16 In "Wrap-Around" position take 4 schottiche steps circling CW but moving CCW around the circle. End up facing partnerj Man's back to centre. R hands are joined ready to start the dance from the beginning.
PROMPT CALLS FOR DANCE
Side 2, 3, hop; Side 2, 3, hop 1 2X Step hop, step hop,, Rock, Rock, Rock J Side 2, 3 hop, change places Side 2, 3 hop change back Wrap-around, step hop, step 2, 3, hop Step 2, 3, hop, turn back to place. SIRBA DIN CIMPOI
SOURCE: A Line dance from Southern Romania, the region of 01tenia. This dance was learned by Mihai between 1963-65, while with the Romanian State Folk Dance Ensemble.
RECORD: Gypsy Camp 5201, Vol. 1 Metre: 4/4
FORMATION: Lines, shoulder hold
FIGURE 1: Facing centre and moving to R 1. Step on R ft. 2. Small lift on R, swing L across in front of R 3. Step on L to L side 4. Small lift on L, swing R across in front of L 5. Step R to R side 6. Step L behind R 7. Step R to R side 8. Step L behind R Repeat 1-8 of Fig.1,11 more times. FIGURE 11: PART 1 1. Step on R to R side 2. Lift on R and swing L in front of R 3. Step on L to L side 4. Lift on L and swing R in front of L SEQUENCE 5T7. Repeat 1-3 of Fig.11, Part 1 Walt 32 beats (8 measures) 8. Stamp R beside L (no wt) Start on bagpipes PART 11 Fig.l - 12X 1. Step fwd on R ft. Fig.11- 2X 1 - 8X 2. Small hop on R 11- 2X 3. Step back on L 1 - 8X 11-. 2X 4. Stamp R beside L, (no wt.) PART 111 1. Step on R to R side & kick L fwd low 2. Hold 3. Leap on L in place kicking R ft fwd low 4. Slap R foot downward onto floor, no wt. Repeat all of Fig.2 one more time. Dance repeats from beginning. Presented by Mihai David at Ontario Folk Dance Camp,1975 Notated by Dale Hyde SKUDRINKA ( Skoo-dreen-kah) Record FOLK DANCER MH 3037
Macedonian Folk Dance
Originally from the town of S udrinje in Western Macedonia, this dance is now performed regularly in many neighboring towns as well.
FORMATION: Dancers ( originally men only). L arm bent, holds neighbor's R hand near own shoulder, arm is held rather straight out to side, where it rests in hand ofneighbor on the R.
Meas.1 Tap L foot forward/r diagonally ( ct.l); pause (ct.2). 2 Tap L foot twice more in same spot ( cts.1,2) 3 Tap L foot once again in same spot ( ct.l); pause. 4 Lift on R foot, raising L knee high in front ( ct.l); Step onto L foot in place beside R foot ( ct.2) 5-8: Same as Meas.1-4 but with opposite footwork. 9: Bring Left foot from the side and click feet togehter as in a salute ( ct.l); pause (ct.2). 10: Lift on R foot, raising L knee high in frton ( ct.l); step onto L foot in place beside R foot ( ct.2). 11: Lift on L foot and,raise R knee high in front (ct.l; "freeze" in this position ( ct.2). 12: Facing to R, lift on L foot ( ct.l), step with R foot,(ct.2.) 13. Continue to R with Lift on R foot ( ct.l) and a step with L foot (ct.2) 14. Continue to R with Lift on Left foot ( ct.l) and step with R foot (ct.2),
NOTE: Women's style throughout this dance is much more restrained than the men's.
Dance directions by Dick Crum, Noted Balkan dance authority as presented by him at various workshops. Record and direction sheet published by FOLK DANCE HOUSE, 108 West 16 St. NYC 11 Michael Herman,Director SLOSH
Dance: U.S.A. Record :'Beautiful Sunday
Formation: Scattered, all facing one direction. MEASURE 1 Walk to left with 3 steps , beginning with left foot( L,R,L).
Swing R foot
2 Repeat measure I in opposite direction with opposite footwork.
3 Repeat measurel to the left. 4 Repeat measure, 2 but do not swing leg. Instead lift L leg with bent knee backwards and touch L heel with R hand.
5 Count I : Step on L ft. 2: Lift bent R knee and touch knee with R elbow 3 : Step on R ft.
4 : Lift L leg with bent knee and clap hands under leg
NOTE : Each time the dance is repeated make a -kj turn to the right.
L toe to L aide Step on L ft clap hands in
- ft i • in
Kick ^m-Mmmm-m* ^ •lightly back on R ft. m% ft* i* on S ft. Kick step «m i -ft m mm m* Step back mM-ft+"
forward on R ft and tarn
, 1972. SOKACKO MALO KOLO ("Maio Kolo from Sokadija") Croatian Circle Dance taught by Dick Crum Pronunciation: (Sho'-kotch-ko) Record: FLP 1501, side Formation: Closed circle of dancers (no leader). If possible, alternate men and women, in which case men join hands with men in back of women; women place their hands on nearest shoulders of neighboring men. If exact alternation isn't possible, then dancers usually place hands on neighbor's shoulder or around neighbor's waist. The dance can be done simply holding hands down at sides, but it is less common and less enjoyable.
Rhythm: Though the music for the dance is 2/4 time, the steps themselves are in a syncopated rhythmic pattern that a musician would write as follows:
For teaching purposes, this pattern can be counted "slow-quick-slow-quick-slow," or, to use the nonsense phrase that helped learn the dance in class, imitate the newsboy's chant: "Get your papers here!
FIGURE I "Lunging step" (REMINDER INSTRUCTIONS: Lunge to R on R ft, hop on R ft; step L with L ft, hop on L ft; step R ft beside L ft, pause. Step-hop on L ft in place, step-hop on R ft in place, during which L ft darts forward and back quickly; step on L ft behind R ft, pause). Meas. 1 -2 "Get Lunge R with R ft, leaving L ft "pinned" to its spot (slow). your Hop on R ft in its new position, L ft still hovers over its original spot (quick). pa• Reach the L ft a little beyond its original spot, i.e. further to the L, and put weight on it (slow). pers Hop on L ft in its new position, at the same time bringing R ft over in the air beside L ft (quick). here!" Step onto R ft beside L ft (slow). Meas. 3-4 "Get Step on L ft in place beside R ft (slow). your Hop on L ft in place beside R ft (quick). Pi• Step on R ft in place, kicking L ft sharply forward and back again like the tongue of a snake (slow). pers Hop on R ft in place, bringing L ft around in back of R ft (quick). here!" Step on L ft behind R ft (slow). CUE WORDS FOR FIGURE I: (In the slow-quick-slow-quick-slow rhythm): Step-hop, step-hop. step-hop, step; step-hop, step-hop, step.
FIGURE II "Double Pas-de Basque" (REMINDER INSTRUCTIONS: Leap onto R ft, step lightly on sole of L ft in front of R ft, repeat these movements, step R ft in place. Repeat the whole thing to L with opposite footwork). Meas. 1 - 2 "Get Leap onto R ft, very slightly to R, bending knee and leaning a bit forward (slow). your With L knee rather straight, step lightly onto L ft in front of R ft with a sole-slapping movement (quick). papers) Repeat the above movements once more (slow-quick). here!" Leap onto R ft in place and pause (slow). Meas. 3 - 4: Same movements as in Meas. 1 - 2, but with oppostie footwork, i.e. begin by leaping onto L ft siightly to L, etc. CUE WORDS FOR FIGURE II: Step-left-riqht-left-right, step-right-left-right-left. SOKACKO MALO KOLO (Continued)
FIGURE III: "Rocking Step with Hop" (REMINDER INSTRUCTIONS: Step-hop on R ft in front of L ft, "rock" back-forward-back (Lft-Rft-Lft); then step hop on R ft in original place, kicking L ft across on the hop, then 3 steps, L ft in place, R ft behind L ft, L ft to L). Meas. 1 - 2: "Get Step onto bail of R ft in front of L ft (slow). your Hop on R ft in this position, keeping L ft behind (quick). pa- Step onto L ft in its position behind R ft (slow). pers Step onto R ft in its position in front of L ft (quick). here!" Step onto L ft in its position behind R ft (slow).
Meas. 3-4: "Get Step to R with R ft (i.e. return to its original position) (slow). your Hop on R ft in place, at the same time kicking L heel up across in front of H ft (quick), pa- Step onto L ft in place beside R ft (slow), pers Step onto R ft behind L ft (quick). here!" Step L ft to L (slow). CUE WORDS FOR FIGURE III: Step-hop step-step-step, step-hop step-step-step.
NOTE: In its native setting this dance is a highly improvised affair, and natives would think it rather strange to see us in America isolating individual variations and calling them full-fledged "figures." The three variations above were selected by Dick Crum from a dozen or so which he noted down in Yugoslavia in 1954. Each individual dancer does any of the above figures whenever he wishes, even when a neighbor is doing a different one from him; the idea is that eventually each dancer adjusts his style and the size of his steps so as not to interfere with his neighbor.
There is a continuous, gradual left-ward movement throughout the whole dance.
HORAGHEATA Muntenia, Romania Record: Side 1, band 4 Formation: circle, M and W Position: hands in "W" Music: 2/4 Introduction: 4 measures
Measure Pattern 1 Facing slightiy right, moving LOD, step R (1), step L (2) 2 Step R (1), step L (2) 3 Facing center, in place Step R (1), lift L leg (2) 4 Step L (1), lift R leg (2) 5 Step fwd R (1 - 2) lifting L leg behind 6 moving bkwd, in twizzle fashion step L (1), R (2) 7 (continuing twizzle) L (1), R (2) 8 L (1), stamp R (2) 9 Facing R, moving LOD, step R (1), step L (2) 10 Step R (1), lift on R, pivoting to face LOD (2) 11 Facing left, but moving LOD, step L (1), step R (2) 12 Step L (1), lift on L, pivoting to face R (2) 13- 16 Repeat measures 9-12 Repeat dance. SOLAN BUSHI
Origin: Japan Source: Learned from Irene Tsujimoto Formation: Dancers solo facing front or in a circle facing ccw Music: Dancecraft 745 Translation Fisherman's Dance Counts Formations Introduction - 1. Carrying the Buckets 1 Travelling Step: Step forward on Right foot. 2 Lift heel of Right foot off floor and bring it back down (like a hop that doesn't leave the floor). At the same time the opposite knee (left) is raised. Hands are held shoulder height as if carrying buckets on a yoke. 3 - 4 Repeat 1-2 with opposite footwork. Repeat 1-4, .more times, end both feet together. 1 - 2 Clap hands -3 - 4 -Repeat 1-2
2. Rowing the Boat Stand with Right foot diagonally forward of Left. Grasp Right hand in a fist as if holding an oar, place left hand beside it, palm open away from body. 1 - 2 Leaning forward, push oar away. Head looks over Left shoulder. 3-4 Straightening, pull oar toward body. Head looks forward. 5-8 Repeat 1-4 9 - 10 Repeat action of 1-4, double time 1 - 2 Clap hands twice, feet together.
3. Pulling in the Net 1 - 2 Step forward on Right foot. Lean forward and grasp net with Right hand. 3 - 4 Pull net in with Right hand. Repeat with opposite hand and footwork.
4. Shovel the Fish in'the Buckets 1 Step forward on Right foot. Use both hands with action of shovelling fish. 2 Lift arms over Right shoulder as if putting fish in the bucket. Step back on Right foot. 3 - 4 Repeat 1-2, with opposite hand and footwork, but do not step forward oh Left, as foot is already there.
5. Taking the Fish to Market 1-2 Raise hands to shoulder height as if lifting the yoke with the buckets. Keeping hands in this position 3-10 Repeat footwork Part 1, counts 1-4, twice. 1 - 2 Pull right hand backward, palm out, as if wiping sweat from forehead. 3. - 4 Repeat 1-2 with Left hand. "OLAN BUSHI PAGE 2
REPEAT PART 1, 1-**, 8 TIMES, REPEAT CLAPS PART J.
REPEAT DANCE FROM PART 2 AS MANY TIMES TO END OF MUSIC.
(EVERY SECOND TIME, DANCE IS REPEATED. PART 1 AT END IS DONE 12 TIMES.)
NOTATED BY DALE HYDE, JULY, 1375 SOMOGYI KARIKAZO
Origin: Somogy District, Hungary
Music: Qualiton LPX 18-007
Formation: Girls in a circle, front basket, R hand over L. (if boys do this dance, then use a simple handhold) or the boys can form a circle or line; hands on shoulders.
PART I - SLOW MELODY i. ) slow swaying 12 times, Right, Left. ii. ) 3 hepo steps (hepo step = R frwd. crossing in front of L L bkwd. diagonal) 4 steps turning a small circle out to R (R-L-R-L) 2 fast (buzz) Rida steps to L (R cross in front of L, L to L side) Repeat (ii) 5 more times
PART II - FAST MELODY i. ) 4 asymmetrical slow bouncy csardas steps (2 to R + 1 to L) (csardas step = side - close) 4 asymmetrical fast bouncy csardas steps (2 to R + 1 to L) ii. ) (a) 12 Cifra steps (small steps diagonally frwd. to R, larger ones diagonally bkwd. to L). Cifra = small leap frwd on one ft, then in place do 2 quick steps, cue-leap, step, step) (b) Leap frwd. on R, pause, then do a cifra step diagonally bkwd. L. Do this 6 times. (c) 12 running Rida (buzz) steps to L. iii. ) Repeat (ii-a,b) but on part (c) do 10 running Rida steps, 2 steps in place R-L and finish count 12 with a R heel click against L heel. Hold. SPINNRADL ZU PRUT
(Spinning Wheel for Three)
RECORD: Tanz 58 118
FORMATION: One man between two women, outside hands of women joined with his hands, women join inside hands behind the man. Threesomes standing on the line of the circle, facing LOD. DURING THE INTRODUCTION he greets first his right, then his left partner.
MEASURE:
1-8 Starting on L foot move with three-steps In LOD; he looks once to his right and once to his left partner, moving slightly to the left and to the right with each 9 three-step. Both women take one step fwd (ct 1) and lift their joined hands across his head as he bends his knees and immediately comes up again. Left woman fin• ishes her three-step in place; man begins to move CCW around right woman; right woman makes one CCW turn with two steps and stands now between man and left woman. IX) Right woman dances through joined hands of man and left woman, as they move slightly fwd., left woman with a complete turn CW, man finishes his way around right woman.
LOD. 12-14 As 9-11 but man goes around left woman first. 15-16 With three light running steps and a light, springy jump fwd in line of direction. Do not stamp. 9-16 Repetition. Repeat 9-16.
Notes by Jane Farwell SRBIJANKA (Sir-bee-yahn-kah)
Record: KOLO - KF - 4802 (45 rpm) ^'Srbijankan.
Like its cousin Srpkin.-ja, Srbi.janka is one of the dignified old ballroom kolos that could be seen at "~°ty drnre functions at the turn of the century in Belgrade, Novi Sad and other Serbian towns. In its day, it was the first dance of an evening's program, and was led by the most prominent political personage among the guests, sometimes the king himself. Eventually the dance became widespread among the peasantry, who adapted its style to their own liking.
The "Kolo Party*' recording of Srbijanka is an arrangement designed to show both the older and newer forms of the dance. The main difference is that the older form has atransitional figure, done every 24 measures, which serves to reverse the direction of the dance, so that the latter-day Srbi.janka moves to the right only. Also, in the newer form, speed has been increased, and the step-points ("koketi"), so typical of old Serbian town dances, have become little "threefsn or pas-de-basques.
Older form:
Formation: Dancers, men and women, in an open circle, hands joined and held at about shoulder height.
Meas. 1 Two steps moving R: Rft (ct. l), Lft (ct. 2). " 2 Step Rft to R (ct. l); point Lft in front of Rft ("koket") (ct. 2). t! 3 Step Lft to L (ct. 1); point Rft in front of Lft (ct. 2).
Meas. 4-27 The above pattern is done eight more times, continuing to move R. Meas. 28 (transitional measure): Step with Rft R (ct. l), point Lft (ct. 2). Nov; repeat all of the above to the L with opposite footwork.
Newer form: Formation: Dancers have joined hands held low. Meas. 1 Two running steps moving R: Rft (ct. l); Lft (ct. 2). » 2 One set ofls ohree''s?i in place: RLR. » 3 Another set of three's in place: LRL.
The above three measures are done over and over again until the end of the record.
Presented by Dick Crum at a Dance Workshop, University Settlement Recreation Centre, Toronto, February, 1966.
SITLAM YAAKOV (JACOB'S LAPS8E) - ISRABU
KDSIC: N. H1RSB/N. SHSKSR RgCORP: CARMIT - HA&A&XH LP VI SIDE B - BAUD 2 BANC*: YONATOtt 6 AREI RFFI NKYSER # 2 MM30741 FORMATION: Circle, facing center* holding joined hands down.
PART ONE
1-4 Step on R ft. to the R side, than close with the t It. next to R ft. and step on the R ft. to the R aide.
5-8 Moving toward the canter of the circle step on L ft. end held, then on R ft., and hold.
9-12 Repeat 1-4 with opposite footwork, moving to L Aide, starting with L ft.
13-16 Moving backward, step on R ft. and hold, then on L ft.
17-32 Repeat 1-16.
PART TWO Step on R ft. to the R side and bold, than touch with 1-4 L toe across in front of R ft. and hold.
5-6 Step with L ft. across behind R ft., then stop on R ft* to R side.
7 Step with L ft. across in front of R ft. & While pivoting on L ft., turn to face L(RLOD). 9-12 Moving in RLOD (CW), Mayin step (grapevine), step on R ft. across in front of L ft., step on 1 L side, step on R ft. acro.s bahlnd L ft. while fanlng slightly to R side (LOO) as you lift tha L ft.
13-16 Repeat 9-12 with a nayin (grapevine)(refer to «BS) step to R side with opposite footwork by stepping on L ft. scroes in front of R ft.
17-32 Repeat 1-16. NOTE A: WHEN MB MOSIC CHANGES TO 3/4 TIME, KEEP THE P0OTW0RE, THE ROTE A. WHJB AS ^ PARTS ONE AND TWO BUT ONLY FASTER. BOTE B: GRAPEVINE (MAYIM) - can he done with Lft. crossing 1. Step on R ft., crossing It over t ft* 2. Step on L ft. to L aide. 3. Step on R ft, behind L ft. 4. Step on L ft. to L side* STT mmm*$ WALTZ
This lively waltz, of recent origin, is done to a catchy tune and is seen in ; . .... both England and Scotland.
Formation: Couples in dauble circle, men with backs to center, "in closed position* :•
Part I
- , t:-v; .-- MEAS. 1-2. Moving to the side, counter-clockwise, each couple does two step- draws, leading with the man's left and lady's right./ MEAS. 3-4. Man steps with his left foot to the left, holds, and lightly stamps his right foot twice, as lady does counterpart.
MEAS. 5-6. Each couple now does two step-draws to the man's right and lady's left, not taking the weight with the following foot on the last stej
...... ; MEAS. 6-7. Man does two slow steps backward, toward centre of circle, left and right, with Lady stepping forward, right and left. '. MEAS* 9-10 The action of Meas. 7-8 is reversed, as man steps forward, left arid right, with lady stepping backward* right and left, \
MEAS. 11*12 With leading hands joined overhead (man*s left, lady's right), the . man takes two step-draws to his left, as the lady does a right face, - / in six steps, moving in the line of directions. MEAS. 13-16 Resuming closed position, each couple turns twice with four waits steps, moving in the line of direction.
Record: Folkraft 1162,
K*_ t
' , - *
«•* ******* fn*^ta ST. BERNARD*3 WALTZ
England
. a G This lively waltz, of recent origin, is done to a catchy tune and is seen in both England and Scotland.
Formation: Couples in dauble circle, men with backs to center, In closed position.
Fart I
MEAS. 1-2. Moving to the side, counter-clockwise, each couple (tops two step- draws, leading with the man's left and lady's right./
MEAS. 3-4. Man steps with his left foot to the left, holds, and lightly stamps his right foot twice, as lady does counterpart.
MEAS. 5-6. Each couple now does two step-draws to the man's right and lady's left, not taking the weight with the following foot Son the last step.
MEAS. 6-7. Man does two slow steps backward, toward centre of circle, left and right, with Lady stepping forward, right and left. 1 MEAS. 9-10 The action of Meas. 7-3 is reversed, as man steps forward, left and right, with lady stepping backward, right and left. \ MEAS. 11-12 With leading hands joined overhead (man's left, lady's right), the man takes two step-draws to his left, as the lady does a right face in six steps, moving in the line of directions.
MEAS. 13-16 Resuming closed position, each couple turns twice with four waltz steps, moving in the line of direction.
Record! Folkraft 1162. "4 )
Originated by Reger and Jean Knapp of Corpus Ghristi, Taxis Record: #3-1525 Blue Star, Steppin' Out Music by: The Texans
POSITION: Open Dance facing LOD START: Both on Left Foot - Same Throughout FIGURE: 1-4 STEP, BRUSH, BRUSH, BRUSH; SIDE, BEtiIND, SIDE, BEHIND; STEP, BRUSH, BRUSH, BRUSH; SIDE, BEHIND, SIDE, BEHIND- 3tep to side toward center of hall on L, brush the R forward and across the L, brush R backward to the left of the L foot, brush the R forward again; Step R to side toward wall, cross the L behind the R, step R to side, cross L behind the R; repeat above starting to the R and brushing L; then move toward COH; 5-8 WALK AROUND, 2;3,4; STEP, BRUSH, BRUSH, BRUSH; STEP, STEP, STEP, -; Gent turning L face and lady R face, walk around a small circle in four steps (slow) to end facing partner, gent's back to COH; step L in place and triple brush R as in measure 1; then step in ulace R-L-R; 9-12 REPEAT STEPS OF MEASURES 1-4 BUT START IN FACING POSITION; The gent moves in R LOD while lady moves L LOD in the side/behind 13-16 and on the walk around end facing LOD in open position for the triple brush and step in place; 17-20 WALK,-,2,-;3,-,4,-j STEP, &-R-U-Sh-sh-sh; STEP, STEP, STEP, -; Moving in LOD in open position, walk forward four slow steps snapping fingers on the off count as you walk; step L fwd in LOD and slowly brush *he toe of the R foot in a small circle to the R side and around in front, at the same time making a sh-sh-sh-sh- sound with the mouth; step R-L-R in place; 21-24 REPEAT MEASURES 17-20 25-32 REPEAT MEASURES 1-8- ENDING IN OPEN POSITION FACING LOD READY TO START.
ENDING: Step back from the 3 steps in place on the gent's L and Ladies* R and bow to partner. NOTE: THIS IS A SIMPLE DANCE IN THAT THE 8 MEASURES OF THE FIGURE ARE REPEATED. THE FIRST TIME THROUGH WITH MUSIC; THE SECOND TIME THROUGH WILL BE WITH RHYTHM ONLY; THE THIRD TIME THROUGH WILL BE SILENT ON THE RECORDING UNTIL MEASURE 25 WHEN THE FULL MUSIC WILL COME IN FOR THE ENDING: SOMETHING NEW: AN EXPERIMENT WITH RHYTHM AND SOUND: THIS IS THE ONLY ROUND DANCE RECORD WITH 24 MEASURES OF ABSOLUTE SILENCE INCORPORATED INTENTIONALLY TO ALLOW ONLY THE FOOT NOISES FROM THE FLOOR TO BE HEARD AND ACT AS A GUIDE FOR THE DANCERS TO STAY TOGETHER AND KEEP THE RHYTHM CONSTANT, COMING OUT EVEN WITH THE LAST 8 MEASURES OF RECORDED MUSIC. THE COMPLETE SIMPLE ROUTINE IS DONE WITH FULL ORCHESTRA, THE SECOND TIME THE STEPS ARE CUED ONLY WITH 'SHE RHYTHM SECTION. THE THIRD CHANGE IS THE SILENT SECTION LED INTO WITH ONLY THE BRUSHES OF THE DRUM. ;:;
IT SHOULD PROVE GREAT FUN! McARTHUR COLLEGE OF EDUCATION Queen's University
Physical and Health Education
Sudmalinas (Latvia)
Sudmalinas means "little mill". Simple to do, it includes a polka and waltz step and is a good mixer. (This two-couple type of mixer is found in many countries).
Opening Formation
Sets of two couples facing each other, scattered around the floor. Lady stands to right of man.
Part I Join hands in circles of four and, starting on right foot, polka to the right with 6 steps. Clap own hands 3 times. Now polka 6 steps to the left, starting on left foot, and finish with 3 claps of own hands.
Part II Take shoulder-waist position: Man places both hands on lady's waist, lady places both hands on man's shoulders. In this posi• tion, each couple dances around the other couple with 16 polka steps, moving counterclockwise, but turning clockwise. Do not get too far away from the other couple while doing this figure. Finish in starting position of the dance.
Part III Join right hands in the middle for a right-hand star, holding joined hands high, and take 6 polka steps clockwise. Clap own hands 3 times. Join left hands in the middle and take 6 polka steps counter-clockwise. Clap own hands 3 times. Part IV Each man takes the lady opposite him as his new partner and both waltz in any direction for 16 steps. When waltz figure ends, each couple should be near another couple, so as to exchange partners for repeat of dance. SUSANNAH MIXER American
Record: R.C.A. Victor EPA 4140
Formation: Single circle of partners with the lady on the right.
Measures 1-2 All join hands and go forward and back (4 steps fwd, 4 bkw)
3-4 Repeat measures 1-2
5-6 Ladies to the centre and back to place (men clapping)
7-8 Gents to the centre and back (ladies clapping) advancing to a new partner, one place forward.
Chorus Partners swing and oromenade
Grand right and left and promenade with the seventh partner (count your original partner as number one)
0TJOHNNIE
Record: Folkcaft 1037
Singing call: All join hands and circle the ring (to the left) Stop where you are, and everybody swing (once only) Now swing that girl behind you (once only) Swing your own if you have time, (once only) And aliemande left on the comers all Dos-a-dos with your own And you all promenade with that sweet corner maid Singing, 0 Johnnie, 0 Johnnie, 0.
A HOT TIME IN THE OLD TOWN TO-NIGHT
Record: Folkcraft 1037
Singing call: First couple out and circle four hands round Pick up two and circle six hands round Pick up two and circle eight hands round There'll be a hot time in the old town to-night
Aliemande left with the lady on your left Aliemande right with the lady on your right Aliemande left with the lady on your left And grand right and left all around
When you meet your own you dos-a-dos around Take her in your arms and swing her up and dowi. Promenade her home the prettiest girl in town There'll be a hot time in the old town to-night.
#For beginners, turn partner twice around. SYLIVRIANO SYRTOS (Greek)
Record: Tikva #T-131 - Side 1, Band 5
Formation: Line dance or open circle.
Rhythm: Count each measure as SLOW, QUICK, QUICK. 8 measure introduction.
Part I Moving Syrtos step
Meas. 1 Slow Take long step with R ft. Take two small steps L, R. Quick-quick Meas. 2 Take long step with L ft. Slow Take two sma.11 steps R, L. Quick-quick Meas. 3-8 Repeat measures 1-2 three times.
Part II Backward and Forward Syrtos step Pivot on last step of Part I to face CW Meas. 1 Slow Step backwards on R ft. long step Continue backing up, two small steps L, R. Quick-quick Meas. 2 Step backwards on L ft, long step. Slow Small step on R ft. Small step on L ft. Quick-quick Pivot to face CCW. Meas. 3-4 Same as Meas. 1-2 in Part I
Meas. 5-8 Repeat Measures 1-4 of Part II - (backward and forward Syrtos)
Part III Face directly toward centre - move sideways to the right.
Meas. 1 Slow Step R ft to side Quick Step L ft behind R. Quick Step R ft to side
Meas. 2 Slow Step L ft behind R Quick Step (really a light leap) to right with R ft. Quick Step L ft across in front of R ft. Repeat Part III three more times
Begin dance from Beginning. Leader should wind and unwind line. SYRTOS-KRITIKOS _ Ho 0 Greek Folk D/mce Record NINA 4524
FORMATION: Broken circle, with leader at one end.Hands joined, elbows bent, at shoulder level.
PART_1_: Brush Left foot forward. Take 3 steps in place, L,?L,L.
Take 3 more steps like this: 1. Step on Right foot to Right. 2. Step in piece on Left foot. 3. Cross Right foot over Left and put full weight on Right foot. ( This is similar to a "Yemenite' step)
Walck bacward like this with 3 steps: l.Step back on Left foot. 2. Face center,step to Right side onto the Right foot. 3. Cross Left foot in front of Right with full weight on it.
STAMP on Right foot facing center and pause. REPEAT a11 of Part 1.
PART 2: Brush Left foot forward. Take 3 steps in place, L,R,L.
Move forward towards center like this: 1. Forward on Right foot 2. Forward on Left foot. 3. Lunge forward on R foot bending R knee and tucking Lft behind R knee.
Move backwards like this: l.Step backwards on Left foot. 2-3-. Make a complete turn to own Right by stepping on R, then L foot. (Drop hands as you make the turn, of course)
STAMP on Right foot, facing center, and pause. REPEAT all of Fart 2...
PART_ 3_:_ Brush Left foot forward. Take 3 steps forward in place, L,R,L. 1-2-3.Swing Right foot over Left, and walk clockwise 3 steps, R,L,R. '.Swing Left foot obr-:r Right, put weight on it, and pause, 1-2-3-.Swing Right foot over Left, and walk clockwise 3 steps, R,L,R. .Swing Left foot o e.c Right, put weighton it, and pause. STAMP on Right foot, facing center and pause. DO NOT REPEAT this figure.
PATTFPN OF DANCE. Figure 1 is dc-ie twice Figure 2 is do ia twice Fi gure 3 Is d.^»c ouce. ..
DANCE DIRECTIONS copyrighted by FOLK DANCE li'JlVK, iL'Hon 201 Fluahlng LI NY 11352 Record from san.a source.: Michael Barman, Director