DOCSLIB.ORG

Fall 2004 Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fall 2004 Issue Promoting Scandinavian Folk Music and Dance October 2004 Camp Norge Folkedans Stevne Southern California Skandia November 5th to 7th, 2004 Festival November 26-28, 2004 Cedar Glen Camp, Julian CA. The festival will be featuring dance teachers Peder and Randi Gullikstad from Camp Norge Folkedans Stevne, sponsored by the Røros, Norway teaching Pols and other dances from Røros, Nordahl Grieg Leikarring og Spelemannslag, presents an- and fiddlers Mary Barthelemy and Olav Nyhus from other weekend of dance and music at Alta, CA. Mikkel Glåmos, Norway. The Southern California Skandia Festival Thompson and Ginny Lee will teach traditional dances of is very excited to have Peder and Randi Gullikstad as teach- Sigdal and Lier in Buskerud. Sigdalspringar is similar to ers this year. Peder and Randi have long been considered Hallingspringar with its variations of figures and improvisa- the best examples of how to dance pols from Røros, and tion. Springdans from Lier is more set in its figures, much have won at the Landskappleik 5 times. They were instru- like Innheredspols. They are both 'bygdedans', in the mental in starting the Røros Folkedanslag in 1974-1975. rhythm of three. If time permits, Mikkel and Ginny will For the last 20 years, they have taught workshops in Norway teach or review Hallingspringar and other 'turdans', and around the world. They have performed at the Olym- 'songdans', and 'runddans' from the area. Toby Weinberg pics in Lillehammer, as well as at festivals in Baghdad and will be teaching hardingfele (Hardanger fiddle), and selje- the Soviet Union. They have received many national awards fløyte (willow flute). Bill Likens will be teaching piano ac- and honors including the Kings Cup. They are both very cordion and two-row button accordion. interested in teaching children in order to share the tradi- tional dances and cultural heritage. They have much to offer Mikkel, from Stockholm, Sweden, and Ginny, from about the traditions surrounding Røros music and dance. Syracuse NY, have performed Norwegian dance throughout Accompanying Randi and Peder, to teach music and play for the USA and Norway. Both have danced with the Nordahl dance from Røros, will be Mary Barthelemy and her hus- Grieg Leikarring, where Mikkel was artistic director for sev- band Olav Nyhus. This is a return trip for Olav and Mary. enteen years. Mikkel is currently active teaching Norwegian They came the first year the festival was at Julian and have dance throughout the USA, Canada, and Sweden, and is part also taught and played for the Mendocino Scandia Camp. of the performance group HjerteDans. Ginny has been Mary and Olav are active in the Glåmos spellmannslag. dancing and teaching International folk dance, for most of Olav, born in 1933, grew up in a musical, fiddling family in her adult life, in the USA and other countries, including Glåmos. He plays harpeleikzither, plays fiddle, and sings. China and Taiwan. She has taught several children's groups, Mary, born in Minnesota in 1947, settled in the Røros dis- including the Nordahl Grieg Barneleikarring, and is cur- trict in 1982 after living in Gudbrandsdalen, Oppdal, and rently working with Scandinavian folk dance groups in New Telemark. She plays fiddle and harpeleikzither in the Røros York. tradition. She is also the “flute-player” in the band Dala- (Continued on page 3) kopa. It’s That Time of Year Again... Cedar Glen Camp is located near the small town of Yes, it’s that time of year again, when thoughts turn Julian. It was a gold mining area in the 19th century. Driv- to gifts and taxes... and to memberships in various organiza- ing time is approximately 11/2 hours inland from Oceanside tions. Please look over the "Questionaire" inside the back and 1 hour northeast from San Diego. The camp facilities cover to make sure your address information is up to date. include cabins that house varying numbers of people and a While you’re at it, think about what you’d like to see the or- large dining and dance hall with a very good wood floor. ganization do for you, and what you might do for us. Some- Most people arrive Thursday afternoon or evening to get times it takes awhile to organize events, but your suggestions situated. There is no meal service on Thursday. Workshops are all considered, and often acted upon. begin Friday morning after breakfast. The festival concludes Last, but not least, remember to donate. We still Sunday afternoon after lunch. Please try to make ride ar- have not reached our goal of paying for the newsletter by rangements with people from your area. We will attempt to donations; we’d like to keep it free to all who’d like to re- help coordinate transportation from airports but we cannot ceive one. guarantee rides for any campers. Please provide transporta- tion requests early!……(Find registration form on page 10). Volume 14 Number 4 Page 1 Northern California Spelmanslag News October 2004 is supported by the governments of all the Nordic countries, The Beginnings of Scandinavian the only official participant groups have to be Scandinavian. Dancing However, the Finnish national organization offered to “adopt” us as one of their own, so that our group of 30 or so in the San Francisco Bay Area was able to participate fully in everything, including the pa- Dean Linscott passed away March 24, 2004. The rade and stadium performance at the main event. An indeli- idea for this article came about while people were remem- ble image for me is Dean carrying the American flag as we bering Dean. Thank you, everyone for contributing to make "California Scandia Dancers" marched through the cobble- a great story! Marie Kay Hansen stone streets of the old town behind our one and only fiddler, Nancy Linscott: Fred Bialy, playing "Allemansmarsj." Dean and I started going to the International dance Brooke Babcock: and music camp in the Woodlands. We attended it for many I think Nancy started Scandia Camp together with years before I got so interested in Scandinavian Dance and Ingvar and Chick Campbell. But Dean and Nancy together Music. There had been several Scandinavian teachers in the taught 6 or 8-week beginner courses in Scandia dance at the San Francisco Bay Area and we (Linscotts) had one work- Ashkenaz every fall. That's how I started, around 1982. (I shop at Kopachkas, (our International group). remember Kay helped Dean teach one night when Nancy Meeting and dancing with Ingvar Sodal in Boulder, was away.) Colorado is the main reason I got so interested in Scandina- Did I write you about the Scandia class that Dean vian Dance --and that was mostly Norwegian. I decided to and Nancy taught jointly in San Francisco? It was every have several weekend workshops up at Valley of the Moon Monday night at St. Paul's Church, 43rd and Judah in San in Northern California. I asked Ingvar to come and teach Francisco, and was very successful. Lots of the core dancers there first. Then, I asked Bosse Peterson to teach the next today began Scandia dancing there. It started in 1986, I be- year, so that we would be exposed to Swedish Dances, also. lieve, and went on till they separated. A high point, for After doing this for several years, I decided that a whole Dean at least, was to go out for ice cream afterwards! And week of Scandinavian Dance & Music would be wonderful. don't forget the bus trips full of Scandia dancers that Dean As I was one of the directors of the International Camp in organized to go down to Solvang's festival in the early the Mendocino Woodlands, I knew that place would be the spring, every year in the 1980s. perfect place to have this new camp. I ran the camp and in- Kay Loughman: vited teachers I knew, including Ingvar Sodal, for Norwe- In the mid- to late 70s, Nancy (and Dean) held a gian and Bosse Peterson, for Swedish. I decided to start that weekend workshop at the Valley of the Moon. I wasn't Scandinavian Camp 24 years ago this summer! there; but all the stories I've heard suggest that was the start of Scandinavian dancing in the Bay Area. The first Scandia Camp was held in 1980, with Nancy Lin- scott as the Director. I believe Ingvar Sodal was the co- or assistant director - but I'm not sure of the details. Atten- dance at the camp included many Kopachkas, and many members of the Westwind performing group. Peggy Chipkin Illustration below by Nancy Linscott in Let’s Dance, Nov., 1975 As I recall, Dean & Nancy got Scandinavian danc- Anja Miller: ing started and made it popular in the Bay Area in the It was maybe in ’79 or’80 that I met the Linscotts 1980's. I was privileged to be a part of their classes from the and started going to their classes, then to Mendocino camp beginning, and to go to the first Scandia Camp at Mendo- starting in 1982. The quality of their teaching and the cino. Their high quality teaching and bringing in other friendly spirit of the dancers really impressed me so much teachers from around the bay, the country, and also from that over the next 20 years I can count on the fingers of one Scandinavia put Scandinavian dancing on the map. As a hand the times I missed the second Saturday dance at Park relatively new dancer, I attended every one of the early School. To me, the uniquely open, friendly American workshops with great enthusiasm. Our group did small per- “culture” prevailing at those events was personified by formances for Norwegian (I think) Independence Day at the Dean’s call at the start of class, “Take the nearest partner!” I bandstand in Golden Gate Park for several years, and for a always think of Dean and Nancy as the mother and father of Finnish home in Sonoma County.
Load more

Recommended publications
  • Sweden As a Crossroads: Some Remarks Concerning Swedish Folk
    studying culture in context Sweden as a crossroads: some remarks concerning Swedish folk dancing Mats Nilsson Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Mats Nilsson works as a senior lecturer in folklore and ethnochoreology at the Department of Ethnology, Gothenburg University, Sweden. His main interest is couple dancing, especially in Scandinavia. The title of his1998 PhD dissertation, ‘Dance – Continuity in Change: Dances and Dancing in Gothenburg 1930–1990’, gives a clue to his theoretical orientation. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 8 Sweden as a crossroads: some remarks concerning Swedish folk dancing MATS NILSSON his article is an overview of folk dancing in Sweden. The context is mainly the Torganised Swedish folk-dance movement, which can be divided into at least three subcultures. Each of these folk dance subcultural contexts can be said to have links to different historical periods in Europe and Scandinavia.
    [Show full text]
  • Nordic Roots Dance Kari Tauring - 2014 "Dance Is a Feature of Every Significant Occasion and Event Crucial to Tribal Existence As Part of Ritual
    Nordic Roots Dance Kari Tauring - 2014 "Dance is a feature of every significant occasion and event crucial to tribal existence as part of ritual. The first thing to emphasize is that early dance exists as a ritual element. It does not stand alone as a separate activity or profession." Joan Cass, Dancing Through History, 1993 In 1989, I began to study runes, the ancient Germanic/Nordic alphabet system. I noticed that many rune symbols in the 24 Elder Futhark (100 ACE) letters can be made with one body alone or one body and a staff and some require two persons to create. I played with the combination of these things within the context of Martial Arts. In the Younger futhark (later Iron Age), these runes were either eliminated or changed to allow one body to create 16 as a full alphabet. In 2008 I was introduced to Hafskjold Stav (Norwegian Family Tradition), a Martial Arts based on these 16 Younger Futhark shapes, sounds and meanings. In 2006 I began to study Scandinavian dance whose concepts of stav, svikt, tyngde and kraft underpinned my work with rune in Martial Arts. In 2011/2012 I undertook a study with the aid of a Legacy and Heritage grant to find out how runes are created with the body/bodies in Norwegian folk dances along with Telemark tradition bearer, Carol Sersland. Through this collaboration I realized that some runes require a "birds eye view" of a group of dances to see how they express themselves. In my personal quest to find the most ancient dances within my Norwegian heritage, I made a visit to the RFF Center (Rådet for folkemusikk og folkedans) at the University in Trondheim (2011) meeting with head of the dance department Egil Bakka and Siri Mæland, and professional dancer and choreographer, Mads Bøhle.
    [Show full text]
  • Excitement Grows with the Sigdalslag Decision to Join with Four Other
    Excitement grows with the Sigdalslag decision to join with four other bygdelags, Hadeland, Land, Telernark and Toten, in sharing a portion of the time June 29-30 and in separate sessions which are of special purpose and interest to each lag when all gather on the St. Olaf College campus, Northfield, Minnesota. Velkommen! Each lag will use advance registration and payment of fees. You may wish to complete this form today when you have read this newsletter. No tickets will be available for the bapquet buffet except by advance sale. A visitor badge will be issued for those able to attend only a portion of the day to include a user fee at $ 3..00 each day. All lags have the same registration fee. Highlights of the weekend will include the evening programs Friday and Saturday to which the public is invited. Dr. Harland Foss,. President of St. Olaf College will bring greetings and Dr. Sidney Rand, former ambassador to Norway and a past-president at St. Olaf, together with his wife Lois will present "Nilkkenog Nissen" in Sigdal and Hadeland Friday evening. Music and singing and coffee offer opportunities to participate. Saturday afternoon and evening the Gjevre VII family will provide instrumental music. Five children and their parents perform and share a Norwegian-American heritage that lS lively, informative entertainment. Folk dancers known as among the most acclaimed in Norway present the after-the- banquet program Saturday evening. The Sogn-Fjordane Ringen in bunads of various districts of Norway's west coast performs regional Cbygedans) dances such as vestlands springar, gamalt, rudl, halling, pols; pattern dances such as reels, row dances, couple dances-- all turdans forms; popular gammaldans or old-fashioned waltz, reinlender, schottische, mazurka and polka dances for couples; and finally the songdans which derive from the Middle Ages and are kept alive in the Faeroe Islands in the tradition of the epic lays.
    [Show full text]
  • Norway – Music and Musical Life
    Norway2BOOK.book Page 273 Thursday, August 21, 2008 11:35 PM Chapter 18 Norway – Music and Musical Life Chapter 18 Norway – Music and Musical Life By Arvid Vollsnes Through all the centuries of documented Norwegian music it has been obvi- ous that there were strong connections to European cultural life. But from the 14th to the 19th century Norway was considered by other Europeans to be remote and belonging to the backwaters of Europe. Some daring travel- ers came in the Romantic era, and one of them wrote: The fantastic pillars and arches of fairy folk-lore may still be descried in the deep secluded glens of Thelemarken, undefaced with stucco, not propped by unsightly modern buttress. The harp of popular minstrelsy – though it hangs mouldering and mildewed with infrequency of use, its strings unbraced for want of cunning hands that can tune and strike them as the Scalds of Eld – may still now and then be heard sending forth its simple music. Sometimes this assumes the shape of a soothing lullaby to the sleep- ing babe, or an artless ballad of love-lorn swains, or an arch satire on rustic doings and foibles. Sometimes it swells into a symphony descriptive of the descent of Odin; or, in somewhat less Pindaric, and more Dibdin strain, it recounts the deeds of the rollicking, death-despising Vikings; while, anon, its numbers rise and fall with mysterious cadence as it strives to give a local habitation and a name to the dimly seen forms and antic pranks of the hol- low-backed Huldra crew.” (From The Oxonian in Thelemarken, or Notes of Travel in South-Western Norway in the Summers of 1856 and 1857, written by Frederick Metcalfe, Lincoln College, Oxford.) This was a typical Romantic way of describing a foreign culture.
    [Show full text]
  • Con!Nui" of Norwegian Tradi!On in #E Pacific Nor#West
    Con!nui" of Norwegian Tradi!on in #e Pacific Nor#west Henning K. Sehmsdorf Copyright 2020 S&S Homestead Press Printed by Applied Digital Imaging Inc, Bellingham, WA Cover: 1925 U.S. postage stamp celebrating the centennial of the 54 ft (39 ton) sloop “Restauration” arriving in New York City, carrying 52 mostly Norwegian Quakers from Stavanger, Norway to the New World. Table of Con%nts Preface: 1-41 Immigra!on, Assimila!on & Adapta!on: 5-10 S&ried Tradi!on: 11-281 1 Belief & Story 11- 16 / Ethnic Jokes, Personal Narratives & Sayings 16-21 / Fishing at Røst 21-23 / Chronicats, Memorats & Fabulats 23-28 Ma%rial Culture: 28-96 Dancing 24-37 / Hardanger Fiddle 37-39 / Choral Singing 39-42 / Husflid: Weaving, Knitting, Needlework 42-51 / Bunad 52-611 / Jewelry 62-7111 / Boat Building 71-781 / Food Ways 78-97 Con!nui": 97-10211 Informants: 103-10811 In%rview Ques!onnaire: 109-111111 End No%s: 112-1241111 Preface For the more than three decades I taught Scandinavian studies at the University of Washington in Seattle, I witnessed a lively Norwegian American community celebrating its ethnic heritage, though no more than approximately 1.5% of self-declared Norwegian Americans, a mere fraction of the approximately 280,000 Americans of Norwegian descent living in Washington State today, claim membership in ethnic organizations such as the Sons of Norway. At musical events and dances at Leikarringen and folk dance summer camps; salmon dinners and traditional Christmas celebrations at Leif Ericsson Lodge; cross-country skiing at Trollhaugen near Stampede
    [Show full text]
  • Diplomová Práce
    Univerzita Hradec Králové Pedagogická fakulta Diplomová práce 2020 Michal Hroch Univerzita Hradec Králové Pedagogická fakulta Hudební katedra Skladby E. H. Griega v kontextu norských reálií a jejich využití ve výuce hudební výchovy na středních školách Diplomová práce Autor: Bc. Michal Hroch Studijní program: B7507 Specializace v pedagogice Studijní obor: Učitelství pro střední školy – ruský jazyk a literatura Učitelství pro střední školy – hudební výchova Vedoucí práce: PhDr. Dana Soušková, Ph.D. Oponent práce: PhDr. Helena Karnetová Hradec Králové 2020 Prohlášení Prohlašuji, že jsem tuto diplomovou práci vypracoval (pod vedením vedoucí diplomové práce) samostatně a uvedl jsem všechny použité zdroje informací. V Hradci Králové dne Poděkování Děkuji PhDr. Daně Souškové, Ph.D. za odborné vedení práce, za ochotu, pomoc, poskytování rad a trpělivost. Také chci poděkovat rodině za psychickou podporu během psaní práce. Anotace HROCH, Michal. Skladby E. H. Griega v kontextu norských reálií a jejich využití ve výuce hudební výchovy na středních školách. Hradec Králové: Pedagogická fakulta Univerzity Hradec Králové, 2020. 119 s. Diplomová práce. Diplomová práce je koncipována jako doplňující materiál pro střední školy. Teoretická část zpracovává kulturu a reálie Norska, biografii a tvorbu Edvarda Hagerupa Griega a drama Peer Gynt Henrika Ibsena. Praktická část předkládá několik příkladů využití díla Peer Gynt ve výuce hudební výchovy a nabízí uplatnění teoretických informací prostřednictvím návrhu projektové výuky. Klíčová slova: Norsko, Skandinávie, norská kultura, Edvard Hagerup Grieg, Henrik Ibsen, Peer Gynt, hudební výchova, projektová výuka Annotation HROCH, Michal. Compositions by E. H. Grieg in the context of Norwegian realities and their use in the teaching of music education at secondary schools. Hradec Králové: Faculty of Education, University of Hradec Králové, 2020.
    [Show full text]
  • Survey-Mendocino-2015.Pdf
    SURVEY OF NORWEGIAN DANCE Norwegian dances, along with other Scandinavian dances, are primarily social in nature rather than religious or ritualistic. They were danced for fun at festive occasions such as weddings, midsummer, Christmas, and just plain parties. When we say Norwegian dances, we usually refer to the dances from the central and southern parts of Norway. We generally put Lapp culture, found in northern Norway, in a separate category. Today, Norwegian dances are customarily divided into the categories below. Bygdedans (Regional Dance) These are the oldest known and documented dances, coming to Norway in the period 1600-1800. The first dances arrived together with the fiddle. There are five main categories of bygdedans: springar (springdans, springleik, gamalt), gangar (bonde, jølstring), pols (polsdans, rundom), rull (vossarull, rudl, rullar), and halling (laus, lausdans). Each type is widely used and known over a large area, although it varies considerably from district to district. The dances also vary from individual to individual in the same district. This creates a complex geographical pattern with gradual transitions in tradition from one region to the next. The dances are quite free in structure, so that many dancers vary them from one execution to the next. There is, nevertheless, a fixed framework within which improvisation occurs. Both steps and figures may be varied. Some Norwegian dancers, especially older dancers, feel that bygdedans from more than one region should not be attempted because the styles and improvisations tend to blend, losing the unique regional styling. Springar and gangar are not in principle different, except for the meter. In areas having both dances, they closely parallel each other.
    [Show full text]
  • Total Rhythm For
    Kaminsky, David. 2014. “Total Rhythm in Three Dimensions: Towards a Motional Theory of Melodic Dance Rhythm in Swedish Polska Music.” Dance Research 32(1): 43–64. http://www.euppublishing.com/doi/abs/10.3366/drs.2014.0086 Imagine a carnival ride, some unlikely combination of spinning teacups with the intimacy of a tunnel of love, and the waves and currents of a flume. Then replace the machinery with dancing couples and the rush of water with sound waves, resonant overtones emanating from a single fiddler standing in the middle of the dance floor. The dance is a pols, a Western Swedish polska variant. The music, which goes by the same name, is intimately connected to the dance. It has to be, because consider: a single fiddler is responsible for generating waves of motion, for directing the complex three-dimensional movements of a room full of dancing couples. Any musical concerns that do not directly engage the attention of those dancers must become secondary or be dispensed with altogether. It should come as no surprise, then, that this kinaesthetic responsibility has produced some intricate rhythms, of the kind that invariably attract the attention of music scholars. Scandinavian theorists have produced compelling arguments [43/44] about the music’s ‘uneven’ meters, backed up with elaborate transcriptions and precise microtimings, decades before ‘microtiming’ was a word. Yet the production of these transcriptions and measurements is predicated on certain music-theoretical conventions in the study of rhythm that in this particular case, I will argue, sacrifice nuance for measurability. The transcriptions these theorists have produced have usually reduced the spatial to the linear, working from the conventional understanding of rhythm as a series of events in time, without direct reference to three-dimensional movement.
    [Show full text]
  • The Influence of Norwegian Folk Elements on Thomas Dyke
    THE INFLUENCE OF NORWEGIAN FOLK ELEMENTS ON THOMAS DYKE TELLEFSEN’S MAZURKAS OP. 3 (1849) AND OP. 14 (1853) Mikyung Lim, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2014 APPROVED: Adam Wodnicki, Major Professor Elvia Puccinelli, Committee Member Joseph Banowetz, Committee Member Steven Harlos, Committee Member and Chair of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Lim, Mikyung. The Influence of Norwegian Folk Elements on Thomas Dyke Tellefsen’s Mazurkas Op. 3 (1849) and Op. 14 (1853). Doctor of Musical Arts (Performance), December 2014, 38 pp., 5 tables, 2 figures, 45 examples, bibliography, 38 titles. Although Thomas Dyke Tellefsen’s mazurkas have been considered mere imitations of Chopin’s musical idiom, his mazurkas are closely related to Norwegian folk elements. Tellefsen adopted Norwegian folkloric elements from his own country and infused Norwegian spirit into his works to create his own musical language. To trace the Norwegian folk influence, this study examines folk dance (the springar), folk instruments (the hardanger fiddle and the langeleik), and folk melodic and rhythmic motifs. As the result, this research demonstrates that Tellefsen’s mazurkas were influenced by a phrase structure of Norwegian springar dance music and the exact sound effect of folk instruments (the hardanger fiddle and the langeleik) as well as Norwegian folk rhythmic and melodic formulas which are frequently used in Norwegian folk tunes. Furthermore, the comparison between Tellefsen and Chopin’s mazurkas demonstrates that although their mazurkas seem to have a similar musical style, Tellefsen’s mazurkas include his own traditional Norwegian folk aesthetic, which present original contributions to the genre.
    [Show full text]
  • Download Booklet
    NAJI HAKIM PLAYS NAJI HAKIM THE SCHUKE ORGAN OF THE t III. Dialogue de Cromorne et de Cornet [1.10] PALACIO EUSKALDUNA OF BILBAO, VOL.2 y IV. Premier Plein Jeu [0.34] u V. Fonds et Voix Humaine [0.53] i VI. Duo [0.47] 1 Ouverture Libanaise (2001) [7.36] o VII. Nasard [1.37] p VIII. Basse de Gambe [1.21] Suite Norvégienne (2012) a IX. Dialogue de Tierce et de Prestant [0.50] 2 I. Langeleik [1.51] s X. Dessus de Trompette [0.59] 3 II. Dype, stille, sterke, milde [1.00] d XI. Clairon en Taille [0.54] 4 III. Kråkevise [0.46] f XII. Deuxième Plein Jeu [0.46] 5 IV. Mitt hjerte alltid vanker [1.15] g XIII. Final en Rondeau [3.54] 6 V. Bånsull i vals [1.04] 7 VI. Håvard Hedde [1.09] Three Basque Dances 8 VII. Byssan lull [1.17] h I. Zortziko (2015) [4.16] 9 VIII. Litle fuglen [0.37] j II. Ezpata Dantza (2014) [3.00] 0 IX. Kjerringa med staven [1.20] k III. Fandango (2015) [4.36] Esquisses Persanes (2012) Total timings: [59.24] q I. Niya Yesh [4.00] w II. Raqs [6.10] Suite Française (2012) e I. Entrée sur les Grands Jeux [0.40] NAJI HAKIM r II. Flûtes [0.46] www.signumrecords.com 1 Ouverture Libanaise (2001) on a harmonic pedal. Litle Fuglen evokes the Scheitholt and Swedish Hummel, the Norwegian This tune was composed by Ludvig Mathias To Zeina Alam chorale style, before Kjerringa med staven langeleik predates these instruments.
    [Show full text]
  • WALTZING THROUGH EUROPE B ALTZING HROUGH UROPE Attitudes Towards Couple Dances in the AKKA W T E Long Nineteenth-Century Attitudes Towards Couple Dances in The
    WALTZING THROUGH EUROPE B ALTZING HROUGH UROPE Attitudes towards Couple Dances in the AKKA W T E Long Nineteenth-Century Attitudes towards Couple Dances in the Long Nineteenth-Century EDITED BY EGIL BAKKA, THERESA JILL BUCKLAND, al. et HELENA SAARIKOSKI AND ANNE VON BIBRA WHARTON From ‘folk devils’ to ballroom dancers, this volume explores the changing recep� on of fashionable couple dances in Europe from the eighteenth century onwards. A refreshing interven� on in dance studies, this book brings together elements of historiography, cultural memory, folklore, and dance across compara� vely narrow but W markedly heterogeneous locali� es. Rooted in inves� ga� ons of o� en newly discovered primary sources, the essays aff ord many opportuni� es to compare sociocultural and ALTZING poli� cal reac� ons to the arrival and prac� ce of popular rota� ng couple dances, such as the Waltz and the Polka. Leading contributors provide a transna� onal and aff ec� ve lens onto strikingly diverse topics, ranging from the evolu� on of roman� c couple dances in Croa� a, and Strauss’s visits to Hamburg and Altona in the 1830s, to dance as a tool of T cultural preserva� on and expression in twen� eth-century Finland. HROUGH Waltzing Through Europe creates openings for fresh collabora� ons in dance historiography and cultural history across fi elds and genres. It is essen� al reading for researchers of dance in central and northern Europe, while also appealing to the general reader who wants to learn more about the vibrant histories of these familiar dance forms. E As with all Open Book publica� ons, this en� re book is available to read for free on the UROPE publisher’s website.
    [Show full text]
  • Syllabus of Dance Descriptions
    Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2009 – FINAL In Memoriam Jean Brown August 21, 1926 – August 3, 2008 Jean was a resident of Galt and a former resident of San Jose, California. Jean taught elementary school for 30 years at O. Hubbard School in San Jose, and during those years she also devoted her time after school to developing and teaching international folk dance to children. She and her mother spent countless hours sewing costumes by the hundreds! Her groups danced at schools, hospitals, and community events around the Bay Area. In her last year of teaching at Hubbard, 180 children participated in dance classes. Following the death of her first husband in 1987, she moved to the Stockton area and remarried. She and her second husband Norm taught three dances classes a week in Galt and Lodi and spent two weeks every year at Stockton Folk Dance Camp. She attended Stockton Dance Camp for 31 years; her most recent contribution was the Recreational Dance Workshop Bora Gajicki July 24, 1937 – August 17, 2008 “A joy to behold, a challenge to imitate.” Borivoj Gajicki was born in Gospodjinci, a village in Serbia. After his military service in the Yugoslav Navy, he danced professionally with Ansambl KOLO for seven years. He traveled extensively in Yugoslavia and Europe as a solo dancer with this world-famous troupe. In 1967, he met and married Margarita "Marge" Tapia while she was vacationing in Yugoslavia. After coming to California, he started a kolo class at the Yugoslav-American Club. Bora and Marge later opened The Folk Motif in 1970, a small business specializing in opanke, folk costumes, books, and related folk items.
    [Show full text]