DOCSLIB.ORG

DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Kimberlegse Trein Africa Hofman, H. 68 Bongo Africa Longden, S. 98 Ibo Africa Nicholes, G

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Kimberlegse Trein Africa Hofman, H. 68 Bongo Africa Longden, S. 98 Ibo Africa Nicholes, G LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Kimberlegse Trein Africa Hofman, H. 68 Bongo Africa Longden, S. 98 Ibo Africa Nicholes, G. 77 Tant' Hessie Africa (South) Beliajus, V. 63 Tant' Hessie Africa (South) Hofman, H. 62 Tant' Hessie Africa (South) Nicholes, G. 77 Hiers Ek Weer Africa (South) Boer Beliajus, V. 61 Ušti Baba Albania Bagnoli, R 14 Valle Shqiptare Albania Bagnoli, R 14 Tumankuqe Albania Bagnoli, R. 11 Vajta n’Elbasan Albania Bagnoli, R. 11 Valle E Mesme Albania Bagnoli, R. 11 Ani Mori Nuse Albania Bendix, E. 06 Gorarçe Albania Bendix, E. 06 Agimi Albania Despotovič, M. (C) 79 Bracno Oro Albania Despotovič, M. (C) 79 Podrimsko Oro Albania Despotovič, M. (C) 78, 79 NT Zenska Šiptarska Igra Albania Despotovič, M. (C) 78 Metelikum Albania Joukowsky, A 58 Drenica Albania Kolarovski, A. 80 Kaladžoj Albania Kolarovski, A. 80 NT Pristinka Albania Kolarovski, A. 75 Beraçe Albania Kotansky, S. 95 Chaj Zibede Albania Kotansky, S. 99 Devolliče Albania Kotansky, S. 86 Gorarçe Albania Kotansky, S. 99 Kcim Albania Kotansky, S. 10 Nesho Albania Kotansky, S. 95 NT Valle e Dhardes Albania Kotansky, S. 99 Valle Jarnana Albania Kotansky, S. 95 Vallja E Osman Takës Albania Kotansky, S. 10 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 1 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Ani More Nuse Albania Otterholt, L. 09 Bătrîneasca Albania Otterholt, L. 03 Bračno oro Albania Otterholt, L. 03 Çobankat Albania Otterholt, L. 04 Koritsa Albania Otterholt, L. 06 Podrimsko oro Albania Otterholt, L. 04 Valle e Qemalit Albania Otterholt, L. 09 Valle e Quemalit Albania Otterholt, L. 04 ValleeDhardes Albania Rocca-Butler, S. 03 Circle Debka Arabia Beliajus, V. 54 Debka Rafiakh Arabia Beliajus, V. 54 Debka Rafiakh Arabia Browns, R. 61 Camino Al Bano Argentina Beliajus, V. 65 Argentine Tango Backward Ocho Argentina Cortés , P. 12 Argentine Tango Basic With Back Salida Argentina Cortés , P. 12 Argentine Tango Basic with Rock Step SalidaArgentina Cortés , P. 12 Argentine Tango Basic with Side Salida Argentina Cortés , P. 12 Argentine Tango Forward Ocho Argentina Cortés , P. 12 Argentine Tango Sandwiche – Half Molinete ComboArgentina Cortés , P. 12 El Gato Argentina Cortés , P. 12 Glossary of Argentine Tango Terminology Argentina Cortés , P. 12 El Chamamé Argentina Cortés, P 13 El Gato Argentina Cortés, P 13 El Remedio Argentina Cortés, P 13 La Chacarera Argentina Cortés, P 13 Zapateo Argentina Cortés, P 13 Argentine Tango Argentina Dinzelbacher, N. 96, 06 Argentine Tango Steps and Styling Argentina Dinzelbacher, N. 98 Milonga Argentina Dinzelbacher, N. 96, 98, 06 Tango Steps Argentina Dinzelbacher, N. 06 Jota Criolla Argentina Drury, N. 74 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 2 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) El Escondido Argentina Greene, M. 58 El Triunfo Argentina Greene, M. 58 El Bailecito Argentina Nicholes, G. 59, 60 El Carnavalito Argentina Nicholes, G. 57, 58 La Chacarera Argentina Nicholes, G. 58, 59 La Condicion Argentina Nicholes, G. 59, 60 Freestyle Social Tango Argentina Powers, R. 03 Tango - 1914 - Argentine Argentina Powers, R. 04 La Ranchera Argentina Unknown 48 Barrida Argentine Dinzelbacher, N. 96 Con-Ida Garabito Argentine Dinzelbacher, N. 96 Corrida Argentine Dinzelbacher, N. 96 El Caramba Argentine Dinzelbacher, N. 94 El Escondido Argentine Dinzelbacher, N. 94 El Gato Argentine Dinzelbacher, N. 94 El Pericón Argentine Dinzelbacher, N. 94 El Triunfo Argentine Dinzelbacher, N. 94 Giro Argentine Dinzelbacher, N. 96 La Chacarera Argentine Dinzelbacher, N. 94 La Firmeza Argentine Dinzelbacher, N. 94 Mordida Argentine Dinzelbacher, N. 96 Ocho Argentine Dinzelbacher, N. 96 Armenian Polka Armenia Ajoian, F. 57 Bardezuh Mer Armenia Ajoian, F. 56,57 Buzdigoots Armenia Ajoian, F. 57 Gemrigin Baduh Armenia Ajoian, F. 56 Golden Bracelet Armenia Ajoian, F. 56,57 Halay Armenia Ajoian, F. 55 Halay Havasi Armenia Ajoian, F. 56 Lorkay Lorkay Armenia Ajoian, F. 56.57 Medax Tashginag Armenia Ajoian, F. 57 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 3 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Nor Imatsa Armenia Ajoian, F. 57 Pompouri Armenia Ajoian, F. 55 Sotis Armenia Ajoian, F. 56 Tamzara Armenia Ajoian, F. 55 Three And One (Bar) Armenia Ajoian, F. 55 Toi Nergis Armenia Beliajus, V. 70 Agh Anoush Armenia Bendix, E. 06 Dar Gorani Armenia Bendix, E. 06 Tamzara Arabkir Armenia Bendix, E. 06 Tsakh Bar Armenia Bendix, E. 06 Aghcheekneroo Par Armenia Bozigian, T. 74 Armenia, Map of Armenia Bozigian, T. 74 Armenian Dance, Notes Armenia Bozigian, T. 74 Armenian Miserlou Armenia Bozigian, T. 73, 78 Armenian Turn, The Armenia Bozigian, T. 78 Bert Par Armenia Bozigian, T. 74 Eench Eemanaee Armenia Bozigian, T. 78 Heeng Oo Meg Armenia Bozigian, T. 78 Jo Jon Armenia Bozigian, T. 82 Karoun Armenia Bozigian, T. 73 Kocharee Armenia Bozigian, T. 78 Loree Armenia Bozigian, T. 78 Map of Armenia Armenia Bozigian, T. 74 Medax Tashginag Armenia Bozigian, T. 78 Papakhnerov Par Armenia Bozigian, T. 74 Shoror Armenia Bozigian, T. 74 Sirdes Armenia Bozigian, T. 73 Springtime Armenia Bozigian, T. 73 Stranger, The Armenia Bozigian, T. 73 Tamzara Armenia Bozigian, T. 78 Teen Armenia Bozigian, T. 78 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 4 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Tughmartneroo Kochari Armenia Bozigian, T. 74 Wedding Dance from Kafan Armenia Bozigian, T. 74 Yes Gharib Em Armenia Bozigian, T. 73 Zhora Bar Armenia Bozigian, T. 73 Armenian Misirlou Armenia Filcich, J. 61 Horom Horom Armenia Filcich, J. 59 KarsiBar (Bahr) Armenia Filcich, J. 59,62,70 Laz Bahr Armenia Filcich, J. 62 Pompouri Armenia Filcich, J. 62 Akhaizkha Vart Armenia Lind-Sinanian, G. 86 Bartallo Armenia Lind-Sinanian, G. 86 Halaby Armenia Lind-Sinanian, G. 86 Haygagan March Armenia Lind-Sinanian, G. 86 Hooshig Mooshig Armenia Lind-Sinanian, G. 86 Hoy Nergiz Armenia Lind-Sinanian, G. 86 Latch! Armenia Lind-Sinanian, G. 86 Mom Bar Armenia Lind-Sinanian, G. 66 Shoror Armenia Lind-Sinanian, G. 86 Siroon Gakav Armenia Lind-Sinanian, G. 86 Yarkhoshda Armenia Lind-Sinanian, G. 86 Bar Armenia Lind-Sinanian, G. & S. 85 Daldalar Armenia Lind-Sinanian, G. & S. 85 Govand Armenia Lind-Sinanian, G. & S. 85 Govduntsi Bar Armenia Lind-Sinanian, G. & S. 86 Haire Mamougeh Armenia Lind-Sinanian, G. & S. 85 Kher Pan Armenia Lind-Sinanian, G. & S. 85 Khorodtsi Bijo Armenia Lind-Sinanian, G. & S. 85 Khosh Bilezig Armenia Lind-Sinanian, G. & S. 85 Moush Malay Armenia Lind-Sinanian, G. & S. 65 Papuri Armenia Lind-Sinanian, G. & S. 85,86 Sepastia Bar (I) Armenia Lind-Sinanian, G. & S. 85 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 5 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Shuffle Armenia Lind-Sinanian, G. & S. 85 Hooshik Mooshik Armenia Unknown 48 Aghchka Jerazanke Armenia van Geel, T. 92 Ashtaraki Par Armenia van Geel, T. 92 Assoulis Armenia van Geel, T. 92 Barsgeren Yeghanag Armenia van Geel, T. 03 Bobik dzjour mi era Armenia van Geel, T. 03 Erzeroumi Shoror Armenia van Geel, T. 91 Gorani Armenia van Geel, T. 03 Gyovand Armenia van Geel, T. 96, 03 Hej Par Armenia van Geel, T. 92 Hovergakan Armenia van Geel, T. 91 Keiek Vren Armenia van Geel, T. 96 Lourke Armenia van Geel, T. 92, 03 Martakan Lorke Armenia van Geel, T. 91 Mesho gorani Armenia van Geel, T. 03 Mom Bar Armenia van Geel, T. 92, 03 Naroy Naroy Armenia Van Geel, T. 08 Nino Armenia van Geel, T. 96 Ninoyem Armenia Van Geel, T. 08 Ounous Armenia van Geel, T. 91 Papouri Armenia Van Geel, T. 08 Sham keletsi dam keletsi Armenia van Geel, T. 96 Shatagai Shoror Armenia van Geel, T. 91 Shawali Armenia van Geel, T. 91 Shoror Armenia Van Geel, T. 08 Tamzara Armenia Van Geel, T. 08 Tamzara Armenia van Geel, T. 92, 03 Trabzoni Bar Armenia van Geel, T. 03 Tsachgadzor Armenia van Geel, T. 92 Tsnka Par Armenia Van Geel, T. 08 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 6 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Vana and Taroni Bareri Sharan or Kochari Armenia Van Geel, T. 08 Hooshig Mooshig Armenia Wixman, R. 76 Papuri Armenia Wixman, R. 76 Sepastia Bar (II) Armenia Wixman, R. 76 Lorke-Lorke Armenia-Turkey Bozigian, T. 73 Mamer Assyria Beliajus, V. 62 Sheikhani Assyria Beliajus, V. 62 How Do You Doo-Tee Australia Longden, S. 98 Seven Steps Austria Beliajus, V. 56 Errata Zillertaler Laendler Austria Classic Couple Dances 01 Bauernmadl Austria Gault, N. & M. 88 NT Einfacher Dreher Austria Gault, N. & M. 89 Fieberbrunner Austria Gault, N. & M. 89 Kaiserländler Austria Gault, N. & M. 81 FN Kamtner Dreisteirer Austria Gault, N. & M. 89 Lembacher Ländler Austria Gault, N. & M. 88 Marschierbairisch Austria Gault, N. & M. 87 FN Neppendorfer Ländler Austria Gault, N. & M. 89 Påscher aus Mieger Austria Gault, N. & M. 88 Selker Bairisch Austria Gault, N. & M. 88 Tiroler Figurentanz Austria Gault, N. & M. 88 Untersteirer Ländler Austria Gault, N. & M. 88 Veitscher Masur Austria Gault, N. & M. 88 WaldhansI Steirischer Austria Gault, N. & M. 89 Wechselpolka Austria Gault, N. & M. 88 Krummauer Landler Austria Gelman, M. 79 Pongauer Walzer Austria Gelman, M. 79 Schnupftaback Austria Gelman, M. 79 Steieregger Austria Gelman, M. 79 Steiregger Austria Gelman, M. 79 Wattentaler Masolka Austria Gelman, M. 79 STOCKTON FOLK DANCE CAMP INDEX 1948-2014 PAGE 7 LISTING BY COUNTRY DANCE NAME COUNTRY INSTRUCTOR(S) YEAR(S) Schuhplattler Laendler Austria Greene, M. 60 Agattanz Austria Grothe, W. 60 Austrian Dreisteirer Austria Grothe, W. 52 Bandltanz Austria Grothe, W. 65 Cevve Austria Grothe, W. 60, 70 Cuckoo Polka Austria Grothe, W. 60, 64, 70 Das BauernmoidI Austria Grothe, W. 63, 65 Das HiatamadI Austria Grothe, W.
Load more

Recommended publications
  • Folk Dances for Language Classes, Dona Hyll, Lorraine Fortner, 2001
    Folk Dances for Language Classes Dona Hyll Lorraine Fortner September 21, 2001 Louisville, Kentucky Table of Contents About the Instructors...................................................................................................................ii Dances from German speaking regions: GROSSER ATLANTIK .......................................... .......................... Germany....................1 D'HAMMERSCHMIEDSG'SELLN........................ .......................... Germany....................2 LA SALAMANDRE................................................ Alsace............... France......................15 Dances from Spanish speaking regions: CARNAVALITO..................................................... .......................... Bolivia.......................3 ESPUNYOLET........................................................ Catalonia .......... France / Spain..........16 MEXICAN POLKA................................................. .......................... Mexico ......................4 Dances from French speaking regions: AN DRO RETOURNÉ ............................................ Brittany............. France........................5 AVANT-DEUX DE TRAVERS.............................. Brittany............. France......................14 LE BAL DE JUGON ............................................... Brittany............. France........................9 BANNIELOU LAMBAOL...................................... Brittany............. France........................7 BRANLE NORMAND ...........................................
    [Show full text]
  • Why Stockton Folk Dance Camp Still Produces a Syllabus
    Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please
    [Show full text]
  • Northern Junket, Vol. 6, No. 11
    \ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly.
    [Show full text]
  • SYRTAKI Greek PRONUNCIATION
    SYRTAKI Greek PRONUNCIATION: seer-TAH-kee TRANSLATION: Little dragging dance SOURCE: Dick Oakes learned this dance in the Greek community of Los Angeles. Athan Karras, a prominent Greek dance researcher, also has taught Syrtaki to folk dancers in the United States, as have many other teachers of Greek dance. BACKGROUND: The Syrtaki, or Sirtaki, was the name given to the combination of various Hasapika (or Hassapika) dances, both in style and the variation of tempo, after its popularization in the motion picture Alexis Zorbas (titled Zorba the Greek in America). The Syrtaki is danced mainly in the taverns of Greece with dances such as the Zeybekiko (Zeimbekiko), the Tsiftetelli, and the Karsilamas. It is a combination of either a slow hasapiko and fast hasapiko, or a slow hasapiko, hasaposerviko, and fast hasapiko. It is typical for the musicians to "wake things up" after a slow or heavy (vari or argo) hasapiko with a medium and / or fast Hasapiko. The name "Syrtaki" is a misnomer in that it is derived from the most common Greek dance "Syrtos" and this name is a recent invention. These "butcher dances" spread throughout the Balkans and the Near East and all across the Aegean islands, and entertained a great popularity. The origins of the dance are traced to Byzantium, but the Argo Hasapiko is an evolved idiom by Aegean fisherman and their languid lifestyle. The name "Syrtaki" is now embedded as a dance form (meaning "little Syrtos," though it is totally unlike any Syrto dance), but its international fame has made it a hallmark of Greek dancing.
    [Show full text]
  • Historical Background
    Historical Background Lesson 3 The Historical Influences… How They Arrived in Argentina and Where the Dances’ Popularity is Concentrated Today The Chacarera History: WHAT INFLUENCES MADE THE CHACARERA WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Chacarera was influenced by the pantomime dances (the Gallarda, the Canario, and the Zarabanda) that were performed in the theaters of Europe (Spain and France) in the 1500s and 1600s. Later, through the Spanish colonization of the Americas, the Chacarera spread from Peru into Argentina during the 1800s (19th century). As a result, the Chacarera was also influenced by the local Indian culture (indigenous people) of the area. Today, it is enjoyed by all social classes, in both rural and urban areas. It has spread throughout the entire country except in the region of Patagonia. Popularity is concentrated in which provinces? It is especially popular in Santiago del Estero, Tucuman, Salta, Jujuy, Catamarca, La Rioja and Cordoba. These provinces are located in the Northwest, Cuyo, and Pampas regions of Argentina. There are many variations of the dance that are influenced by each of the provinces (examples: The Santiaguena, The Tucumana, The Cordobesa) *variations do not change the essence of the dance The Gato History: WHAT INFLUENCES MADE THE GATO WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Gato was danced in many Central and South American countries including Mexico, Peru, Chile, Uruguay, and Paraguay, however, it gained tremendous popularity in Argentina. The Gato has a very similar historical background as the other playfully mischievous dances (very similar to the Chacarera).
    [Show full text]
  • Tom Roby SHORT TUESDAY LIST (Preliminary) 1 May 1996
    Tom Roby SHORT TUESDAY LIST (Preliminary) 1 May 1996 EASY NOT SO EASY INTERMEDIATE HARD COUPLE Core Core Core Core Easy Abdala Adjon az Isten Ajde Jano Biˇcak Albanian #1 Ciganˇcica Ajde Lepa Maro Ali Pa¸sa Ca la Balt˘a Brˆıul de la F˘ag˘ara¸s Gamal Polska Alunelul Bardezuh Mer Ciganski Orijent Brˆıul pe Opt Gamal Schottis Bavno Oro Divˇcibarsko Kolo Buˇcimiˇs Karapjet An Dro Makazice/Bela Rada Cekurjankinoˇ Horo Kevi Cs´ard´as Arap Draganovo Belasiˇcko Oro DrmeˇsizZdenˇcina Cetvornoˇ Sopskoˇ H. Kujawiak Bufˇcansko Dedo Mile Dedo Lepa Anka Kolo Vodi ˇ Fatiˇse Kolo Cimpoi Cereˇsna Devojˇce2 Gencsi Verbunk Marin-Congo ´ Hora from Oltenia Cuperlika Durdevica Hora Spoitorilor Gergebunarsko Norwegian Polka Devetorka Dospatsko Kasapsko Oro Godeˇcki Caˇˇ cak R˘uˇcenica po 3 Eleno Mome Gerakina Katja Jove Maloj Mome Slangpolska Ersko Kolo Hora Fetelor ˇ Stabberinglender ˇ Kulska Sira Kulsko Horo Guhnega Horehronsk´y Card´aˇs Numero Vossarull Mure¸sanca Waltz G¨uzelleme Janino Novo Zagorsko Ovˇcepolsko Oro Karamfil Ol´ahos Pandalaˇs Hanter Dro Katuˇse Mome Hora Mare Ovˇcepolska Potrˇculka Plevensko Dajˇcovo Medium Kjustendilska R˘uˇc. Pajduˇsko (3,2,1,4) R˘uka Hora Pe Gheat¸˘a Lefkaditikos Aino Kchume Pajduˇsko, Jambolsko Ripna Maca Ana Lugojana Ivanica Mariˇcensko Pravo H. Preskaˇcanka Topansko Oro Jovano, Jovanke Moja Diridika B´ek´esi P´aros Radomirsko Horo Trei P˘aze¸ste dl GM ˆInvˆırtita [Yves’s] Kalamatianos Ooska Gookas Rustemul Trile¸se¸sti Orijent ˆInvˆırtita de la Sibiu Kendime Sedi Donka ˆ Koftos Orta Anadolu Sej Sej Bop Invˆırtita din Luna T. Osmica Sepastia Bar Uncore Hambo Kostursko Oro Pinosavka Lipa Ma Mar´yca Kritikos Syrtos Sestorkaˇ Ali, Ali Povrateno Alunelul Schiop Michael’s Cs´ard´as Kukunjeˇs´ce Prekid Kolo Sevdalino Maloj Mome Pr´ıdi, Jan´ık Sˆırba pe Loc Avrameanca Legnala Dana Ratevka Dansul Fetelor Rezijankas Lesnoto Sadilo Mome S¸obolanul Siamse Beirte Tropanka iz Dobrudˇza Daronee Maˆıtre de Maison Sandansko Dobrichka Tropanka Slangpolska fr.
    [Show full text]
  • Round Dances Scot Byars Started Dancing in 1965 in the San Francisco Bay Area
    Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2016 – FINAL 7/31/2016 In Memoriam Floyd Davis 1927 – 2016 Floyd Davis was born and raised in Modesto. He started dancing in the Modesto/Turlock area in 1947, became one of the teachers for the Modesto Folk Dancers in 1955, and was eventually awarded the Lifetime Achievement Award for dance by the Stanislaus Arts Council. Floyd loved to bake and was famous for his Chocolate Kahlua cake, which he made every year to auction off at the Stockton Folk Dance Camp Wednesday auction. Floyd was tireless in promoting folk dancing and usually danced three times a week – with the Del Valle Folk Dancers in Livermore, the Modesto Folk Dancers and the Village Dancers. In his last years, Alzheimer’s disease robbed him of his extensive knowledge and memory of hundreds, if not thousands, of folk dances. A celebration for his 89th birthday was held at the Carnegie Arts Center in Turlock on January 29 and was attended by many of his well-wishers from all over northern California. Although Floyd could not attend, a DVD was made of the event and he was able to view it and he enjoyed seeing familiar faces from his dancing days. He died less than a month later. Floyd missed attending Stockton Folk Dance Camp only once between 1970 and 2013. Sidney Messer 1926 – 2015 Sidney Messer died in November, 2015, at the age of 89. Many California folk dancers will remember his name because theny sent checks for their Federation membership to him for nine years.
    [Show full text]
  • Europeanfolkdanc006971mbp.Pdf
    CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life.
    [Show full text]
  • Teaching English Through Body Movement a Pa
    AMERICAN UNIVERSITY OF ARMENIA College of Humanities and Social Sciences Dancing – Teaching English through Body Movement A paper is submitted in partial fulfillment of the requirements for the degree Master of Arts in Teaching English as a Foreign Language By Ninel Gasparyan Adviser: Raichle Farrelly Reader: Rubina Gasparyan Yerevan, Armenia May 7, 2014 We hereby approve that this design project By Ninel Gasparyan Entitled Dancing – Teaching English through Body Movement Be accepted in partial fulfillment for the requirements of the degree Master of Arts in Teaching English as a Foreign Language Committee on the MA Design Project ………..………………………… Raichle Farrelly ………..………………………… Rubina Gasparyan ………..………………………… Dr. Irshat Madyarov MA TEFL Program Chair Yerevan, Armenia May 7, 2014 ii TABLE OF CONTENTS Abstract ….....….………………………………………..………………………… v Chapter One: Introduction …………...….………………………………………… 1 Chapter Two: Literature Review ……..…………………………………………… 3 2.1. Content-Based Instruction Models ……..……………..……………………… 5 2.1.1. The use of Dance in an EFL Classroom ………...…..……………………… 11 Chapter Three: Proposed Plan and Deliverables…………………..……………… 15 3.1. Course Description ..………………………………………………………….. 15 3.1.1. Needs and Environment Analysis ……………………..…………………… 15 3.1.2. Goals and Objectives ……………………………………………….………. 16 3.1.3. Assessment Plan …………………………………………………….…….... 17 3.1.4. Learning Plan ……..…………………………………………….…..……… 19 3.1.5. Deliverables …………………………………………………………....…… 24 Chapter Four: Reflection and Recommendations ……………………..……...…… 27 4.1. Reflection
    [Show full text]
  • The Global Reach of the Fandango in Music, Song and Dance
    The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
    [Show full text]
  • Listado De Generos Autorizados.Xls
    POR SUBGENERO LISTADO DE GENEROS AUTORIZADOS ACTUALIZADO AL 10 / 10 / 2006 SUBGENERO CODIGO GENERO AFRO 500 INTERNACIONAL AGOGO 594 INTERNACIONAL AIRES ESPAÑOLES 501 INTERNACIONAL ALBORADA 502 INTERNACIONAL ALEGRO VIVACE 455 SINFONICO Y CAMARA ANATEADA 627 FOLKLORE ANDANTE 400 SINFONICO Y CAMARA ARIA 401 SINFONICO Y CAMARA AUQUI AUQUI 633 FOLKLORE BAGUALA 300 FOLKLORE BAILECITO 301 FOLKLORE BAILE 402 INTERNACIONAL BAILES 302 FOLKLORE BAION 503 INTERNACIONAL BALADA 100 MELODICO BALLET 403 SINFONICO Y CAMARA BAMBUCO 595 INTERNACIONAL BARCAROLA 504 INTERNACIONAL BATUCADA 505 INTERNACIONAL BEAT 101 MELODICO BEGUINE 102 MELODICO BERCEUSE 404 SINFONICO Y CAMARA BLUES 103 MELODICO BOCETO 405 SINFONICO Y CAMARA BOGALOO 105 MELODICO BOLERO 104 MELODICO BOMBA 506 INTERNACIONAL BOOGIE BOOGIE 106 MELODICO BOSSA NOVA 507 INTERNACIONAL BOTECITO 508 INTERNACIONAL BULERIAS 509 INTERNACIONAL CACHACA 615 INTERNACIONAL CACHARPAYA 302 FOLKLORE CAJITA DE MUSICA 406 SINFONICO Y CAMARA CALIPSO 107 MELODICO CAMPERA 303 FOLKLORE CAN CAN 510 INTERNACIONAL CANCION 108 MELODICO CANCION DE CUNA 453 SINFONICO Y CAMARA CANCION FOLKLORICA 358 FOLKLORE Página 1 POR SUBGENERO LISTADO DE GENEROS AUTORIZADOS ACTUALIZADO AL 10 / 10 / 2006 SUBGENERO CODIGO GENERO CANCION INDIA 643 FOLKLORE CANCION INFANTIL 407 SINFONICO Y CAMARA CANCION MAPUCHE 642 FOLKLORE CANDOMBE 1 POPULAR CANON 408 SINFONICO Y CAMARA CANTATA 409 SINFONICO Y CAMARA CANTE JONDO 511 INTERNACIONAL CANZONETTA 109 MELODICO CAPRICCIO 410 SINFONICO Y CAMARA CARAMBA 304 FOLKLORE CARNAVAL 348 FOLKLORE CARNAVALITO
    [Show full text]
  • Traditional Dances PARTNERS
    The Treasuere Chest and ICT or ICT in Reading and Writing May 26, 2015 Traditional Dances PARTNERS: BULGARIA The Treasuere Chest and ICT or ICT in Reading and Writing Професионална гимназия по транспорт-РазлогVocational High School of Transport -Razlog Issue 1 LATVIA Rezekne Polish State Gymnasium What is Inside? POLAND This leaflet is designed They visited I ZESPOL SZKOL IM ST.STASZICA WE WSCHOWIE for outputs of the libraries and used TURKEY Project “The treasure catalogues for AVCILAR TICARET MESLEK LISESI Chest and ICT or ICT searching in Reading and information. HUNGARY Writing”. Also they met eldery Hunyadi János Grammar School, Technical School and Students'Hostel In this leaflet, there people to ask for ESTONIA are 3 dances from each infomration. In This Issue: Peetri Lasteaed-Põhikool country , and their In this leaflet, we description. put 3 of them from ROMANIA Students looked for each country. LICEUL TEHNOLOGIC COSTESTI interesting folk dances All the dances and Hungary 2 from the local places their English form 18 or 21 century. description can be Latvia 5 About The Project The treasure chest and ICT and they don’t want to write scenario for Common or ICT in reading and essays or to create their European celebration – the Estonia 8 writing is faced towards the own short texts. They just past and nowadays students aged 16-19. The copy them from Internet. traditions. Students will main purpose of the project use their creativity and ICT communication has is to combine “old – imaginations and new re p la ce d the di re ct Romania 11 fashioned reading and knowledge.
    [Show full text]