A Short Course in International Folk Dance, Harry Khamis, 1994

Table of Contents Preface .......................................... i Recommended Reading/Music ........................iii Terminology and Abbreviations .................... iv Basic Ethnic Dance Steps ......................... v <ul style="display: flex;"><li style="flex:1">Dances </li><li style="flex:1">Page </li></ul>At Va'ani ........................................ 1 Ba'pardess Leyad Hoshoket ........................ 1 Biserka .......................................... 2 Black Earth Circle ............................... 2 Christchurch Bells ............................... 3 Cocek ............................................ 3 For a Birthday ................................... 3 Hora (Romanian) .................................. 4 Hora ca la Caval ................................. 4 Hora de la Botosani .............................. 4 Hora de la Munte ................................. 5 Hora Dreapta ..................................... 6 Hora Fetalor ..................................... 6 Horehronsky Czardas .............................. 6 Horovod .......................................... 7 Ivanica .......................................... 8 Konyali .......................................... 8 Lesnoto Medley ................................... 8 Mari Mariiko ..................................... 9 Miserlou ......................................... 9 Pata Pata ........................................ 9 Pinosavka ........................................ 10 Setnja ........................................... 10 Sev Acherov Aghcheek ............................. 10 Sitno Zensko Horo ................................ 11 Somogyi Karikazo ................................. 12 Stara Vlajna ..................................... 13 Sulam Ya'akov .................................... 13 Swedish Mixer .................................... 13 Syrtos ........................................... 13 Trgnala Rumjana .................................. 14 Trip to Bavaria .................................. 14 Tzadik Katamar ................................... 14 Map of the Balkans ............................... 15 Notes ............................................ 16 A Short Course in International Folk Dance Wright State University, 1994 Preface International Folk Dancing is alive and well in America. This vast and many-faceted activity has never achieved the national attention that disco dancing received in the 1970s or that aerobic dancing received in the 1980s, but there are literally hundreds of folk dance clubs across the country, and they are compiled in a listing entitled the People's Folk Dance Directory (see page iii). The popularity of folk dance has increased a thousandfold since the early 1930s; the growth of folk dancing is especially noticeable among college students. Ohio ranks among the ten states in the country having the most folk dancers. In Dayton, the Miami Valley Folk Dancers, with 100 members, is the only dance group that has a truly international repertoire. Formed in 1952, it ranks among the oldest recreational folk dance groups still in existence in the country. The cost of attending an evening of folk dance in Dayton is 50 cents, exactly the same price as in 1952! But how did folk dancing develop in this country? The United States, a relatively young country, was formed by peoples from every corner of the world. They brought with them their hopes, their dreams, and their unique traditions of religion, food, music, and dance. Those who became interested in these customs of music, arts, and dance gave rise to the Folk Dance Movement of the twentieth century. The pioneers of this movement (1900 - 1930) included Elizabeth Burchenal (founder of the American Folk Dance Society), Mary Wood Hinman (leader of Chicago's Hull House and the New School for Social Research in New York City), Vyts Beliajus (editor of Viltis Magazine, and the very first workshop teacher for the Miami Valley Folk Dancers in 1952), and Anatol Joukowsky (former ballet master of the Yugoslavian State Theatre). In the period 1930 - 1960, the growth of international folk dance in the form of festivals, clubs, classes, workshops, and camps was promoted by such individuals as Mary Ann and Michael Herman, Jane Farwell, and Richard Crum. In particular, the nonpartner dances of the Balkans became increasingly popular in the late '40s and '50s. At the same time, Israeli dance was growing in popularity through the efforts of Dvora Lapson and others. The period 1960 - 1990 saw a flood of records, tapes, choreographers and teachers. The newer material appealed to the young and to the counterculture movement of the '60s and '70s. As a result of the growing dance offerings, many folk dancers in the 1980s began to specialize in particular ethnic areas: Scandinavian, Hungarian, Scottish, English, Israeli, etc. The iA Short Course in International Folk Dance Wright State University, 1994 organized international movement lost many of its dancers, attendance declined, and the population aged. Nevertheless, today there are innumerable folk dance workshops, camps, and festivals offered throughout the year. Enough history! Let's talk about why you should become involved in folk dancing. International folk dancing is an invitation and opportunity for you to learn more about your foreign neighbors, to understand their customs and beliefs, and to learn about their history and geography. The richness and diversity of the musical rhythms, melodies, dance patterns and formations is enormous, providing you with a lifetime hobby. Folk dancing promotes positive social, physical and psychological values. Socially, folk dancing provides you with a cosmopolitan atmosphere in which you can meet and interact with other people while learning about the cultures of other countries. Physically, folk dancing helps you to develop rhythm, neuromuscular coordination and balance and, if done on a regular basis, it can contribute to your overall physical fitness. Psychologically, folk dancing affords you the satisfaction of achievement and the enjoyment of learning new skills and techniques in an interactive group activity. In summary, folk dancing is one of the few activities that is physically, intellectually and culturally stimulating while being great fun at the same time! Happy dancing!! References Casey, Bette, International Folk Dancing U.S.A., 1981. Heenan, Denis, "A Brief History of the USA Folk Dance," Viltis, Vol. 51, No. 1, 8-10, 1992. Jensen, Mary Bee and Jensen, Clayne R., Folk Dancing, 1973. Khamis, H. J., "International Folk Dance as a College Course," Viltis, Vol. 51, No. 4, 4-5, 1992. ii A Short Course in International Folk Dance Wright State University, 1994 Recommended Reading/Music There are several good publications on International Folk Dancing. A few of these follow: The 1987/1988 Folk Dance Problem Solver by Ron Huston 2100 Rio Grande, Austin, TX 78705 European Folk Dance (1955) by Joan Lawson Imperial Society of Teachers of Dancing 70 Gloucester Place, London, W1H 4AJ Folk Dancing (1973) by Mary Bee Jensen and Clayne R. Jensen Brigham Young University Press International Folk Dance at a Glance (1979) by Cecile Gilbert Burgess (Publ.), Minneapolis, MN International Folk Dancing U.S.A. (1981) by Betty Casey Doubleday & Co., Inc., New York People's Folk Dance Directory (1988) P. O. Box 8575 Austin, TX 78712 There are several places that you can write to in order to inquire about obtaining ethnic dance music, as well as other things such as costumes, accessories, etc. Here are a few: <ul style="display: flex;"><li style="flex:1">Festival Records </li><li style="flex:1">The Folk Motif </li></ul>2752 E. Broadway Long Beach, CA 90803 Phone: (213) 439-7380 2773 West Pico Boulevard Los Angeles, CA 90006 Phone: (213) 737-3500 Ed Kremer's Folk Showplace 155 Turk Street San Francisco, CA 94102 Jane Farwell Folklore Village Dodgeville, WI 53533 <ul style="display: flex;"><li style="flex:1">Phone: (608) 924-3725 </li><li style="flex:1">Phone: (415) 775-3444 </li></ul>Joan Amsterdam International Folk Rhythms, Ltd. P. O. Box 1402 Dance Record Distributors P. O. Box 404 Florham Park, NJ 07932 <ul style="display: flex;"><li style="flex:1">Phone: (201) 377-1885 </li><li style="flex:1">Northbrook, IL 60065 </li></ul>Phone: (708) 564-2880 iii A Short Course in International Folk Dance Wright State University, 1994 Terminology and Abbreviations step leap Put full weight on foot, shift weight Shift weight in the air, from one foot to the other <ul style="display: flex;"><li style="flex:1">R</li><li style="flex:1">Right </li></ul><ul style="display: flex;"><li style="flex:1">L</li><li style="flex:1">Left </li></ul><ul style="display: flex;"><li style="flex:1">C</li><li style="flex:1">Center </li></ul><ul style="display: flex;"><li style="flex:1">fwd </li><li style="flex:1">Forward </li></ul><ul style="display: flex;"><li style="flex:1">twd </li><li style="flex:1">Toward </li></ul><ul style="display: flex;"><li style="flex:1">bwd </li><li style="flex:1">Backward </li></ul>Clockwise Counter-clockwise CW CCW <ul style="display: flex;"><li style="flex:1">step-bend </li><li style="flex:1">Step on foot (count 1), bend knee of </li></ul>the same foot; also lift the other foot off the floor (count 2) step-hop hop-step Step on foot and hop on the same (2 counts) Hop on one foot, then step on the other foot (2 counts) LOD RLOD M Line of direction Reverse line of direction Man <ul style="display: flex;"><li style="flex:1">W</li><li style="flex:1">Woman </li></ul>iv A Short Course in International Folk Dance Wright State University, 1994 Basic Ethnic Dance Steps Balance Step on R, step L beside R, step R beside L. The next step begins with a step on the L. The rhythm of this step is quick-quick, slow. This step is danced on the balls of the feet and may be taken in any direction, and on either foot. Cifra Leap to R on R (count 1), step L behind R (count &), step on R in place (count 2). Same step to L. Can be done with stamps, or in other directions. Common step in Hungarian dances. Czardas To the L: step L to the L, close with R. To the R: step R to the right, close with L. This step has many variations in direction and pattern; it is done with flexible knees. Common step in Hungarian and Czechoslovakian dances. Debka Jump with feet together and turn knees to left side; jump again and bring knees to original position (two counts). Common step in Israeli dances. Drmes Fall onto L, bending L knee and raising R just off the floor. Bounce on both feet twice so that the entire body moves up and down. Repeat with opposite footwork. The rhythm of this step is slow, quick-quick. Common step in Croatian dances. Grapevine To the L: step L to the L, step R across in front of L, step L to the L, step R behind L. Body turns easily on crossing step. A grapevine step to the R is done with opposite footwork and direction. Kolo-three Fall onto R, bending R knee slightly; step on L in place, step on R in place. Done with subtle movements and with feet close to the ground. The rhythm of this step is slow, quick-quick. Lesnoto Moving in LOD, step R; lift L to cross in front of R, lifting R heel slightly off floor and down again; step L. Facing C, step R, lift L, with bent knee, bouncing very slightly twice with R knee. Step L in place, lift R, with bent knee, bouncing very slightly twice with left knee. The rhythm of this step is slow, quickquick. Common step in Bulgarian and Macedonian dances. vA Short Course in International Folk Dance Wright State University, 1994 Mayim R crosses in front of L, L to L side, R crosses behind L, L to L side (four counts). Similar to grapevine step. 3/4 Mayim First three steps of mayim (see Mayim), hold on fourth count. Pas-de-basque Small leap onto R, step L in front of R, step R in place. Can also start by leaping onto L. Ridas Up-rida to the L: facing diagonally to L, step to L on L rising on ball of L, L toe pointing to the L; step on flat of R foot in front of L, R toe pointing twd C; done with an up-down, smooth motion. Down-rida to the L: facing diagonally L, step on flat of R foot in front of L, R toe pointing twd C; step to left on L rising on ball of L foot, L toe pointing to the L. Skoci Step R to R; hold, bringing L beside R ankle; hop on R, step L behind R. When bringing one foot behind the other, the feet "hug" each other. This step can move to the L by reversing the above footwork and direction. Common step in Serbian dances. Tcherkessia R fwd, L bwd, R bwd, L fwd (four counts). Common step in Israeli dances. Two-step Step fwd with the R (quick), step L beside R (quick), step fwd with the R (slow). Can be done with opposite footwork. Yemenite Yemenite R: step R diagonally back and to the R, step L in place, step R across in front of L, hold. Done with flexible knees. Yemenite L: same as above with oppposite footwork and direction. This step has many variations in style, speed and direction. Common step in Israeli dances. Yemenite-hop Yemenite R (see Yemenite) and instead of the hold at the end of the step, hop on right foot. Can be done to the L with opposite footwork. vi A Short Course in International Folk Dance Wright State University, 1994 At Va'ani -- Israel Formation: circle; hands joined in W-position. Part I. Step L to L; hold; R brushes in front of L; hold; bend left knee; stretch left knee; bend left knee; stretch left knee. Repeat with opposite footwork. Yemenite L; R to R side; L crosses in front of R; R to R side; L crosses in front of R; hold. Step R bwd; close with L; step R fwd; hold. Step L bwd; close with R; step L fwd; hold. Repeat all of the above with opposite footwork. Part II. Step L to L; hold; R crosses in front of L, bend knees; hold. Repeat. Release hands. Step L in place with 1/2 turn to L side; hold; step R in place with 1/2 turn in place to L side. With last two steps complete one full turn; hold; join hands; yemenite L. Repeat all of Part II with opposite footwork. Ba'pardess Leyad Hoshoket -- Israel (In the orange grove near the well) Formation: circle; hands joined in V-position. Part I. Grapevine to R: step R to R; step L across R; step R to R; step L behind R. Step R, L, turning once to R. Repeat the four step grapevine to the R. Step R to R; step L in front of R; step R in place; turning to face RLOD, step L fwd; step R beside L. Grapevine to L: step L; step R across L; step L to L; step R behind L. Step L, R turning once to the left. Repeat the gravpevine to the L. Step L to L; step R in front of L; step L back in place. Step R to R; step L in front of R; step R back in place; step L to L. Part II (hands not joined). Step R to R, snap fingers to R with hands raised head height. Step L to L, snap fingers high to L. Beginning R, take four steps twd C (R, L twd C; R, L turning 1/2 to R), end facing out of circle. Open hands. Sway R, reach twd sky with hands up and palm facing, then lower hands slightly. Sway L, reach twd sky again as in the above. Tcherkessia step: step R fwd; step L in place; step R bwd; step L in place. Arms reach up above head with palms up when stepping fwd; slowly lower arms to side turning palms down when stepping bwd. Repeat all of Part II; end facing C. -1- A Short Course in International Folk Dance Wright State University, 1994 Biserka -- Serbia Formation: line; hands joined in V-position. Rhythm: slow, slow, slow-quick-slow. Facing LOD, take two walking steps starting with R (slow, slow). Continuing in LOD, step R (slow), step L beside R (quick), step R (slow) while turning to face C. Step L twd C (slow), step back on R (slow). Turning to face RLOD, step L (slow), step R beside L (quick), step L (slow) while turning to face LOD to begin the dance again. Black Earth Circle -- Germany (Schwartzerdner Gemeinschaftstanz) Formation: an even number of couples in a circle facing the center joining hands and extending arms. (Designate which two couples will dance together.) Part I. Circle CW beginning with L for 7 measures; change direction by stepping in place on the 8th measure; circle CCW for 7 measures; on the 8th measure, keep inner hands joined with own partner and turn to face the next couple. Part II. Couples facing CW form an arch and walk fwd; couples facing CCW walk fwd under the arch formed by the CW couple. All drop hands, turn half around by facing your own partner, and join other hands. Return to place same way -- this time the other couple forms the arch. Repeat the first measure of this Part, but instead of turning half around, walk fwd twd the oncoming couple; circle half CW with the new couple. Repeat all of this Part from this new position. At the end, all return to their places and join hands in a circle as in the beginning. Part III. M leads W from his right hand to his left hand. At the end of the first measure they are momentarily opposite each other with both hands joined, arms extended, and weight balanced bwd. M step-closestep left bwd (measure 1) and then right fwd (measure 2). W three step left fwd with a half turn L (measure 1) and then R bwd with a half turn L (measure 2). W has shifted one position CW in the circle. Repeat as above 7 more times -- all together there are 8 shifts. End. Circle CW and CCW as in the beginning. On measure 7 of the repetition all three step left fwd twd the C of the circle and on measure 8, counts 1 and 2, finish with a step-close R fwd. -2- A Short Course in International Folk Dance Wright State University, 1994 Christchurch Bells -- England Formation: longways; duple, proper. First M turn second W by R hand (4 measures). First M turn partner by L hand (4 measures). Second M turn first W by L hand (4 measures). Second M turn partner by R hand (4 measures). Circle L, four hands, slipping (4 measures). Clap own hands, partner's right, own, partner's left (2 measures); first couple cast off one place, second couple lead up the middle (2 measures). Cocek -- Serbia/Macedonia Formation: line; hands joined in W-position. Moving diagonally to the R: step fwd on L (count 1), close R to L (count &), step fwd on L (count 2); turn to face C (count &). Small step bwd on R (count 1), small step bwd on L (count 2); still facing C, step R beside L (count 1), step L in place (count &), step R near L (count 2), turn to face slightly R (count &). Notes: this description is schematic, giving only the basic structure of the dance; there are infinite variations in styling and footwork. For a Birthday -- Hungary Formation: individual dancers; hands are on hips. Touch R heel fwd, step on R foot in place (counts 1-2). Repeat to the L. Cifra to the R: leap to the R with R foot, step L behind R, step R in place (quick-quick-slow). Repeat to the L side (cifra to the L). Repeat all of the above. Lift R knee fwd and hit R thigh with R hand; step on R in place and clap hands together. Lift L knee fwd and hit L thigh with L hand; step on L in place and clap hands together. Repeat the above inserting a double or triple clap after hitting the R thigh. Cifra to the R: leap to the R with R foot, step L behind R, step R in place (quick-quick-slow). Repeat to the L side (cifra to the L). Close R foot to the L foot. Open heels and bend knees. Close heels with accent and straighten knees; pause. Repeat the dance from the beginning. -3- A Short Course in International Folk Dance Wright State University, 1994 Hora -- Romania Formation: circle; hands joined in W-position. Step R in LOD (slow), step L in LOD (slow), step R-L-R in LOD (quickquick-slow); step L twd C (slow), step back in place on R (slow). Facing C: step L to L, step R beside L, step L to L (quick-quickslow). Note: "Hora" is a generic label for a class of dances from many different countries (there are Horas from Israel, Turkey, Romania, etc.). Generally, "Hora" means dance or circle. The above Hora is a very basic, simple one from Romania. Hora ca la Caval -- Romania Formation: line, hands joined in W-position. Part I. Basic Hora. Face C; step fwd on L, touch ball of R next to L (no weight); step back on R, touch ball of L next to R (no weight). Step on L to the left, step on R behind L, step on L to the left, touch ball of R next to L (no weight). Facing LOD, step fwd on R, touch ball of L next to R; step fwd on L, touch ball of R next to L; three walking steps in LOD (R-L-R) and pause; end facing C. Repeat this entire pattern. Part II. Travel. Traveling diagonally R, three steps (L-R-L) and pause--on the pause, pivot to face diagonally L. Three steps bwd moving diagonally R (R-L-R). Repeat this entire pattern three more times (it is done a total of four times). Hora de la Botosani -- Romania Formation: circle, hands joined in W-position. Part I. Walk fwd twd C with six steps starting with R and stepping directly in front of standing foot. Step on R to R, step on L next to R, step on R to R. Walk bwd away from C with six steps, starting with L and stepping directly behind the standing foot. Step on L to L, step on R next to L, step on L to L. Repeat. Part II. Grapevine to the L: step on R in front of L, step on L to L, step on R behind L, step on L to L. Crossing steps: step on R in front of L, step on L to L, step on R in front of L, pivot on R to face LOD. Repeat with opposite footwork and direction. Repeat Part II. -4- A Short Course in International Folk Dance Wright State University, 1994 Part III. Seven-step grapevine to the L: step on R in front of L, step on L to L, step on R behind L, step on L to L, step on R in front of L, step on L to L, step on R behind L, hold. Repeat with opposite footwork and direction. Repeat Part III. Part IV. Travel diagonally L fwd: step on R, step on L next to R, step on R. Travel diagonally R fwd: step on L, step on R next to L, step on L. Twd C: step on R in front of L, step on L in front of R, step on R in front of L, kick L fwd. Step bwd on L, step on R next to L, step bwd on L, step bwd on R, step on L next to R, step bwd on R. Step bwd on L, bending knee slightly, step on R toe next to L, step bwd on L, bending knee slightly, step on R toe next to L, step bwd on L, stamp R. Repeat Part IV. Hora de la Munte -- Romania Formation: circle; hands joined in W-position. Part I. Moving twd C, step R, L, R; touch L beside R, step back on L, touch R beside L, step fwd on R, touch L beside R. Repeat with opposite footwork, moving back twd circle of dance. Repeat Part I.

A Short Course in International Folk Dance, Harry Khamis, 1994

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