Tiz Omal
Ak Mag Dagen, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Meter 2/4
Formation: gluglu with arms bent at elbow. No interdigitation.
Styling: close and bouncy
Bar 1 step R to R(1) arms sway to L, close L with weight and a bounce(2); bounce (&)
Bar 2 step R to R(1) arms sway to L, close L NO weight and a bounce(2), bounce (&)
Bar 3 Repeat bar 2 with opp ftwk
Friday, February 29, 2008
Ti Lazias (Tik) Pontic Greek
Ti Lazias (Tik)
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 7/8
Formation: High W position
basic step; feet at shoulder width, knees bent; ball of feet, fall onto both feet, fall again lower (but not too low); heels go to the ground each time, step on to R or L (BOUNCE BOUNCE STEP)
Bar 5, Step LRL into center
Bar 1, do 1 basic L out
Bar 2, do 1 basic R out
Bar 3, do 1 basic L in place
Bar 4, do 1 basic R in place
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 7/8
Formation: High W position
basic step; feet at shoulder width, knees bent; ball of feet, fall onto both feet, fall again lower (but not too low); heels go to the ground each time, step on to R or L (BOUNCE BOUNCE STEP)
Bar 5, Step LRL into center
Bar 1, do 1 basic L out
Bar 2, do 1 basic R out
Bar 3, do 1 basic L in place
Bar 4, do 1 basic R in place
Ters - Pontic Greek
Ters
"opposite" (because it travels to the L)
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 5/8 (2+3)
Formation: W position
Bar 1 Step left to L (Q) ; cross R in front (S), arms up in W position
Bar 2 Repeat bar 1
Bar 3 Repeat bar 1 but in and out instead of traveling to L, arms swing back and forward
Bar 4 Repeat bar 3
"opposite" (because it travels to the L)
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 5/8 (2+3)
Formation: W position
Bar 1 Step left to L (Q) ; cross R in front (S), arms up in W position
Bar 2 Repeat bar 1
Bar 3 Repeat bar 1 but in and out instead of traveling to L, arms swing back and forward
Bar 4 Repeat bar 3
Ta Sarananta Ta Tsaknakia - Greece
Ta Sarananta Ta Tsaknakia
"Forty pieces of kindling"
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis, words transcribed by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: V position
Facing in LOD
Bar 1-2 four running steps RLRL (the first one may be slightly out of the center)
Bar 3 Jump on both (1), pause (2)
Bar 4 Step backwards on L (RLOD), slightly into center (1), Without touching the floor brush R back next to ankle then push it forward (2)
Τα 40 τα τσακνάκια Ta saranta ta tsaknakia
λεϊλιουμ λαϊκο μ' λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Τα 50 τα καβουράκια Ta peninta ta kavurakia
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Της βουλγάρας θυγατέρα Tis vulgara thigatera
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Που θέριζε κουντό κριθάρι Pu therize kunto krithari
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Εσκυψι να δες του δεματι Eskipsi na des tu demati
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
'Εκανε κι του Γιαννακη Ekane kit u Yannaki
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
"Forty pieces of kindling"
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis, words transcribed by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: V position
Facing in LOD
Bar 1-2 four running steps RLRL (the first one may be slightly out of the center)
Bar 3 Jump on both (1), pause (2)
Bar 4 Step backwards on L (RLOD), slightly into center (1), Without touching the floor brush R back next to ankle then push it forward (2)
Τα 40 τα τσακνάκια Ta saranta ta tsaknakia
λεϊλιουμ λαϊκο μ' λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Τα 50 τα καβουράκια Ta peninta ta kavurakia
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Της βουλγάρας θυγατέρα Tis vulgara thigatera
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Που θέριζε κουντό κριθάρι Pu therize kunto krithari
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Εσκυψι να δες του δεματι Eskipsi na des tu demati
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
'Εκανε κι του Γιαννακη Ekane kit u Yannaki
λεϊλιουμ μαϊκο μ΄λείλιουμ Leilium maiko leilium
μαρ βουλγαροπούλα mar voulgaropula
Milon Kokkinon - Pontic Greek
Milon Kokkinon
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis, Transcription of words by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: W position
Bars 1-2 3 walking steps diag right forward into the center (RLR), touch L
Bars 3-4 3 walking steps backwards LRL, touch R arms windshield wiper to L on L, and to center on R.
μήλον κόκκινον είσαι Milon Kokkinon ise
και τιναν΄θα κανείσε Ke tinan tha kanise
Μήλον κόκκινον Milon kokkinon
Έμορφος είσ΄έμορφος Emorfos ise emorfos
τι δεν κ' έχω να λέγω! ti den k'eho na lego
Μήλον κόκκινον Milon kokkinon
Εγώ πα παλικάρτς ε΄μαι Ego pa palikarts ime
το κ΄ρδονπο σ' θα καίγω! to kardopo s tha kego
Μήλον κόκκινον Milon kokkinon
'Εμορφος είσ' έμορφος Emorfos ise emorfos
τι δεν κ' έχω να λέγω! ti den k'eho na lego
Μήλον κόκκινον Milon kokkinon
Να φιλώ σε μαραίνεσαι Na filo se marenese
να δάκω σε τελείσαι! Na dako se telise
Μήλον κόκκινον Milon kokkinon
Αγαπώ είναν κουτσίν Agapo inan kutsin
π'αγαπά την καλατσήν! p'agapa tin kalatsin
Μήλον κόκκινον Milon kokkinon
Κ'επορώ να φερ΄ατέν K'eporo na pertaen
σο οπίτι ΄μ έναν βραδίν so spiti m enan vradin
Μήλον κόκκινον Milon kokkinon
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis, Transcription of words by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: W position
Bars 1-2 3 walking steps diag right forward into the center (RLR), touch L
Bars 3-4 3 walking steps backwards LRL, touch R arms windshield wiper to L on L, and to center on R.
μήλον κόκκινον είσαι Milon Kokkinon ise
και τιναν΄θα κανείσε Ke tinan tha kanise
Μήλον κόκκινον Milon kokkinon
Έμορφος είσ΄έμορφος Emorfos ise emorfos
τι δεν κ' έχω να λέγω! ti den k'eho na lego
Μήλον κόκκινον Milon kokkinon
Εγώ πα παλικάρτς ε΄μαι Ego pa palikarts ime
το κ΄ρδονπο σ' θα καίγω! to kardopo s tha kego
Μήλον κόκκινον Milon kokkinon
'Εμορφος είσ' έμορφος Emorfos ise emorfos
τι δεν κ' έχω να λέγω! ti den k'eho na lego
Μήλον κόκκινον Milon kokkinon
Να φιλώ σε μαραίνεσαι Na filo se marenese
να δάκω σε τελείσαι! Na dako se telise
Μήλον κόκκινον Milon kokkinon
Αγαπώ είναν κουτσίν Agapo inan kutsin
π'αγαπά την καλατσήν! p'agapa tin kalatsin
Μήλον κόκκινον Milon kokkinon
Κ'επορώ να φερ΄ατέν K'eporo na pertaen
σο οπίτι ΄μ έναν βραδίν so spiti m enan vradin
Μήλον κόκκινον Milon kokkinon
Lelim Yar - Pontic Greek
Lelim Yar
Ak Dag maten, Pontos, (Greece)
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: Closed Circle; W position
Variation 1. hands in W position
Bar 1 Facing slight R of center, Step R to R, Cross L in front
Bar 2 Step R to R, facing center. Touch L
Bar 3 Step Back on left touch R.
Variation 2 Swinging Arms
Footwork is the same, but with a bounce after each step. Steps are also larger and more energetic. Arms swing in this variation; Arms go back on first step to R. One forward-back swing per bar
Ak Dag maten, Pontos, (Greece)
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: Closed Circle; W position
Variation 1. hands in W position
Bar 1 Facing slight R of center, Step R to R, Cross L in front
Bar 2 Step R to R, facing center. Touch L
Bar 3 Step Back on left touch R.
Variation 2 Swinging Arms
Footwork is the same, but with a bounce after each step. Steps are also larger and more energetic. Arms swing in this variation; Arms go back on first step to R. One forward-back swing per bar
Kukitsa - Greece
Kukitsa
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Meter 7/8 counted as (QQ)+S
Formation: W position
Bar 1 Step L Forward (QQ), Hop on L (S) Arms swing forward
Bar 2 Step R back (QQ), hop on R (S) Arms swing back
Bar 3-6 Repeat bars 1-2 two more times
Bar 7-8 Two step hops in RLOD (arms swing forward and back)
Bar 9-14 Repeat bars 1-6
Bar 15-16 Two step hops (start crossing L) in LOD.
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Meter 7/8 counted as (QQ)+S
Formation: W position
Bar 1 Step L Forward (QQ), Hop on L (S) Arms swing forward
Bar 2 Step R back (QQ), hop on R (S) Arms swing back
Bar 3-6 Repeat bars 1-2 two more times
Bar 7-8 Two step hops in RLOD (arms swing forward and back)
Bar 9-14 Repeat bars 1-6
Bar 15-16 Two step hops (start crossing L) in LOD.
Intzikiotiko - Greece
Intzikiotiko
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: W position
Bar 1 Stomp R (1), hop R traveling LOD (2)
Bar 2 Step L (1), Hop L traveling LOD (2)
Bar 3 Step R(1), turning to face center, Hop in place (2)
Bar 4 Step L (1), hop R traveling in RLOD (2)
Bar 5 Step R (1), hop R traveling in RLOD (2)
Bar 6 Step L (1), turning to face center. Touch R next to Left (2)
Bar 7 Step R (1), diagonally forward, step back on L (2)
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: W position
Bar 1 Stomp R (1), hop R traveling LOD (2)
Bar 2 Step L (1), Hop L traveling LOD (2)
Bar 3 Step R(1), turning to face center, Hop in place (2)
Bar 4 Step L (1), hop R traveling in RLOD (2)
Bar 5 Step R (1), hop R traveling in RLOD (2)
Bar 6 Step L (1), turning to face center. Touch R next to Left (2)
Bar 7 Step R (1), diagonally forward, step back on L (2)
Fýsouni - Greece
Fysouni
Epirus, Greece
Taught by Kostas Mitsis
Opa in the Desert 2006
Meter 9/8 (QQQS)
Formation: Shoulder Hold
Bar 1 Step RLR in LOD (QQQ) kick L (S)
Bar 2 Step LRL in RLOD (QQQ), Kick R (S) facing center
Bar 3 Facing center,step R to R (Q), kick L (Q), step L to L (Q), kick R (S)
Bar 4 repeat 3with opp ftwork & direction
Variations:
a) can turn CW on 3 steps
b) can also go in and out instead of in LOD
Epirus, Greece
Taught by Kostas Mitsis
Opa in the Desert 2006
Meter 9/8 (QQQS)
Formation: Shoulder Hold
Bar 1 Step RLR in LOD (QQQ) kick L (S)
Bar 2 Step LRL in RLOD (QQQ), Kick R (S) facing center
Bar 3 Facing center,step R to R (Q), kick L (Q), step L to L (Q), kick R (S)
Bar 4 repeat 3with opp ftwork & direction
Variations:
a) can turn CW on 3 steps
b) can also go in and out instead of in LOD
Zaharula - Greece
Zaharula
(Ζαχαρούλα)
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: Κυρίαρχα χορός των Βλαχων που ζούωε στις Σέρρες και στη Βεροια της Μακεδονίας. Έχει μουσικό μέτρο 2/4. Χορεύεται σε ΄λες τισ κοινωνικές εκδηλώσεις. Οφε΄λει την ονομασία του στα λόγια τον ομώνυμου τραγουδιού που εξιστορεί τον έρωτα ενός νέου άντρα για την Ζαχαρούλα. Βέβαια το συγκεκριμένο τραγούδι στην τον Ασπροποτάμου χορεύεται Στα Τρία. Απλα οι βλαχοι που έφθγαν από την Βάση της Πίνδου και μεταφέρθηκαν στη δραστηπιοποιήθηκαν. Ευωοδεύεται μουσικά με ένα και μοναδικό τραγούδι την εω λόγω Ζαχαρούλα.
Yianni did two dances to this music (A) A Sta Tria (with touches instead of lifts, and stepping backwards on the left instead of to the side) and (B) the “backwards” Baidushko below:
The dance is in 2/4. For the backwards Baidushko, this is counted as SS (123)(123) (the music sounds like it’s QQS, treat the QQ as a Slow and the final S as a Quick)
Arms are down in V position
Bar 1 Step forward on R (S), Step back on L (Q)
Bar 2 Repeat bar 1
Bar 3 Step forward on R (S), hop on it
Bars 4-6 repeat bars 1-3 but with opp footwork
Bars 7-9 repeat bars 1-3
Bar 10-13 do three step hops in LOD starting L (step = S, hop = Q). On the last hop turn to face center.
(Ζαχαρούλα)
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: Κυρίαρχα χορός των Βλαχων που ζούωε στις Σέρρες και στη Βεροια της Μακεδονίας. Έχει μουσικό μέτρο 2/4. Χορεύεται σε ΄λες τισ κοινωνικές εκδηλώσεις. Οφε΄λει την ονομασία του στα λόγια τον ομώνυμου τραγουδιού που εξιστορεί τον έρωτα ενός νέου άντρα για την Ζαχαρούλα. Βέβαια το συγκεκριμένο τραγούδι στην τον Ασπροποτάμου χορεύεται Στα Τρία. Απλα οι βλαχοι που έφθγαν από την Βάση της Πίνδου και μεταφέρθηκαν στη δραστηπιοποιήθηκαν. Ευωοδεύεται μουσικά με ένα και μοναδικό τραγούδι την εω λόγω Ζαχαρούλα.
Yianni did two dances to this music (A) A Sta Tria (with touches instead of lifts, and stepping backwards on the left instead of to the side) and (B) the “backwards” Baidushko below:
The dance is in 2/4. For the backwards Baidushko, this is counted as SS (123)(123) (the music sounds like it’s QQS, treat the QQ as a Slow and the final S as a Quick)
Arms are down in V position
Bar 1 Step forward on R (S), Step back on L (Q)
Bar 2 Repeat bar 1
Bar 3 Step forward on R (S), hop on it
Bars 4-6 repeat bars 1-3 but with opp footwork
Bars 7-9 repeat bars 1-3
Bar 10-13 do three step hops in LOD starting L (step = S, hop = Q). On the last hop turn to face center.
Syngathistos (8/4) - Greece
yngathistos 8/4
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: (Συγκαθιστό 8-σημο) Ο χορός χορεύεται στο Παριβόλι Γρεβενών στο Μέτσοβο στην Παναγία, στην Καστανιά Ασπροποτάμου. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζευγαρωτά Χορ. Αρόμ. των 8-σημων χορών. Έχει μουσικό μετρο 8/4. Συνοδεύεται μουσικά με τα τραγούδια - Αηδόνι - Μηλιά - Λεωέντης είσαι μάτια μου, Πάρε τα γκιούμια κι’ έλα κ.α.
Free Style usually done in couples. Hands on hips for women; Men’s arms are out and move around.
Syngathisto in 8, (Συγκαθτιστό 8σημο)
8/4: Start this dance in a circle.
Count
1 čukče on R foot
2 Cross Left in front of R
3 Step R to R
4 Cross L in front of R
5 Bring R next to L,
6 Bend both knees, twist shoulders to left
7-8 Straighten up shoulders twist to R (7), then LR (8)
9-16 Repeat opposite footwork and direction.
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: (Συγκαθιστό 8-σημο) Ο χορός χορεύεται στο Παριβόλι Γρεβενών στο Μέτσοβο στην Παναγία, στην Καστανιά Ασπροποτάμου. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζευγαρωτά Χορ. Αρόμ. των 8-σημων χορών. Έχει μουσικό μετρο 8/4. Συνοδεύεται μουσικά με τα τραγούδια - Αηδόνι - Μηλιά - Λεωέντης είσαι μάτια μου, Πάρε τα γκιούμια κι’ έλα κ.α.
Free Style usually done in couples. Hands on hips for women; Men’s arms are out and move around.
Syngathisto in 8, (Συγκαθτιστό 8σημο)
8/4: Start this dance in a circle.
Count
1 čukče on R foot
2 Cross Left in front of R
3 Step R to R
4 Cross L in front of R
5 Bring R next to L,
6 Bend both knees, twist shoulders to left
7-8 Straighten up shoulders twist to R (7), then LR (8)
9-16 Repeat opposite footwork and direction.
Syngathistos (2/4) - Greece
Syngathiso Gyrsma (2/4)
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary:(Γ’υρισμα Συγκαθιστού) Χορός που χορεύεται πάντα συνοδεντικά μετά τους συγκαθιστούς χορούσς 8σημο και 7-σημο. Χορεύεται ελεύθερα ζευγαρωτά στο χώρο. Στηρίζεται στο Χορ. Δρόμ. μ-μ-Μ. ‘Εχει μουσικό μέτρο 2/4. Συνοδεύεται μουσικά με τα τραγούδια- Λέλε Λάι νΤάντο, Μάρτζινα ντ’αμάρι, Πέρδικα από τα ΓρέΒανά, τασιά, κ.α.)
Dance #3 Lele lai Dado, Gyrisma, (Γύρισμα)
2/4 (counted Q(1)Q(&)S(2); Travel forward around partner in various directions.
Count
Q Step R
Q Step L
S Step R
repeat opposite footwork.
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary:(Γ’υρισμα Συγκαθιστού) Χορός που χορεύεται πάντα συνοδεντικά μετά τους συγκαθιστούς χορούσς 8σημο και 7-σημο. Χορεύεται ελεύθερα ζευγαρωτά στο χώρο. Στηρίζεται στο Χορ. Δρόμ. μ-μ-Μ. ‘Εχει μουσικό μέτρο 2/4. Συνοδεύεται μουσικά με τα τραγούδια- Λέλε Λάι νΤάντο, Μάρτζινα ντ’αμάρι, Πέρδικα από τα ΓρέΒανά, τασιά, κ.α.)
Dance #3 Lele lai Dado, Gyrisma, (Γύρισμα)
2/4 (counted Q(1)Q(&)S(2); Travel forward around partner in various directions.
Count
Q Step R
Q Step L
S Step R
repeat opposite footwork.
Aidoni - Greece
Aidoni
(Αηδονι)
Syngathistos Medley
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: (Συγκαθιστό 8-σημο) Ο χορός χορεύεται στο Παριβόλι Γρεβενών στο Μέτσοβο στην Παναγία, στην Καστανιά Ασπροποτάμου. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζευγαρωτά Χορ. Αρόμ. των 8-σημων χορών. Έχει μουσικό μετρο 8/4. Συνοδεύεται μουσικά με τα τραγούδια - Αηδόνι - Μηλιά - Λεωέντης είσαι μάτια μου, Πάρε τα γκιούμια κι’ έλα κ.α. (Συγκαθιστό 7-συμο) Χορόσ που χορεύεται σχεδόν απ’ όλους τους Βλάχους. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζενγαρωτά ελεύθερα στο χώρο. Στηριζεται στο Χορ. Δρόμ. Μ-μ-μ. ‘Εχει μουσικό μέτρο 7/8. Συνοδεύεται μουσικά με τα τραγούδια Λια Βιτσίνν, Έσταν Βιάρα, Μπαίνω μέσ’ τ’ αμπέλι, Για πάρε για παρε με. κ.α.
Free Style usually done in couples. Hands on hips for women; Men’s arms are out and move around.
Dance #1 Aidoni, Syngathisto in 8, (Συγκαθτιστό 8σημο)
8/4: Start this dance in a circle.
Count
1 čukče on R foot
2 Cross Left in front of R
3 Step R to R
4 Cross L in front of R
5 Bring R next to L,
6 Bend both knees, twist shoulders to left
7-8 Straighten up shoulders twist to R (7), then LR (8)
9-16 Repeat opposite footwork and direction.
Dance #2 Liavitsina, Syngathisto in 7, (Συγκαθτιστό 8σημο)
7/8 (counted SQQ); Move into couples, travel from side to side
Count
& lift on R
S Cross L in front
Q Step R to R
Q Step L back
repeat opposite footwork
(Αηδονι)
Syngathistos Medley
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: (Συγκαθιστό 8-σημο) Ο χορός χορεύεται στο Παριβόλι Γρεβενών στο Μέτσοβο στην Παναγία, στην Καστανιά Ασπροποτάμου. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζευγαρωτά Χορ. Αρόμ. των 8-σημων χορών. Έχει μουσικό μετρο 8/4. Συνοδεύεται μουσικά με τα τραγούδια - Αηδόνι - Μηλιά - Λεωέντης είσαι μάτια μου, Πάρε τα γκιούμια κι’ έλα κ.α. (Συγκαθιστό 7-συμο) Χορόσ που χορεύεται σχεδόν απ’ όλους τους Βλάχους. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζενγαρωτά ελεύθερα στο χώρο. Στηριζεται στο Χορ. Δρόμ. Μ-μ-μ. ‘Εχει μουσικό μέτρο 7/8. Συνοδεύεται μουσικά με τα τραγούδια Λια Βιτσίνν, Έσταν Βιάρα, Μπαίνω μέσ’ τ’ αμπέλι, Για πάρε για παρε με. κ.α.
Free Style usually done in couples. Hands on hips for women; Men’s arms are out and move around.
Dance #1 Aidoni, Syngathisto in 8, (Συγκαθτιστό 8σημο)
8/4: Start this dance in a circle.
Count
1 čukče on R foot
2 Cross Left in front of R
3 Step R to R
4 Cross L in front of R
5 Bring R next to L,
6 Bend both knees, twist shoulders to left
7-8 Straighten up shoulders twist to R (7), then LR (8)
9-16 Repeat opposite footwork and direction.
Dance #2 Liavitsina, Syngathisto in 7, (Συγκαθτιστό 8σημο)
7/8 (counted SQQ); Move into couples, travel from side to side
Count
& lift on R
S Cross L in front
Q Step R to R
Q Step L back
repeat opposite footwork
Syngathistos (7/8) - Greece
Syngathisto in 7/8
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: (Συγκαθιστό 7-συμο) Χορόσ που χορεύεται σχεδόν απ’ όλους τους Βλάχους. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζενγαρωτά ελεύθερα στο χώρο. Στηριζεται στο Χορ. Δρόμ. Μ-μ-μ. ‘Εχει μουσικό μέτρο 7/8. Συνοδεύεται μουσικά με τα τραγούδια Λια Βιτσίνν, Έσταν Βιάρα, Μπαίνω μέσ’ τ’ αμπέλι, Για πάρε για παρε με. κ.α.
Free Style usually done in couples. Hands on hips for women; Men’s arms are out and move around.
Syngathisto in 7, (Συγκαθτιστό 8σημο)
7/8 (counted SQQ); Move into couples, travel from side to side
Count
& lift on R
S Cross L in front
Q Step R to R
Q Step L back
repeat opposite footwork
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
From Dimas Commentary: (Συγκαθιστό 7-συμο) Χορόσ που χορεύεται σχεδόν απ’ όλους τους Βλάχους. Είναι ελεύθερος συγκαθιστός χορός και χορεύεται ζενγαρωτά ελεύθερα στο χώρο. Στηριζεται στο Χορ. Δρόμ. Μ-μ-μ. ‘Εχει μουσικό μέτρο 7/8. Συνοδεύεται μουσικά με τα τραγούδια Λια Βιτσίνν, Έσταν Βιάρα, Μπαίνω μέσ’ τ’ αμπέλι, Για πάρε για παρε με. κ.α.
Free Style usually done in couples. Hands on hips for women; Men’s arms are out and move around.
Syngathisto in 7, (Συγκαθτιστό 8σημο)
7/8 (counted SQQ); Move into couples, travel from side to side
Count
& lift on R
S Cross L in front
Q Step R to R
Q Step L back
repeat opposite footwork
Sta Tria - Greece (Vlach version)
Sta Tria - Slow
(Στα Τρία)
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
Circle: W position
From Dimas Commentary: Χορός όλων Βλάχων ανεξάρτητα με το ποιο μέρος ζούνε. Κατά περιοχές διαφέρουν τα τραγούδια που χρησιμοποιούν στο παραπα΄νω χορό. Κυριαρχούν όμως περισσότερο τα τραγούδια. Παιδιά απ’ την Σαμαρίνα. Πότε θα ‘ρθεί η άνοιξη, Ατσιά κκυτούσσι Βίνιττ, Βαλλιλίτσα στη Βλάχικη γλωσσική διάλεκτο. Το συγκεκριμένο χορό οι Βλαχοι τον χορεύουν με τραγούδια που στηρίζονται στο μουσικό μέτρο 4/4. Αυτό συμβαίνει γιατί εκφράζονται χορευτικά κυρίως με μακρόσυρτους χορούς. Ο παραπάνω χορός χορεύεται σε όλες τις κοινωνικές εκδηλώσεις με μικρές παραλλεγές κατά περιοχές.
This can either be done in 7/8 (S = 123, Q=45, Q=67) or 2/4 (S=12, Q=1, Q=2) or 4/4 (S=12, Q=3, Q=4)
It is essentially the Greek Lesnoto.
The Dance
Bar 1 Step R to R (S), lift Left Leg up (women touch) (Q), bounce men extend L into slight kick (Q)
Bar 2 Repeat Bar 1 with opp ftwork and direction.
Bar 3 Step R to R (S), Cross Left over R (QQ)
(Στα Τρία)
Vlach Dance from Northern Greece
Notes by Andrew Carnie, October 31, 2005; based on teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson.
Circle: W position
From Dimas Commentary: Χορός όλων Βλάχων ανεξάρτητα με το ποιο μέρος ζούνε. Κατά περιοχές διαφέρουν τα τραγούδια που χρησιμοποιούν στο παραπα΄νω χορό. Κυριαρχούν όμως περισσότερο τα τραγούδια. Παιδιά απ’ την Σαμαρίνα. Πότε θα ‘ρθεί η άνοιξη, Ατσιά κκυτούσσι Βίνιττ, Βαλλιλίτσα στη Βλάχικη γλωσσική διάλεκτο. Το συγκεκριμένο χορό οι Βλαχοι τον χορεύουν με τραγούδια που στηρίζονται στο μουσικό μέτρο 4/4. Αυτό συμβαίνει γιατί εκφράζονται χορευτικά κυρίως με μακρόσυρτους χορούς. Ο παραπάνω χορός χορεύεται σε όλες τις κοινωνικές εκδηλώσεις με μικρές παραλλεγές κατά περιοχές.
This can either be done in 7/8 (S = 123, Q=45, Q=67) or 2/4 (S=12, Q=1, Q=2) or 4/4 (S=12, Q=3, Q=4)
It is essentially the Greek Lesnoto.
The Dance
Bar 1 Step R to R (S), lift Left Leg up (women touch) (Q), bounce men extend L into slight kick (Q)
Bar 2 Repeat Bar 1 with opp ftwork and direction.
Bar 3 Step R to R (S), Cross Left over R (QQ)
Kknikk - Greece
Kknikk
Κκνικκ
Vlach Style-Greece
Notes by Andrew Carnie October 31, 2005, based on the teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson Arizona.
This is a Sta Dyo variant.
Pronounced Khih nikh /xnɪx/
Facing Center, hands in V position
From Dimas Commentary: “Χορός από το Περιβόλι Γρεβενών. Στηρίζεται στο Χορ. Δρόμ. Στα Δύο, ΄Εχει μουσικό μέτρο 4/4. Ηορεύεται μία φορά το χρόνο στο ετήσιο πανηγύρι της Αγίας Παρασκενής 26 Ιουλιου, στη θέση κκνικκ απ’ όπου οφείλει και την ονομασία του. Συωοδεύεται μουσικά με ένα και μοναδικό οργανικό σκοπό. Ο Χορος του συμμετεχουν στον χορός. Όλοι οι Περιβολιώτες θεωπούν ότι πρέπει ωα κοινότητα “Εδώ κυριαρχεί το συλλογικό εμείς και όχι το ατομικό εγώ¨ Στο Κοινοτικόχορό του κκωικκ έχουν συμμετάσχει κατα το παρελθόν στον ιδιο χορεντικό κύκλο πάνω από χίλια άτομα. Αυτός ο χορός είναι ο τρανός χορός των βλάχων.”
4/4 Rhythm
Bar 1 Touch R to R as if to step on it (1) Shift weight to R (2) Cross L in front of R (3) Step R to R (4)
Bar 2 Touch L in front of L as if to step on it (1) Shift weight to L (2) Step R to R (3) Cross Left in front of R (4)
Κκνικκ
Vlach Style-Greece
Notes by Andrew Carnie October 31, 2005, based on the teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson Arizona.
This is a Sta Dyo variant.
Pronounced Khih nikh /xnɪx/
Facing Center, hands in V position
From Dimas Commentary: “Χορός από το Περιβόλι Γρεβενών. Στηρίζεται στο Χορ. Δρόμ. Στα Δύο, ΄Εχει μουσικό μέτρο 4/4. Ηορεύεται μία φορά το χρόνο στο ετήσιο πανηγύρι της Αγίας Παρασκενής 26 Ιουλιου, στη θέση κκνικκ απ’ όπου οφείλει και την ονομασία του. Συωοδεύεται μουσικά με ένα και μοναδικό οργανικό σκοπό. Ο Χορος του συμμετεχουν στον χορός. Όλοι οι Περιβολιώτες θεωπούν ότι πρέπει ωα κοινότητα “Εδώ κυριαρχεί το συλλογικό εμείς και όχι το ατομικό εγώ¨ Στο Κοινοτικόχορό του κκωικκ έχουν συμμετάσχει κατα το παρελθόν στον ιδιο χορεντικό κύκλο πάνω από χίλια άτομα. Αυτός ο χορός είναι ο τρανός χορός των βλάχων.”
4/4 Rhythm
Bar 1 Touch R to R as if to step on it (1) Shift weight to R (2) Cross L in front of R (3) Step R to R (4)
Bar 2 Touch L in front of L as if to step on it (1) Shift weight to L (2) Step R to R (3) Cross Left in front of R (4)
Za Ramo - Macedonia
Za Ramo
Macedonia
Notes by Andrew Carnie
Also Known As: A closely related dance done in 7/8 time is often called “Lesnoto” , in some areas the couple dance sˇota has this as a variant circle dance form. See also the Hora.
Formation: Open Circle, leads to the Right (counter clockwise)
Handhold : W position
Style: Women’s steps are small and low to the ground. Men’s are
Meter 2/4
This is only one variant of the dance Za Ramo, other styles are found.
Bar 1 Step R to R (1), Cross L in front of R (2 )
Bar 2 Step R to R (1), touch L (no weight) next to R (2)
Bar 3 Step L to L (1), touch R (no weight) next to L (2)
Macedonia
Notes by Andrew Carnie
Also Known As: A closely related dance done in 7/8 time is often called “Lesnoto” , in some areas the couple dance sˇota has this as a variant circle dance form. See also the Hora.
Formation: Open Circle, leads to the Right (counter clockwise)
Handhold : W position
Style: Women’s steps are small and low to the ground. Men’s are
Meter 2/4
This is only one variant of the dance Za Ramo, other styles are found.
Bar 1 Step R to R (1), Cross L in front of R (2 )
Bar 2 Step R to R (1), touch L (no weight) next to R (2)
Bar 3 Step L to L (1), touch R (no weight) next to L (2)
Pasxaliatikos (Choro tis rokas) Oi Kakeis Mou oi Synnyfadis - Greece
Pasxaliatiko (Horo tis rokas)-Oi Kakeis Mou oi Synnyfadis
(Πασχαλιατικο-Ηορο τησ Ροκας - Οι κακεές μου οι συννυφαάδες)
Τown of Sisani, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005; based on the teaching of Elias Politis, Opa in the Desert Symposium, Tucson, Arizona
Translation: My Nasty Sisters in law.
From Elias Politis’ commentary on the dances: “This is an Easter party song tied to the Roka folk traditions which focuses its satirical nature on the actions of the lazy and unkempt woman” (Πασχαλιατικο τραγούδι από το έθιμο τηχ ροκας. Με αυτό σατιριζουν τη ακαματισσα και ανεπρόκοπη γυναίκα.)
Formation: hands in V position
The Dance: (Honestly my notes on this dance are a little murky so this may be wrong)
Bar 1 Step L in front of R (S) Step R to R (Q)
Bar 2-9 Repeat bar 1
with fast music Stand, clap and bow.
Words (From Ellias's handout)
Οι Κακιες Μου οι Συννυφαδις
Οι Κακίεσ μου οι συννυφάδις που μου λένι δε δουλεύου
- που μου λένι δε δεουλεύου - μπο μπο τι έπαθα
Ιγώ δουλεύου παπδουλεύου πέντι μήνις έξι αδράχτια
- πέντι μήνις έξι αδράχτια - μπο μπο τι έπαθα
Πέντι μήνις έξι αδράχτια - πότι τα ‘γνισα η πλατώνα μ’
- πότι τα ‘γνισα η πλατώνα μ’ - μπο μπο τι έπαθα
Κι ΄βγαλα ένα κουβαράκι ίσια μ΄ ένα καρυδάκι
-ισιά μ’ένα καρυδάκι - μπο μπο τι έπαθα
Ιέβαλα να του ιδιάσου μες στης γάτας τα πουδάρια
- μες στης γάτας τα πουδάρια - μπο μπο τι έπαθ
Παίρνει η γάτα του κουβάρι κι του τρύτουσι στου ντ’βάρι
- κι του τρύτουσι στου ντ’βάρι- μπο μπο τι έπαθ
Βλέπει η γάτα του πουντίκι κι αφήνει του κουβάρι
- Κι αφήνει του κουβάρι- μπο μπο τι έπαθ
Άιντι μαύρι νοικουκύρη να χαλάσουμι του ντ’Βαρι
- να χαλάσουμι του ντ’Βαρι -μπο μπο τι έπαθ
Να χαλάσουμι του ντ’βάρι - για να βρούμι του κουβάρι
- για να βρούμι του κουβάρι -μπο μπο τι έπαθ
(Πασχαλιατικο-Ηορο τησ Ροκας - Οι κακεές μου οι συννυφαάδες)
Τown of Sisani, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005; based on the teaching of Elias Politis, Opa in the Desert Symposium, Tucson, Arizona
Translation: My Nasty Sisters in law.
From Elias Politis’ commentary on the dances: “This is an Easter party song tied to the Roka folk traditions which focuses its satirical nature on the actions of the lazy and unkempt woman” (Πασχαλιατικο τραγούδι από το έθιμο τηχ ροκας. Με αυτό σατιριζουν τη ακαματισσα και ανεπρόκοπη γυναίκα.)
Formation: hands in V position
The Dance: (Honestly my notes on this dance are a little murky so this may be wrong)
Bar 1 Step L in front of R (S) Step R to R (Q)
Bar 2-9 Repeat bar 1
with fast music Stand, clap and bow.
Words (From Ellias's handout)
Οι Κακιες Μου οι Συννυφαδις
Οι Κακίεσ μου οι συννυφάδις που μου λένι δε δουλεύου
- που μου λένι δε δεουλεύου - μπο μπο τι έπαθα
Ιγώ δουλεύου παπδουλεύου πέντι μήνις έξι αδράχτια
- πέντι μήνις έξι αδράχτια - μπο μπο τι έπαθα
Πέντι μήνις έξι αδράχτια - πότι τα ‘γνισα η πλατώνα μ’
- πότι τα ‘γνισα η πλατώνα μ’ - μπο μπο τι έπαθα
Κι ΄βγαλα ένα κουβαράκι ίσια μ΄ ένα καρυδάκι
-ισιά μ’ένα καρυδάκι - μπο μπο τι έπαθα
Ιέβαλα να του ιδιάσου μες στης γάτας τα πουδάρια
- μες στης γάτας τα πουδάρια - μπο μπο τι έπαθ
Παίρνει η γάτα του κουβάρι κι του τρύτουσι στου ντ’βάρι
- κι του τρύτουσι στου ντ’βάρι- μπο μπο τι έπαθ
Βλέπει η γάτα του πουντίκι κι αφήνει του κουβάρι
- Κι αφήνει του κουβάρι- μπο μπο τι έπαθ
Άιντι μαύρι νοικουκύρη να χαλάσουμι του ντ’Βαρι
- να χαλάσουμι του ντ’Βαρι -μπο μπο τι έπαθ
Να χαλάσουμι του ντ’βάρι - για να βρούμι του κουβάρι
- για να βρούμι του κουβάρι -μπο μπο τι έπαθ
Nitsa Nitsa Koukounítsa - Greece
Nitsa Nitsa Koukounítsa
Νίτσα Νίτσα Κουκουνίτσα
Siatista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005, based on instruction by Elias Politis, Opa In the Desert Dance Symposium, Tucson, Arizona.
From Elias Politis commentary: “This is a satirical song of a carnival nature that is part of many parties the year around and is danced by like Skorpios dance or as a slow drawling dance.” (Σκωπτικό τραγούδι κυρίως αποκριάτικο που το συναντάμε όμως και στα διάφορα γλέντια. Χορεύεταισαν σκόρπιος ή και σαν συρτός)
Formation. Starts as a circle, no hands (use Greek “free arms”: women’s hands on hips, men’s hands up and out at shoulder level), eventually becomes free style dancing with others in the group (couples)
7/8 time (SQQ)
The Dance:
Bar 1 Lift on L (čukče) followed by a long step on R (S), step two smaller steps R, L (QQ). Direction of steps really doesn’t matter, but is usually going forward.
Bar 2 Repeat bar 1 opp. ftwk.
Νίτσα Νίτσα Κουκουνίτσα
Siatista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005, based on instruction by Elias Politis, Opa In the Desert Dance Symposium, Tucson, Arizona.
From Elias Politis commentary: “This is a satirical song of a carnival nature that is part of many parties the year around and is danced by like Skorpios dance or as a slow drawling dance.” (Σκωπτικό τραγούδι κυρίως αποκριάτικο που το συναντάμε όμως και στα διάφορα γλέντια. Χορεύεταισαν σκόρπιος ή και σαν συρτός)
Formation. Starts as a circle, no hands (use Greek “free arms”: women’s hands on hips, men’s hands up and out at shoulder level), eventually becomes free style dancing with others in the group (couples)
7/8 time (SQQ)
The Dance:
Bar 1 Lift on L (čukče) followed by a long step on R (S), step two smaller steps R, L (QQ). Direction of steps really doesn’t matter, but is usually going forward.
Bar 2 Repeat bar 1 opp. ftwk.
Nikolos - Greece
Nikolos
(Νικολός)
Town of Siatista, Kozani Prefecture, Macedonia, Greece
Pronounciation: Nee Koh LOHs /nikolos/
Notes by Andrew Carnie, October 29, 2005, as taught by Elias Politis, Opa in the Desert Symposium, Tucson Arizona.
From Elias Politis’ comments on the Dance “This is a Carnival tune of the Siatista area in 7/8 and 4/4 time). in times past, this song was performed and danced to by women on Grand Carnival Sunday. The theme of the song was considered to have exceeded the morality boundaries of the local society and thus is characterized as a carnival song” (Αποκριάτικος οκοπός από τη Σιάτιστα σε 7/8 και 2/4. Στο χωριό Γαλατινή χορεύεται το Πάσχα οτο χορό της Ρόκασ, από τις γυναικες. Χαρακτηριοτική ειναι η λαβή των χεριών από τον ώμο κατά το πρώτο μέρος, του χορού, νου αργόσ συρτός.)
There are two parts to the dance. The 7/8 part moves to the right and then to the left, the 2/4 part travels to the right and in and out. Arms are in “Zemer Atik” hold for part 1 (Left hand on own left shoulder, keep elbow in; Right hand on the left hand of the person in front of you. You are in single file facing LOD). Arms drop to V position in part 2.
Dance:
Part 1: 7/8 (SQQ); 5 bar musical phrases
1 Long step R forward in LOD (S), short step L (Q), short step R (Q)
2 Repeat bar 1 with opposite footwork, but continuing LOD
3-4 Repeat bars 1-2
5 Step R forward in LOD (S), Step L forward in LOD (QQ)
6 Repeat bar 1, but on S count turn 180° to face RLOD, don’t Drop hands, R hand comes to sit on own right shoulder.
7-10 repeat bars 2-5, but in RLOD; on last count of bar 10 turn to face center and drop hands to V position
Part 2: 2/4 time; 6 bar musical phrases
1 Facing center, step R to R (1), hop on R, bring free left foot slightly behind Right (2)
2 Step L to L (1), hop on L (2)
3-6 Repeat bars 1-2 two more times
Nikolos Continued:
7 Still facing center step R forward (1), hop on R (2)
8 Step on L backwards (1), hop on L (2)
9-12 Repeat 7-8 two more times.
The dance alternates between parts 1 and parts 2
(Νικολός)
Town of Siatista, Kozani Prefecture, Macedonia, Greece
Pronounciation: Nee Koh LOHs /nikolos/
Notes by Andrew Carnie, October 29, 2005, as taught by Elias Politis, Opa in the Desert Symposium, Tucson Arizona.
From Elias Politis’ comments on the Dance “This is a Carnival tune of the Siatista area in 7/8 and 4/4 time). in times past, this song was performed and danced to by women on Grand Carnival Sunday. The theme of the song was considered to have exceeded the morality boundaries of the local society and thus is characterized as a carnival song” (Αποκριάτικος οκοπός από τη Σιάτιστα σε 7/8 και 2/4. Στο χωριό Γαλατινή χορεύεται το Πάσχα οτο χορό της Ρόκασ, από τις γυναικες. Χαρακτηριοτική ειναι η λαβή των χεριών από τον ώμο κατά το πρώτο μέρος, του χορού, νου αργόσ συρτός.)
There are two parts to the dance. The 7/8 part moves to the right and then to the left, the 2/4 part travels to the right and in and out. Arms are in “Zemer Atik” hold for part 1 (Left hand on own left shoulder, keep elbow in; Right hand on the left hand of the person in front of you. You are in single file facing LOD). Arms drop to V position in part 2.
Dance:
Part 1: 7/8 (SQQ); 5 bar musical phrases
1 Long step R forward in LOD (S), short step L (Q), short step R (Q)
2 Repeat bar 1 with opposite footwork, but continuing LOD
3-4 Repeat bars 1-2
5 Step R forward in LOD (S), Step L forward in LOD (QQ)
6 Repeat bar 1, but on S count turn 180° to face RLOD, don’t Drop hands, R hand comes to sit on own right shoulder.
7-10 repeat bars 2-5, but in RLOD; on last count of bar 10 turn to face center and drop hands to V position
Part 2: 2/4 time; 6 bar musical phrases
1 Facing center, step R to R (1), hop on R, bring free left foot slightly behind Right (2)
2 Step L to L (1), hop on L (2)
3-6 Repeat bars 1-2 two more times
Nikolos Continued:
7 Still facing center step R forward (1), hop on R (2)
8 Step on L backwards (1), hop on L (2)
9-12 Repeat 7-8 two more times.
The dance alternates between parts 1 and parts 2
Maïs - Greece
Maïs
Μάης
(Kozani Prefecture, Town of Vlasti, Macedonia, Greece)
Translation “May”
Pronunciation: Like the English word “mice” /majs/
Taught by Elias Politis, Opa in the Desert Symposium (2005), Tucson Arizona. Notes by Andrew Carnie, October 29, 2005
Style: Generally the style from this region has the shoulders back but tight, the back stiff the head held high (like a Doric Column).
From Elias Politis comments on the dance: “This is a line dance with a fast tempo. The music is purely instrumental and it is danced during the Vlatsiotis parties” (Γρήγορος ουρτός χορος. Οργανικός οκοπός από τη Βλάστη που χορεύεται σε όλα τα γλεντια τωυ Βλατσιωτώυ)
This is a 6 measure Syrto variation.
Time 4/4 Counted S (12) Q (3) Q (4)
Arms are in V position.
The Dance
(Facing Center)
Bar 1 Prep Lift on Left (1), Step R to R (2), Step L behind (3), Step R to R (4); arms are down.
Bar 2 Cross Left in front of R (12), Step R to R (3), Cross Left in front of R (4); arms are down
Bar 3 Step R to R (12), Step L slightly behind R (3), Step R in place (4); arms are dow
Bar 4 Step Left into center, arms come up and straight out parallel to ground (Zombie Arms) (12), step R into center (3), step left in place (that is, out of center) (4)
Bar 5 Step R out of center, arms swing down to V position (12); step Left behind R (3), cross R in front of L (traveling RLOD) (4), body faces slightly left of center
Bar 6 Step L to L (12), cross R in front of L (3), step on L back behind R (i.e. backing up in LOD) (4),
The body turns to face center again on the 2nd beat of bar 1.
(Maïs, continued)
Μάης
(Kozani Prefecture, Town of Vlasti, Macedonia, Greece)
Translation “May”
Pronunciation: Like the English word “mice” /majs/
Taught by Elias Politis, Opa in the Desert Symposium (2005), Tucson Arizona. Notes by Andrew Carnie, October 29, 2005
Style: Generally the style from this region has the shoulders back but tight, the back stiff the head held high (like a Doric Column).
From Elias Politis comments on the dance: “This is a line dance with a fast tempo. The music is purely instrumental and it is danced during the Vlatsiotis parties” (Γρήγορος ουρτός χορος. Οργανικός οκοπός από τη Βλάστη που χορεύεται σε όλα τα γλεντια τωυ Βλατσιωτώυ)
This is a 6 measure Syrto variation.
Time 4/4 Counted S (12) Q (3) Q (4)
Arms are in V position.
The Dance
(Facing Center)
Bar 1 Prep Lift on Left (1), Step R to R (2), Step L behind (3), Step R to R (4); arms are down.
Bar 2 Cross Left in front of R (12), Step R to R (3), Cross Left in front of R (4); arms are down
Bar 3 Step R to R (12), Step L slightly behind R (3), Step R in place (4); arms are dow
Bar 4 Step Left into center, arms come up and straight out parallel to ground (Zombie Arms) (12), step R into center (3), step left in place (that is, out of center) (4)
Bar 5 Step R out of center, arms swing down to V position (12); step Left behind R (3), cross R in front of L (traveling RLOD) (4), body faces slightly left of center
Bar 6 Step L to L (12), cross R in front of L (3), step on L back behind R (i.e. backing up in LOD) (4),
The body turns to face center again on the 2nd beat of bar 1.
(Maïs, continued)
Leonides - Greece
Leonides (Hatziobyros)
Λεωνιδας (Χατζιομπύρος)
Voio, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, Νovember 1, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
Pronunciation: Lee oh nee dess /lionidɛs/
From Elias Politis’ commentary: This song is dedicated to the life and actions of a Klefti (mountain rebel of the Ottoman era) who later lost his popular appeal as he became a brigand. He participated in the 1878 uprising against the Turkish forces for the liberation of Macedonia. For many years Leonidas was the terror of the region bringing suffering to the area, as he conducted raids and burned scores of houses. He was finally killed by the Turks in the mountain area between Vlasti and Siatista. (Τραγούδι που αναφέρεται στο Σαμαριναό κλέφτη που μετά εκφυλιστηκε σε ληοτή. Συμμετείχε οτην εξεγερση του 1878 για την απελευιέρωση της Μακεδονιας μας. Για πολλά χρόνια ο Λεωνιδας υπήρξε ο τρόμος του τόπου, που υπέφερε εξαιτίας του, γιατί ο ίδιος έκανε επιδρομές, και έκαψε πολλά σπίτια. Σκοτώθηκε από τους Τούρκους, στα βουνά μετακύ Βλάστι και Σιατιστας.)
This is a Sta Dyo Variation counted S Q M
Dance:
Part 1 Sta Dhio.
1 Lift on L (&), step on R to R (S), cross left behind (Q) step R to R (M)
2 Lift on R (&) Step on L in front of R (S) step R to R (Q) Step on L in front of R (M)
towards the end of this music, the leader of the woman’s line comes forward and dances up to the leader of the man’s line to form two lines (women’s line in front, man’s line behind). The leaders hold right hands.
Part 2 Gyrsma (QQS)
1 Traveling in LOD step RLR (QQS)
2 Still traveling in LOD step LRL (QQS)
Λεωνιδας (Χατζιομπύρος)
Voio, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, Νovember 1, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
Pronunciation: Lee oh nee dess /lionidɛs/
From Elias Politis’ commentary: This song is dedicated to the life and actions of a Klefti (mountain rebel of the Ottoman era) who later lost his popular appeal as he became a brigand. He participated in the 1878 uprising against the Turkish forces for the liberation of Macedonia. For many years Leonidas was the terror of the region bringing suffering to the area, as he conducted raids and burned scores of houses. He was finally killed by the Turks in the mountain area between Vlasti and Siatista. (Τραγούδι που αναφέρεται στο Σαμαριναό κλέφτη που μετά εκφυλιστηκε σε ληοτή. Συμμετείχε οτην εξεγερση του 1878 για την απελευιέρωση της Μακεδονιας μας. Για πολλά χρόνια ο Λεωνιδας υπήρξε ο τρόμος του τόπου, που υπέφερε εξαιτίας του, γιατί ο ίδιος έκανε επιδρομές, και έκαψε πολλά σπίτια. Σκοτώθηκε από τους Τούρκους, στα βουνά μετακύ Βλάστι και Σιατιστας.)
This is a Sta Dyo Variation counted S Q M
Dance:
Part 1 Sta Dhio.
1 Lift on L (&), step on R to R (S), cross left behind (Q) step R to R (M)
2 Lift on R (&) Step on L in front of R (S) step R to R (Q) Step on L in front of R (M)
towards the end of this music, the leader of the woman’s line comes forward and dances up to the leader of the man’s line to form two lines (women’s line in front, man’s line behind). The leaders hold right hands.
Part 2 Gyrsma (QQS)
1 Traveling in LOD step RLR (QQS)
2 Still traveling in LOD step LRL (QQS)
Enteka - Greece
Enteka-Aivasiliakito
('Εντεκα)
City of Kozani, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005; based on the teaching of Elias Politis, Opa in the Desert Symposium, Tucson, Arizona
Translation: Eleven
Pronunciation: Ehn-tuh-kah /ɛntəka/
From Elias Politis’ commentary on the dances: “This song and dance is known as Enteka in Kozani, while in Siatista it is called Aivasiliakito. This is the quintessential carnival party music song. It sounds like the marriage Patinada song. The music band of the Kozani municipality, which was established in 1902 -- During the Ottoman occupation of the area -- had numbered the sequences of the songs on its music sheets. The national anthem of Greece, the performance of which was illegal in the area, occupied No. 1 on the list. The music sheet with the Aivasiliakito or Skorpios dance was numbered 11, thus the band director called for 11 and that is how it got its name.” (Στην Κοζάνη είναι γνωοτό ως Έντεκα ενώ οτη Σιάτιστα ωςφ ΑϊΣασιλιάτικο. Το κατεζοχήν μουσικό κομμάπ του αποκπιάτικοθ γλεντού. Ακούγεται και σαν πατινάδα στους γάμους. Η μουσική μπάντα του Αήμου Κοζάνης, που ιδρύθηκε ενί τουρκοκρατίας (1902), οτις διάκρορες μουσικές παρτιτούρες της, ειχε αριθμήσει τη σειρά παρουσιασης των τραγουδιών. Ο εθνικός ύμνος, τησ Ελλάδασ, που απαγορευόταν να παίζεται, οτις παρτιτούρες είχε το Νο. 1. Η μουσική παρτιτούρα με το Χορό Σκόρπιο ή Αϊβασιλιάτικο είχε το Νο. 11. Έτςι ο διεθιθντήσ τησ μπάντας Ζητούσε από τους μουσικούς να εκτελούν το μουσικό κομμάτι Νο. 11., και επικράτησε ως χορός Έντεκα.)
Formation: Free style; hands are not joined. Women’s hands are on hips. Men’s are either both up or have one on hip. Men’s hands can change around as they dance.
Rhythm 9/8 counted S(12) S(34) S (56) Q(7) S (89)
The Dance:
Bar 1 Step R forward (S), Step L forward (S), small lift on weight bearing foot (čukče) (S), another čukče (Q) Step forward on R (S). This step weaves to the left.
Bar 2 Repeat Bar 1, continuing in Line of Direction, but with opposite footwork. This step weaves slightly to the Right.
Quicknotes
S S S Q S
1 R L čukče čukče R
2 L R čukče čukče L All steps travel forward.
('Εντεκα)
City of Kozani, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005; based on the teaching of Elias Politis, Opa in the Desert Symposium, Tucson, Arizona
Translation: Eleven
Pronunciation: Ehn-tuh-kah /ɛntəka/
From Elias Politis’ commentary on the dances: “This song and dance is known as Enteka in Kozani, while in Siatista it is called Aivasiliakito. This is the quintessential carnival party music song. It sounds like the marriage Patinada song. The music band of the Kozani municipality, which was established in 1902 -- During the Ottoman occupation of the area -- had numbered the sequences of the songs on its music sheets. The national anthem of Greece, the performance of which was illegal in the area, occupied No. 1 on the list. The music sheet with the Aivasiliakito or Skorpios dance was numbered 11, thus the band director called for 11 and that is how it got its name.” (Στην Κοζάνη είναι γνωοτό ως Έντεκα ενώ οτη Σιάτιστα ωςφ ΑϊΣασιλιάτικο. Το κατεζοχήν μουσικό κομμάπ του αποκπιάτικοθ γλεντού. Ακούγεται και σαν πατινάδα στους γάμους. Η μουσική μπάντα του Αήμου Κοζάνης, που ιδρύθηκε ενί τουρκοκρατίας (1902), οτις διάκρορες μουσικές παρτιτούρες της, ειχε αριθμήσει τη σειρά παρουσιασης των τραγουδιών. Ο εθνικός ύμνος, τησ Ελλάδασ, που απαγορευόταν να παίζεται, οτις παρτιτούρες είχε το Νο. 1. Η μουσική παρτιτούρα με το Χορό Σκόρπιο ή Αϊβασιλιάτικο είχε το Νο. 11. Έτςι ο διεθιθντήσ τησ μπάντας Ζητούσε από τους μουσικούς να εκτελούν το μουσικό κομμάτι Νο. 11., και επικράτησε ως χορός Έντεκα.)
Formation: Free style; hands are not joined. Women’s hands are on hips. Men’s are either both up or have one on hip. Men’s hands can change around as they dance.
Rhythm 9/8 counted S(12) S(34) S (56) Q(7) S (89)
The Dance:
Bar 1 Step R forward (S), Step L forward (S), small lift on weight bearing foot (čukče) (S), another čukče (Q) Step forward on R (S). This step weaves to the left.
Bar 2 Repeat Bar 1, continuing in Line of Direction, but with opposite footwork. This step weaves slightly to the Right.
Quicknotes
S S S Q S
1 R L čukče čukče R
2 L R čukče čukče L All steps travel forward.
Circle Sousta - Greece
Circle Sousta From Siatista
Σούστα
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, Νovember 1, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This organic piece of music be played in three differed rhythms: 2/4, ¾, and 4/4. It is danced in all parties and jovial memnts occurring in the area of siatista. (Οργανικός σκρπόσ σε τρία μοθσικά μοτίβα 2/4, ¾ και 4/4. Χορεύεται σε όλα τα γλέντια και τις χαρούμενες οτιγμές στιν περιοχή της Σιάτιστας.)
The dance has 3 parts, a Syrtós, a Waltz time part and a final fast 4/4 QQS part.
Part 1 is done in V position, parts 2 and 3 in shoulder hold.
Dance:
Part 1 Slow 2/4 Syrtós (low to ground, very few skips)
1 hop on L (&) Step R to R (1), Cross L behind (2) Step R to R (&)
2 hop on R (&) Cross L in front (1), Step R to R (2) Cross L in front(&)
3 Step R to R (1) Cross L in front (2) Step back on R (&)
4 Step L to L (1) Cross R in front of L (2) Step back on L (&)
Part 2 Medium 3/4 Shoulder hold, Pas de Basques
1 Leap on to R (1), Cross Left in front (2), Step back on R (3)
2 repeat bar 1 with opp ftwrk and direction
Part 3 Fast 4/4 (counted most easily as QQS), TiTiTas, Shoulder hold
1 Step R in place turning slightly to face diagonal left (2), Step L heel next to right insole (2), Step R in place (34).
2 Repeat bar 1 with opp ftwrk and direction
Σούστα
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, Νovember 1, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This organic piece of music be played in three differed rhythms: 2/4, ¾, and 4/4. It is danced in all parties and jovial memnts occurring in the area of siatista. (Οργανικός σκρπόσ σε τρία μοθσικά μοτίβα 2/4, ¾ και 4/4. Χορεύεται σε όλα τα γλέντια και τις χαρούμενες οτιγμές στιν περιοχή της Σιάτιστας.)
The dance has 3 parts, a Syrtós, a Waltz time part and a final fast 4/4 QQS part.
Part 1 is done in V position, parts 2 and 3 in shoulder hold.
Dance:
Part 1 Slow 2/4 Syrtós (low to ground, very few skips)
1 hop on L (&) Step R to R (1), Cross L behind (2) Step R to R (&)
2 hop on R (&) Cross L in front (1), Step R to R (2) Cross L in front(&)
3 Step R to R (1) Cross L in front (2) Step back on R (&)
4 Step L to L (1) Cross R in front of L (2) Step back on L (&)
Part 2 Medium 3/4 Shoulder hold, Pas de Basques
1 Leap on to R (1), Cross Left in front (2), Step back on R (3)
2 repeat bar 1 with opp ftwrk and direction
Part 3 Fast 4/4 (counted most easily as QQS), TiTiTas, Shoulder hold
1 Step R in place turning slightly to face diagonal left (2), Step L heel next to right insole (2), Step R in place (34).
2 Repeat bar 1 with opp ftwrk and direction
Lotzia-Tasia (nouniatikos) - Greece
Lotzia-Tasia (Nouniatikos)
Λότζια-Τασιά (Νουνιάτικος)
Voio, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, Νovember 1, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This is a dance performed mainly around the Voio area. This orchestral tune initiated the marriage party with the best man leading it, while holding a flag pole decorated with flowers and apples). (Χορός περιοχήσ Βοΐο. Οργανικός σκοπός με τον οποίο ξεκινούσε το γαμήλιο γλέντι, με το νούνο (=Κουμπάρο) να σέρνει πρώτος το χορό, κρατώντας με το δεηι χέρι το φλάμποθρο (=σημαια που το κοντάρι της ήταν συμβολικά στολισμένο με λουλούδια και μήλα.))
There are two parts to the dance a Sta Dhio and a Gyrsma.
Sex segregated line (one circle to start), in part two the leader of the men’s line and the leader of the women’s line take right hands to form two parallel lines
Dance:
Part 1 Sta Dhio -- instead of a lift on count 1, there is an exaggerated hold.
1 Pause with R foot free (1), step on R to R (2), cross left behind (3) step R to R (4)
2 Pause with L foot free (1) Step on L in front of R (2) step R to R (3) Step on L in front of R (4)
towards the end of this music, the leader of the woman’s line comes forward and dances up to the leader of the man’s line to form two lines (women’s line in front, man’s line behind). The leaders hold right hands.
Part 2 Gyrsma (QQS)
1 Traveling in LOD step RLR (QQS)
2 Still traveling in LOD step LRL (QQS)
The dancers can snake down the middle of the two lines and back (leader's holding R hands
Λότζια-Τασιά (Νουνιάτικος)
Voio, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, Νovember 1, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This is a dance performed mainly around the Voio area. This orchestral tune initiated the marriage party with the best man leading it, while holding a flag pole decorated with flowers and apples). (Χορός περιοχήσ Βοΐο. Οργανικός σκοπός με τον οποίο ξεκινούσε το γαμήλιο γλέντι, με το νούνο (=Κουμπάρο) να σέρνει πρώτος το χορό, κρατώντας με το δεηι χέρι το φλάμποθρο (=σημαια που το κοντάρι της ήταν συμβολικά στολισμένο με λουλούδια και μήλα.))
There are two parts to the dance a Sta Dhio and a Gyrsma.
Sex segregated line (one circle to start), in part two the leader of the men’s line and the leader of the women’s line take right hands to form two parallel lines
Dance:
Part 1 Sta Dhio -- instead of a lift on count 1, there is an exaggerated hold.
1 Pause with R foot free (1), step on R to R (2), cross left behind (3) step R to R (4)
2 Pause with L foot free (1) Step on L in front of R (2) step R to R (3) Step on L in front of R (4)
towards the end of this music, the leader of the woman’s line comes forward and dances up to the leader of the man’s line to form two lines (women’s line in front, man’s line behind). The leaders hold right hands.
Part 2 Gyrsma (QQS)
1 Traveling in LOD step RLR (QQS)
2 Still traveling in LOD step LRL (QQS)
The dancers can snake down the middle of the two lines and back (leader's holding R hands
Tranos Choros - Greece
Tranos Choros
Τρανός Χορός
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 29, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
Translation: Grand Dance
Pronunciation: Trah nosh Kho ros /tranoʃ xoros/
From Elias Politis’ commentary: This is a traditional folk marriage dance fo the wider Siatista area. In times past, it was the final marriage party dance that was mandatory for all participants to join and was led by the best man. (Eθιμικός χορός τοθ γάμου που χορεύέται στη Σιάτιστα αλλά και στη γόρω περιοχή. Αποτελούσε παλαιότερα το επιοτέγασμα του γάμου με την “θνοχρεεωτική” Συμμετοχή ΄όλων των καλεσμένων κα επικεφαλής τον νούνο (κουμπάρο))
Meter - ¾ but listen to the Tupan it always falls on count 1
Hands: “Moj Maro Moj Marino” hands. Left hand held bent at elbow, forearm parallel to floor, palm up. Right arm goes under neighbor’s left and rests on top of his/her forearm.
Dance:
Men’s Styling
1 Cross L (1), Touch R next to left (2,3)
2 Step R backwards (1), Touch L next to R (2,3)
Women’s Styling
1 Cross L (1),Step R (2), L(3) in place
2 Step R backwards (1), Step R (2), L (3) in place
Τρανός Χορός
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 29, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
Translation: Grand Dance
Pronunciation: Trah nosh Kho ros /tranoʃ xoros/
From Elias Politis’ commentary: This is a traditional folk marriage dance fo the wider Siatista area. In times past, it was the final marriage party dance that was mandatory for all participants to join and was led by the best man. (Eθιμικός χορός τοθ γάμου που χορεύέται στη Σιάτιστα αλλά και στη γόρω περιοχή. Αποτελούσε παλαιότερα το επιοτέγασμα του γάμου με την “θνοχρεεωτική” Συμμετοχή ΄όλων των καλεσμένων κα επικεφαλής τον νούνο (κουμπάρο))
Meter - ¾ but listen to the Tupan it always falls on count 1
Hands: “Moj Maro Moj Marino” hands. Left hand held bent at elbow, forearm parallel to floor, palm up. Right arm goes under neighbor’s left and rests on top of his/her forearm.
Dance:
Men’s Styling
1 Cross L (1), Touch R next to left (2,3)
2 Step R backwards (1), Touch L next to R (2,3)
Women’s Styling
1 Cross L (1),Step R (2), L(3) in place
2 Step R backwards (1), Step R (2), L (3) in place
Stamoulou - Greece
Stamoulou
Σταμούλου
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 29, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This is a carnival tune of the Siatista area. In times past, this song was performed and danced to by women on Graνδ Carnival Sunday. The theme of the song was considered to have exceeded the morality boundaries of the local society and as such is characterized as a carnival song. (Αποκριάτικος σκοπός από τη Σιατιστα. Παλιότερα Τραγουδιόταν Και Χορεύονταν από γυναικες τυν Κυριακή της Αποκριάς. Το θέμα του τραγουδιού μας παραπέμπει σε ενεισόδιο, που ως συγκεκριμένης κοινωνιας, ώοτε να Χαρακτηριοτεί ως αποκριάτικο.)
Dance:
Part 1 Slow 4/4 Hands in W position
1 Step R to R (1,2), Cross L (3,4)
2 Step R to R (1,2), Touch L in front of R (3,4)
3-4 Repeat 1-2, w/ opp ftwk and direction
5-8 repeat 1-4
Part 2 Fast 4/4 Hands in V position
1 facing LOD, run R (1), L(2), R(3,4)
2 continuing LOD, run L(1), R(2), L(3,4)
3-4 repeat 1-2
5-8 repeat 1-4 in RLOD (These steps can also go in LOD -- leader’s choice)
Σταμούλου
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 29, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This is a carnival tune of the Siatista area. In times past, this song was performed and danced to by women on Graνδ Carnival Sunday. The theme of the song was considered to have exceeded the morality boundaries of the local society and as such is characterized as a carnival song. (Αποκριάτικος σκοπός από τη Σιατιστα. Παλιότερα Τραγουδιόταν Και Χορεύονταν από γυναικες τυν Κυριακή της Αποκριάς. Το θέμα του τραγουδιού μας παραπέμπει σε ενεισόδιο, που ως συγκεκριμένης κοινωνιας, ώοτε να Χαρακτηριοτεί ως αποκριάτικο.)
Dance:
Part 1 Slow 4/4 Hands in W position
1 Step R to R (1,2), Cross L (3,4)
2 Step R to R (1,2), Touch L in front of R (3,4)
3-4 Repeat 1-2, w/ opp ftwk and direction
5-8 repeat 1-4
Part 2 Fast 4/4 Hands in V position
1 facing LOD, run R (1), L(2), R(3,4)
2 continuing LOD, run L(1), R(2), L(3,4)
3-4 repeat 1-2
5-8 repeat 1-4 in RLOD (These steps can also go in LOD -- leader’s choice)
Sta Dyo - Greece
Sta Dhio (Sta Dyo)
Στα Δύο
Vlach Style-Greece
Notes by Andrew Carnie October 31, 2005, based on the teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson Arizona.
Facing Center, hands in V position
4/4 Rhythm
Bar 1 Čukče on L (1) Step R to R (2) Cross L behind of R (3) Step R to R (4)
Bar 2 Čukče on R (1) Cross L in front of R (2) Step R to R (3) Cross L in front of R (4)
Στα Δύο
Vlach Style-Greece
Notes by Andrew Carnie October 31, 2005, based on the teaching of Yianni Dimas, Opa in the Desert Symposium, Tucson Arizona.
Facing Center, hands in V position
4/4 Rhythm
Bar 1 Čukče on L (1) Step R to R (2) Cross L behind of R (3) Step R to R (4)
Bar 2 Čukče on R (1) Cross L in front of R (2) Step R to R (3) Cross L in front of R (4)
Sampaï - Greece
Sampai
Σαμπαϊ
Kozani, Greek Macedonia
Pronounced Sah-bah-ee /sabaji/
Notes by Andrew Carnie, November 1, 2005, based on Elias Politis’ teaching at the Opa in the Desert Symposium. Tucson Arizona.
From Elias Politis’ commentary: “A Free Style dance, performed during all Kozani parties, is the ultimate favorite of the elderly and party connoisseurs.” (Ελεύθερος χορός που χορεύεται σε όλα τα γλέντια των κοζανιτών. Ιδιαίτερα αγανητό στους ηλικιωμένους και στους μερακλήδες).
Carnie’s notes: Politis kept emphasizing that this was not a çiftetelli. The styling clearly is not (body is held stiff, and the emphasis on the first two counts is different), but it obviously belongs in the çiftetelli family.
Free style couple’s dance. men’s hands and slightly forward at shoulder height, women’s hands on hips.
4/4
The Dance
Bar 1 Step with a bent knee on R foot (1), straighten the knee with a čukče (2), Cross L in front of R (3), Step backwards on R (4)
Bar 2 repeat bar 1 opposite footwork.
You are turning as you do the step.
Σαμπαϊ
Kozani, Greek Macedonia
Pronounced Sah-bah-ee /sabaji/
Notes by Andrew Carnie, November 1, 2005, based on Elias Politis’ teaching at the Opa in the Desert Symposium. Tucson Arizona.
From Elias Politis’ commentary: “A Free Style dance, performed during all Kozani parties, is the ultimate favorite of the elderly and party connoisseurs.” (Ελεύθερος χορός που χορεύεται σε όλα τα γλέντια των κοζανιτών. Ιδιαίτερα αγανητό στους ηλικιωμένους και στους μερακλήδες).
Carnie’s notes: Politis kept emphasizing that this was not a çiftetelli. The styling clearly is not (body is held stiff, and the emphasis on the first two counts is different), but it obviously belongs in the çiftetelli family.
Free style couple’s dance. men’s hands and slightly forward at shoulder height, women’s hands on hips.
4/4
The Dance
Bar 1 Step with a bent knee on R foot (1), straighten the knee with a čukče (2), Cross L in front of R (3), Step backwards on R (4)
Bar 2 repeat bar 1 opposite footwork.
You are turning as you do the step.
Nyfiátiko Syrtós Greece
Nyfiatikos Syrtós
Νυφιάτικο Συρτός
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 29, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This is a slow smooth dance with traditional marriage tone. It is a traditional folk tune of marriage parties, danced by the bride in the morning before she is to leave her parental home and then again right after the marriage ceremony. It is encountered throughout the Siatista area. (Αργός συρτός - στρωτός χαρακτηριστική γαμήλια μελωδία. Εθιμικός οργανικόσ σκοπός γάμου, που χορεύεται από τη νύφη το πρωι πριν φύγει από απίτι και κατά το γαμήλιο γλέντι αμέσως μετά τη στέψη. Συναντιέται σε όλη την ευρύτερη περιοχή της Σιάτιστας)
Hands in V position
2/4 Counted S (12) Q (3) Q (4)
Dance:
1 Step R to R (S) Step Left behind (Q) Step R to R (Q)
2 Cross L in front (S) Step R to R (Q) Cross L in front (Q)
3 Step R to R (S) Step Left into center (Q) Step R back (Q)
4 Step L back (S) touch R (QQ)
5 Step R into center (S) Step L into Center (Q) Step R back (Q)
6 Step Left back (S) Touch R (QQ)
Νυφιάτικο Συρτός
Siastista, Kozani Prefecture, Macedonia, Greece
Notes by Andrew Carnie, October 29, 2005; based on Elias Politis teaching. Opa in the Desert Dance Symposium. Tucson Arizona.
From Elias Politis’ commentary: This is a slow smooth dance with traditional marriage tone. It is a traditional folk tune of marriage parties, danced by the bride in the morning before she is to leave her parental home and then again right after the marriage ceremony. It is encountered throughout the Siatista area. (Αργός συρτός - στρωτός χαρακτηριστική γαμήλια μελωδία. Εθιμικός οργανικόσ σκοπός γάμου, που χορεύεται από τη νύφη το πρωι πριν φύγει από απίτι και κατά το γαμήλιο γλέντι αμέσως μετά τη στέψη. Συναντιέται σε όλη την ευρύτερη περιοχή της Σιάτιστας)
Hands in V position
2/4 Counted S (12) Q (3) Q (4)
Dance:
1 Step R to R (S) Step Left behind (Q) Step R to R (Q)
2 Cross L in front (S) Step R to R (Q) Cross L in front (Q)
3 Step R to R (S) Step Left into center (Q) Step R back (Q)
4 Step L back (S) touch R (QQ)
5 Step R into center (S) Step L into Center (Q) Step R back (Q)
6 Step Left back (S) Touch R (QQ)
Diplos Choros - Greece
Diplos Choros
Διπλός Χορός
Τown of Sisani, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005; based on the teaching of Elias Politis, Opa in the Desert Symposium, Tucson, Arizona
Translation: Double Dance.
From Elias Politis’ commentary on the dances: “This is an Easter party song tied to the Roka folk traditions” (Πασχαλιατικο τραγούδι από το έθιμο τηχ ροκας.)
Formation: Two lines: Front line in W position. back line either in hands up (in part 2) or in V position crossed over Front line people’s bodies (part 1)
This is a women’s dance only.
The Dance:
Footwork is the same as Sta Dyo. It is done first in the basket hold, then the back line lifts their arms and it is done in separate lines, then back to the basket (back line dropping hands over front line’s heads). The parts alternate depending upon the verse.
Words:
Διπλός Χουρός - διπλός Χουρός, διπλός Χουρός -ιγένιτι.
Διπλά τραγούδια λέμι γεια σ’κουντούλα σ’χαμαϊδούλα μ’
Διπλά τραγούδια λέμι γεια σ’κουντούλα σ’χαμαϊδούλα μ’
Ενύχτωσε - νεν΄χτωσε, ενύχτωσε - και βράδιασε
πάιδι κι τούτ’ η μέρα γεια σ’κουντούλα μ’χαμαϊδούλα μ’
πάιδι κι τούτ’ η μέρα γεια σ’κουντούλα μ’χαμαϊδούλα μ’
Πάνοθν οι ά - πάνοθν οι ά, πάνοθν οι ά - σπρις για νιρό
κι οι έμορφες να πλένουν γεια σ’κουτούλα μ’χαμαϊδούλα μ’
κι οι έμορφες να πλένουν γεια σ’κουτούλα μ’χαμαϊδούλα μ’
Παίρνου κι γω -παίρνου κι γω παίρνου κι γω - του μαύρου μου
να πάου να τουν πουτίσου γεια σ’κουντουλα μ’μαμαϊδούλα μ’
να πάου να τουν πουτίσου γεια σ’κουντουλα μ’μαμαϊδούλα μ’
Διπλός Χορός
Τown of Sisani, Macedonia, Greece
Notes by Andrew Carnie, October 30, 2005; based on the teaching of Elias Politis, Opa in the Desert Symposium, Tucson, Arizona
Translation: Double Dance.
From Elias Politis’ commentary on the dances: “This is an Easter party song tied to the Roka folk traditions” (Πασχαλιατικο τραγούδι από το έθιμο τηχ ροκας.)
Formation: Two lines: Front line in W position. back line either in hands up (in part 2) or in V position crossed over Front line people’s bodies (part 1)
This is a women’s dance only.
The Dance:
Footwork is the same as Sta Dyo. It is done first in the basket hold, then the back line lifts their arms and it is done in separate lines, then back to the basket (back line dropping hands over front line’s heads). The parts alternate depending upon the verse.
Words:
Διπλός Χουρός - διπλός Χουρός, διπλός Χουρός -ιγένιτι.
Διπλά τραγούδια λέμι γεια σ’κουντούλα σ’χαμαϊδούλα μ’
Διπλά τραγούδια λέμι γεια σ’κουντούλα σ’χαμαϊδούλα μ’
Ενύχτωσε - νεν΄χτωσε, ενύχτωσε - και βράδιασε
πάιδι κι τούτ’ η μέρα γεια σ’κουντούλα μ’χαμαϊδούλα μ’
πάιδι κι τούτ’ η μέρα γεια σ’κουντούλα μ’χαμαϊδούλα μ’
Πάνοθν οι ά - πάνοθν οι ά, πάνοθν οι ά - σπρις για νιρό
κι οι έμορφες να πλένουν γεια σ’κουτούλα μ’χαμαϊδούλα μ’
κι οι έμορφες να πλένουν γεια σ’κουτούλα μ’χαμαϊδούλα μ’
Παίρνου κι γω -παίρνου κι γω παίρνου κι γω - του μαύρου μου
να πάου να τουν πουτίσου γεια σ’κουντουλα μ’μαμαϊδούλα μ’
να πάου να τουν πουτίσου γεια σ’κουντουλα μ’μαμαϊδούλα μ’
Friday, February 22, 2008
Humble Heidi (USA - contra dance)
Humble Heidi
(Contra -- USA)
Choreographed by Andrew Carnie
For Heidi Harley
Double progression
improper minor sets.
A1 Star L 3/4
Allemand L w/ partner on same side
A2 Diagonal L chain to couple on diagonal Left
pass thru across (4)
turn alone pulling left shoulder back (2)
walk one place to R in minor set (2)
B2 L shoulder gypsy w/ shadow on the side
R shoulder gypsy w/ partner on the side
B3 Swing partner on the side
Circle L 3 places with one's opposite (6), and pass thru (2)
(Contra -- USA)
Choreographed by Andrew Carnie
For Heidi Harley
Double progression
improper minor sets.
A1 Star L 3/4
Allemand L w/ partner on same side
A2 Diagonal L chain to couple on diagonal Left
pass thru across (4)
turn alone pulling left shoulder back (2)
walk one place to R in minor set (2)
B2 L shoulder gypsy w/ shadow on the side
R shoulder gypsy w/ partner on the side
B3 Swing partner on the side
Circle L 3 places with one's opposite (6), and pass thru (2)
Halaï (Pontos, Greece)
Halai
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: W position
Bar 1 Touch L (1) bounce gently (&), Touch L (2) bounce gently (&)
Bar 2 Step on L behind R (1) bounce (&), Touch R (2) bounce gently (&)
Bar 3 Touch R (1), bounce (&); Step R to R (2) bounce (&),
Bar 4Cross Left (1) Bounce (&). Step back on R (2) bounce(&)
Ak Mag Dagen Pontos, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: W position
Bar 1 Touch L (1) bounce gently (&), Touch L (2) bounce gently (&)
Bar 2 Step on L behind R (1) bounce (&), Touch R (2) bounce gently (&)
Bar 3 Touch R (1), bounce (&); Step R to R (2) bounce (&),
Bar 4Cross Left (1) Bounce (&). Step back on R (2) bounce(&)
Wednesday, February 20, 2008
Syp Simeon (Russian, Maybe Dutch?)
Syp Simeon
(Russian/Dutch)
Participatory dance for audiences and children
Can be done sitting or standing
Bar 1 4 slaps on knees with both hands
Bar 2 4 claps in front of body
Bar 3 4 “over unders” (palms flat, facing down, R hand over L, cross hands keeping them parallel to the ground, and uncross. Repeat 3 more times)
Bar 4 4 fists (put hands in fists, thumbs up. Bang R fist over L, then L over R, R over L, L over R
Bar 5 2 “fire crackers” (grab R elbow with Left hand (ct 1), push up, making R hand finger open out like an explosion (2), repeat other hand
Bar 6 Make 2 rowing gestures to the Right, followed by 2 to the Left
Bar 7 “Making faces” splay hands, with thumbs pointing towards face. One thumb touching the nose, the other touching side of first hand (1) bring splayed hands to ears (thumbs touching ears) (2), repeat (3,4)
Bar 8 Slapping your hands up and down do 3 claps, followed by sticking hands in the air and say “Hey”
(Russian/Dutch)
Participatory dance for audiences and children
Can be done sitting or standing
Bar 1 4 slaps on knees with both hands
Bar 2 4 claps in front of body
Bar 3 4 “over unders” (palms flat, facing down, R hand over L, cross hands keeping them parallel to the ground, and uncross. Repeat 3 more times)
Bar 4 4 fists (put hands in fists, thumbs up. Bang R fist over L, then L over R, R over L, L over R
Bar 5 2 “fire crackers” (grab R elbow with Left hand (ct 1), push up, making R hand finger open out like an explosion (2), repeat other hand
Bar 6 Make 2 rowing gestures to the Right, followed by 2 to the Left
Bar 7 “Making faces” splay hands, with thumbs pointing towards face. One thumb touching the nose, the other touching side of first hand (1) bring splayed hands to ears (thumbs touching ears) (2), repeat (3,4)
Bar 8 Slapping your hands up and down do 3 claps, followed by sticking hands in the air and say “Hey”
Tuesday, February 19, 2008
Kingston Flyer 8x32 Jig (Scotland)
Kingston Flyer 8j32,
Notes by Andrew Carnie
4 couple sets
Use skip change of step throughout (except swing, where you use a buzz step)
1-8 First 3 ladies, led by first lady, chase around behind the first 3 men, cutting through between 3rd and 4th man to dance back to place.
9-16 First 3 men chase around first 3 ladies.
17-24 First couple down the middle and back
25-32 First couple cast off to bottom, others step up, everyone swing.
Notes by Andrew Carnie
4 couple sets
Use skip change of step throughout (except swing, where you use a buzz step)
1-8 First 3 ladies, led by first lady, chase around behind the first 3 men, cutting through between 3rd and 4th man to dance back to place.
9-16 First 3 men chase around first 3 ladies.
17-24 First couple down the middle and back
25-32 First couple cast off to bottom, others step up, everyone swing.
Baituska (Greece)
Baituska
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Notes by Andrew Carnie
Opa in the Desert 2006
Meter 5/8 (counted Q|S)
Formation: W position
Traveling in RLOD
Bar 1 Hop R (Q) Step L (S); arms swing forward on hop
Bar 2 Hop L (Q) Step R (S), swing arms
Bar 3 Hop R( Q) Step L, swing arms
Bar 4 Cross R in front of L (Q), step back on L (S), swing Arms
Backing up in LOD
Bar 5 Hop L (Q), step R back (S) Arms stay up in W position throughout
Bar 6 repeat 5 opp ftwork this part
Bar 7 step R, L (QS)
Bar 8 hop L step R, arms swing down; Changing Direction to face LOD
Bar 9 cross L in front of R (Q), step R to R (S) (arms swing)
Bar 10 repeat 9
Bar 11 repeat 9
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Notes by Andrew Carnie
Opa in the Desert 2006
Meter 5/8 (counted Q|S)
Formation: W position
Traveling in RLOD
Bar 1 Hop R (Q) Step L (S); arms swing forward on hop
Bar 2 Hop L (Q) Step R (S), swing arms
Bar 3 Hop R( Q) Step L, swing arms
Bar 4 Cross R in front of L (Q), step back on L (S), swing Arms
Backing up in LOD
Bar 5 Hop L (Q), step R back (S) Arms stay up in W position throughout
Bar 6 repeat 5 opp ftwork this part
Bar 7 step R, L (QS)
Bar 8 hop L step R, arms swing down; Changing Direction to face LOD
Bar 9 cross L in front of R (Q), step R to R (S) (arms swing)
Bar 10 repeat 9
Bar 11 repeat 9
Gori More (Serbian Gypsy)
Gori More
Notes by Andrew Carnie, transliteration by someone else (sorry don't know the source)
Music is by Željko Šašić
W-position, face center
Bar 1, Step R to R (1), Cross l in front of R (2), Step R to R (3) pause (4)
Bar 2, step L behind R (1), Step R to R (2), Step L in front of R (3) pause (4)
Bar 3, Step R in front of L, to L (1), Step L to L (2), step R behind L (3) pause (4)
Bar 4, Step L to L (1), Cross R in front of L (2), Step L back in place (3) pause (4)
Gori more
Notes by Andrew Carnie, transliteration by someone else (sorry don't know the source)
Music is by Željko Šašić
W-position, face center
Bar 1, Step R to R (1), Cross l in front of R (2), Step R to R (3) pause (4)
Bar 2, step L behind R (1), Step R to R (2), Step L in front of R (3) pause (4)
Bar 3, Step R in front of L, to L (1), Step L to L (2), step R behind L (3) pause (4)
Bar 4, Step L to L (1), Cross R in front of L (2), Step L back in place (3) pause (4)
Gori more
Gori more tope
гори море топе
se planine
се планине
od lepote tvoje
од лепоте твоје
i tvoje blizine
и твоје близине
Nebo nek nas veže
небо нек нас веже
večnim lancem sreče
вечним лацем среце
nek ne bude nikad
нек не буде никад
kako srce neče
како срце нече
Gori more tope
гори море топе
se planine
се планине
od lepote tvoje
од лепоте твоје
i tvoje blizine
и твоје близине
Nosice nas veruj
Носице нас веруј
zauvek na duši
заувек на души
onaj ko poželi ljubav
онај ко пожели љубав
da nam sruši
да нам сруши
Iz ljubavi ove
Из љубави ове
rodiče se duga
родиче се дуга
da obasja redom
да обасја редом
i sva srca druga
и сва срца друга
Saturday, February 16, 2008
Orta Ana Dolu Oyonu (Turkey)
Orta
(Turkey)
Music: Monitor 403, Kasik Havasi
Notes by Andrew Carnie
Source unknown, but i learned it from Dave Skidmore.
Short lines, interlaced hands, fore-arm to fore-arm, bent at elbows so lower, arms are parallel to floor. Stand very close together.
Bar 1 step on L, shoot R foot forward pointing toe (1) circle R clockwise until next to L (2)
Bar 2 step on R, shoot L forward (1) circle L ccw until next to R
Bar 3 step on L, shoot R forward (1) circle L TWICE cw (2)
Bar 4 step R to R (1) Step L across in front of R (2)
Bar 5 step R accoss in front of L (1) Chug back on R (2)
Bar 6 kick left foot forward pointing toe low to the ground (1) sliding Left back to step on it in place, shoot R foot forward pointing toe low to the ground (2)
Bar 7 stepping on R shoot L foot forward toe low to the ground (1) step L in place (2) step R in place (&)
repeat from beginning
(Turkey)
Music: Monitor 403, Kasik Havasi
Notes by Andrew Carnie
Source unknown, but i learned it from Dave Skidmore.
Short lines, interlaced hands, fore-arm to fore-arm, bent at elbows so lower, arms are parallel to floor. Stand very close together.
Bar 1 step on L, shoot R foot forward pointing toe (1) circle R clockwise until next to L (2)
Bar 2 step on R, shoot L forward (1) circle L ccw until next to R
Bar 3 step on L, shoot R forward (1) circle L TWICE cw (2)
Bar 4 step R to R (1) Step L across in front of R (2)
Bar 5 step R accoss in front of L (1) Chug back on R (2)
Bar 6 kick left foot forward pointing toe low to the ground (1) sliding Left back to step on it in place, shoot R foot forward pointing toe low to the ground (2)
Bar 7 stepping on R shoot L foot forward toe low to the ground (1) step L in place (2) step R in place (&)
repeat from beginning
Friday, February 15, 2008
Ziglos (Greece)
Ziglos
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: V position
Kyriakos taught two different versions of this dance. The first is accented much like a Bulgarian Triti Pâti, the other is accented like a Bulgarian Pajduško. The two versions are not interchangeable.
Version 1. "Triti Pâti"
Bar 1 Fall onto R foot forward; arms swing back (1) step back on L (2)
Bar 2 Hop on L; arms swing forward (1) step R to R (2)
Bar 3-4 repeat 1-2 on opp ftwork, except turning slightly to face RLOD)
Bar 5 Repeat bar 1, but traveling in RLOD, arms swing back
Bar 6 Repeat bar 1, traveling in RLOD, arms swing forward
Version 2 "Paiduško"
Bar 1 Hop on R (1), step on L traveling RLOD. (2)
Bar 2 Repeat 1 opp ftwork
Bar 3 Repeat 1 but ending facing center
Bar 4 Cross R in front of L (1), step back on L (2)
Bar 5 Hop on L (1) step R to R (2)
Bar 6 Cross L in front of R (1), step back on R (2)
arms swing as in version 1
(Bars 3-6 are the pas de bas in this version, it's bars 1-4 in version 1), the starting point is ambiguous.
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie, October 28, 2006
Meter 2/4
Formation: V position
Kyriakos taught two different versions of this dance. The first is accented much like a Bulgarian Triti Pâti, the other is accented like a Bulgarian Pajduško. The two versions are not interchangeable.
Version 1. "Triti Pâti"
Bar 1 Fall onto R foot forward; arms swing back (1) step back on L (2)
Bar 2 Hop on L; arms swing forward (1) step R to R (2)
Bar 3-4 repeat 1-2 on opp ftwork, except turning slightly to face RLOD)
Bar 5 Repeat bar 1, but traveling in RLOD, arms swing back
Bar 6 Repeat bar 1, traveling in RLOD, arms swing forward
Version 2 "Paiduško"
Bar 1 Hop on R (1), step on L traveling RLOD. (2)
Bar 2 Repeat 1 opp ftwork
Bar 3 Repeat 1 but ending facing center
Bar 4 Cross R in front of L (1), step back on L (2)
Bar 5 Hop on L (1) step R to R (2)
Bar 6 Cross L in front of R (1), step back on R (2)
arms swing as in version 1
(Bars 3-6 are the pas de bas in this version, it's bars 1-4 in version 1), the starting point is ambiguous.
Thursday, February 14, 2008
Rezijankas 1 & 2 (Italy/Slovenia)
Rezijankas I & II
From Rezijan, Italy, near the border with Slovenia
Notes by Andrew Carnie, based on MITFDC version. No claims to authenticity are made!
Rezijanka I
The music starts with a chord, start dancing when the actual melody does. Formation: couples, in two lines: men in one, women in the other. The lines face one another.
Music 4/4.
Footwork.
MEN: Slow walking, always starting with the R foot. One step per 2 beats.
for a total of 14 steps (7 bars of music). Then take two quick steps
(1 beat per step) and jump on both feet (1 beat) pause (1 beat)
RL RL RL RL RL RL RL RLB P (B=both, P=pause)
SS SS SS SS SS SS SS QQS (S=slow, Q=Quick)
WOMEN: The woman's foot work is much more complicated, and doesn't fit the phrasing of the music. It comes in sequences of two slow (2 beat) walking steps followed by two quick (1 beat) walking steps. There are a total of 5 of these SSQQ sequences followed by a Jump on both feet and a Pause. Like the man the step always starts on the right foot. The women's foot work sequence crosses over the boundaries of the measures. The key to doing the woman's footwork is to ignore the bars in the music and keep repeating "Slow Slow Quick Quick" to yourself in your head.
|1234|1234|1234|1234|1234|1234|1234|1234|
R L RLR L RL R L RLR L RL R L RLBP (B=both, P=pause)
S S QQS S QQ S S QQS S QQ S S QQS (S=slow, Q=Quick)
The formation: contra lines.
From Rezijan, Italy, near the border with Slovenia
Notes by Andrew Carnie, based on MITFDC version. No claims to authenticity are made!
Rezijanka I
The music starts with a chord, start dancing when the actual melody does. Formation: couples, in two lines: men in one, women in the other. The lines face one another.
Music 4/4.
Footwork.
MEN: Slow walking, always starting with the R foot. One step per 2 beats.
for a total of 14 steps (7 bars of music). Then take two quick steps
(1 beat per step) and jump on both feet (1 beat) pause (1 beat)
RL RL RL RL RL RL RL RLB P (B=both, P=pause)
SS SS SS SS SS SS SS QQS (S=slow, Q=Quick)
WOMEN: The woman's foot work is much more complicated, and doesn't fit the phrasing of the music. It comes in sequences of two slow (2 beat) walking steps followed by two quick (1 beat) walking steps. There are a total of 5 of these SSQQ sequences followed by a Jump on both feet and a Pause. Like the man the step always starts on the right foot. The women's foot work sequence crosses over the boundaries of the measures. The key to doing the woman's footwork is to ignore the bars in the music and keep repeating "Slow Slow Quick Quick" to yourself in your head.
|1234|1234|1234|1234|1234|1234|1234|1234|
R L RLR L RL R L RLR L RL R L RLBP (B=both, P=pause)
S S QQS S QQ S S QQS S QQ S S QQS (S=slow, Q=Quick)
The formation: contra lines.
Bar 1: MEN: starting with the R foot, take two walking steps (SS) turning to your own left (CCW) half way:
WOMEN: starting with the R foot take two slow walking steps (SS) turning to your own right (CW) half way:
WOMEN: starting with the R foot take two slow walking steps (SS) turning to your own right (CW) half way:
Bar 2: MEN: completing the turn to face your partner step R (S), step backwards on L (S)
WOMEN: complete the turn to your R by stepping R (Q), then step quickly backwards on your L (Q), step forwards on your R (S) towards your partner.
WOMEN: complete the turn to your R by stepping R (Q), then step quickly backwards on your L (Q), step forwards on your R (S) towards your partner.
Bar 3: MEN: Leading with your left shoulder take two walking steps (R,L: SS) towards your partner. You will pass them in the middle with your BACK towards them. Look over your L shoulder at them as they pass.
WOMEN: Continue forward towards your partner, step L (S), then leading with the right shoulder take two quick steps forward R,L (QQ), on these two steps you will pass your partner, his back will be toward you, your front faces him. Flirt wildly.
Bar 6: MEN: Take two steps forward again leading L shoulder (RL,SS)
Bar 7:MEN: Continuing forward towards original position step RL (SS) but begin curving slightly inwards to the left (CC)
WOMEN: Turning to your own Right (CW) step R, L (SS)
Music: 2/4 (but in phrases of 10 bars)
The footwork for men and women is the same.
Bar 1-4 Travelling to own right do a complete CW (over R shoulder) turn with 4 slow steps (one per bar)
Bar 5 Touch R out to right side.
Bar 6-7 This time moving to the left (towards partner) and turning over the left shoulder take two walking steps to make a HALF turn. Ending in your partner's original position facing in the direction they were originally facing.
Bar 8-9 Rock forward on your R foot, back on your L while facing partner. (1 per bar)
Bar 10 Rock forward on your R foot, back on your L quickly (1 per bar)
Bars 11-20 Repeat dance again travelling to R to start to get back to original positions.
WOMEN: Continue forward towards your partner, step L (S), then leading with the right shoulder take two quick steps forward R,L (QQ), on these two steps you will pass your partner, his back will be toward you, your front faces him. Flirt wildly.
Bar 4: MEN: Continue walking forward (RL: SS) into partner's place
WOMEN: Continuing to move forward into your partner's place, step right, starting to turn to your own R (S), the step L (S) completing a HALF turn (end facing your partner).
WOMEN: Continuing to move forward into your partner's place, step right, starting to turn to your own R (S), the step L (S) completing a HALF turn (end facing your partner).
Bar 5: MEN: turning to your own left (CCW) step on your R foot, executing a complete half turn (S). Step on your L foot backwards (S)
WOMEN: Step on your R (Q) slightly backwards, then on your L (Q) slightly backwards. Then step forwards on your R (S).
WOMEN: Step on your R (Q) slightly backwards, then on your L (Q) slightly backwards. Then step forwards on your R (S).
Bar 6: MEN: Take two steps forward again leading L shoulder (RL,SS)
WOMEN: Step on your L (S) forwards, then again leading with the R shoulder R,L (QQ). Pass your partner belly to back with this QQ.
Bar 7:MEN: Continuing forward towards original position step RL (SS) but begin curving slightly inwards to the left (CC)
WOMEN: Turning to your own Right (CW) step R, L (SS)
Bar 8: MEN: take two running steps RL (QQ) making a half turn to L (CCW), Jump on both feet facing partner (S)
WOMEN: take two running steps (QQ) towards your partner R,L. Jump on both feet facing partner.
WOMEN: take two running steps (QQ) towards your partner R,L. Jump on both feet facing partner.
Repeat until the end of the music. Hug your partner on the chord and get into position for
Rezijankas II.
A MORE INTUITIVE CHARACTERIZATION.
-Always start on the R foot
-Men's turns are ALWAYS to the Left (CCW). Women's turns are ALWAYS to the R (CW)
-both the men and the women do the same basic sequence:
(1) Make a full turn.
(2) pass your partner
(3) make a half turn
(4) Pass your partner
(5) make a half turn
(6) (run to the middle and) Jump
MEN:
Bar 1-2 Complete turn CCW 4 walking steps
Bar 3-4: Walk forward, lead with Left shoulder, pass partner with your back facing her
Bar 5: 1/2 turn to L (CCW) with two walking steps
Bar 6-7: leading with L, pass partner with back.
Bar 8: two Running steps turning(CCW) to face partner, jump on both facing partner.
WOMEN:
SSQQ1: one full turn to R (CW)
SSQQ2: move forward passing your partner's back, lead with the R shoulder.
SSQQ3: one half turn to R (CW)
SSQQ4: move forward passing your partner's back, lead with the R shoulder.
SSQQ5: one half turn to R (CW)
JUMP: jump on both feet, facing your partner.
Rezijanka: II
Formation: in ONE long line (men facing down, women facing up) partners facing one another up and down the long line.
Rezijankas II.
A MORE INTUITIVE CHARACTERIZATION.
-Always start on the R foot
-Men's turns are ALWAYS to the Left (CCW). Women's turns are ALWAYS to the R (CW)
-both the men and the women do the same basic sequence:
(1) Make a full turn.
(2) pass your partner
(3) make a half turn
(4) Pass your partner
(5) make a half turn
(6) (run to the middle and) Jump
MEN:
Bar 1-2 Complete turn CCW 4 walking steps
Bar 3-4: Walk forward, lead with Left shoulder, pass partner with your back facing her
Bar 5: 1/2 turn to L (CCW) with two walking steps
Bar 6-7: leading with L, pass partner with back.
Bar 8: two Running steps turning(CCW) to face partner, jump on both facing partner.
WOMEN:
SSQQ1: one full turn to R (CW)
SSQQ2: move forward passing your partner's back, lead with the R shoulder.
SSQQ3: one half turn to R (CW)
SSQQ4: move forward passing your partner's back, lead with the R shoulder.
SSQQ5: one half turn to R (CW)
JUMP: jump on both feet, facing your partner.
Rezijanka: II
Formation: in ONE long line (men facing down, women facing up) partners facing one another up and down the long line.
Music: 2/4 (but in phrases of 10 bars)
The footwork for men and women is the same.
Bar 1-4 Travelling to own right do a complete CW (over R shoulder) turn with 4 slow steps (one per bar)
Bar 5 Touch R out to right side.
Bar 6-7 This time moving to the left (towards partner) and turning over the left shoulder take two walking steps to make a HALF turn. Ending in your partner's original position facing in the direction they were originally facing.
Bar 8-9 Rock forward on your R foot, back on your L while facing partner. (1 per bar)
Bar 10 Rock forward on your R foot, back on your L quickly (1 per bar)
Bars 11-20 Repeat dance again travelling to R to start to get back to original positions.
Repeat until the end of the music. End with a hug.
Wednesday, February 13, 2008
Troiro (Greece)
Troiro
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006, notes by Andrew Carnie
Meter 2/4
Formation: V arms swing through out
Bar 1 hop on R (1) Step on L (&); hop on L (2), step R (&)
Bar 2 hop on R (1) Step on L (&); cross R in front (2) step back on L (&)
Bar 3 BACKING UP: hop on L (1) step R (2); two steps back LR (&)
Bar 4 Repeat bar 3
Bar 5 Hop on L (1) step on R turning to face center (&); Cross Left in front (2) step R to R (&))
Bar 6 Cross left in front (1) step R to R (&); Cross left in front (1) step R to R (&)
Boyaliki, East Romilia, Thrace, Greece
Taught by Kyriakos Moisidis
Opa in the Desert 2006, notes by Andrew Carnie
Meter 2/4
Formation: V arms swing through out
Bar 1 hop on R (1) Step on L (&); hop on L (2), step R (&)
Bar 2 hop on R (1) Step on L (&); cross R in front (2) step back on L (&)
Bar 3 BACKING UP: hop on L (1) step R (2); two steps back LR (&)
Bar 4 Repeat bar 3
Bar 5 Hop on L (1) step on R turning to face center (&); Cross Left in front (2) step R to R (&))
Bar 6 Cross left in front (1) step R to R (&); Cross left in front (1) step R to R (&)
Tuesday, February 12, 2008
Karafili (Albania)
Karafili
(Albania)
A little Valle variation,
7/8 time (SQQ)
W position
Notes by Andrew Carnie
Music from Kosovo: Music Of The Albanian Kosovars, Various Artists - FM Records, Karafili Edhe Zamki - Gonda Manakovska
Bar 1 Step R to R (S) step L behind (Q) Step R to R (Q),
Bar 2 Cross left in front (S), step R to R (Q), Cross Left in front (Q)
Bar 3 Step R to R (S), Cross L in front (Q), step back on R (Q)
Bar 4 Step L to L (S), Cross R in front (Q), step back on L (S)
(Albania)
A little Valle variation,
7/8 time (SQQ)
W position
Notes by Andrew Carnie
Music from Kosovo: Music Of The Albanian Kosovars, Various Artists - FM Records, Karafili Edhe Zamki - Gonda Manakovska
Bar 1 Step R to R (S) step L behind (Q) Step R to R (Q),
Bar 2 Cross left in front (S), step R to R (Q), Cross Left in front (Q)
Bar 3 Step R to R (S), Cross L in front (Q), step back on R (Q)
Bar 4 Step L to L (S), Cross R in front (Q), step back on L (S)
Dolgoto Oro Долгото Оро (Macedonia)
Dolgoto
(Macedonia)
Originally taught by Pece. Notes by Andrew Carnie
Meter 12/8 [12] [12] [123] [12] [123]
Q Q S Q S
Formation: Open circle with arms in W position
Instructions:
Variation 1.
Bar 1. Lift (cukce) on L foot (Q), Step R to Right (facing center) (Q), cross Left in front of R (S), step R to R (Q), cross L in front of R (S)
Bar 2. Lift (cukce) on L foot (Q), Step R to Right (Q), cross Left in front of R (S), step R backwards (Q), lift on R (cukce) (S)
Bar 3. Lift (cukce) on R foot (Q), Step L to L (Q), cross R in front of L (S), step L backwards (Q), lift on Left(cukce) (S).
Variation 1. Alternate notes (This alternate form was shown to me by David Skidmore. It essentially reverses the final lift and step in bars 2 and 3)
Bar 1. Lift (cukce) on L foot (Q), Step R to Right (facing center) (Q), cross Left in front of R (S), step R to R (Q), cross L in front of R (S)
Bar 2. Lift (cukce) on L foot (Q), Step R to Right (Q), cross Left in front of R (S) lift on L (cukce) (Q), step R backwards (S)
Bar 3. Lift (cukce) on R foot (Q), Step L to L (Q), cross R in front of L (S), lift on R (Q) step L backwards (S).
Variation 2
Bar 1. Lift (cukce) on L foot (Q), Step R to Right (facing center) (Q), cross Left in front of R (S), step R to R (Q), cross L in front of R (S)
Bar 2. Lift (cukce) on L foot (Q), Step R in (Q), Close L next to R with weight (S), step R backwards (Q), lift on R (cukce) (S)
Bar 3. Lift (cukce) on R foot (Q), Step L in (Q), Close R next to L with weight (S), step L backwards (Q), lift on Left(cukce) (S).
(Macedonia)
Originally taught by Pece. Notes by Andrew Carnie
Meter 12/8 [12] [12] [123] [12] [123]
Q Q S Q S
Formation: Open circle with arms in W position
Instructions:
Variation 1.
Bar 1. Lift (cukce) on L foot (Q), Step R to Right (facing center) (Q), cross Left in front of R (S), step R to R (Q), cross L in front of R (S)
Bar 2. Lift (cukce) on L foot (Q), Step R to Right (Q), cross Left in front of R (S), step R backwards (Q), lift on R (cukce) (S)
Bar 3. Lift (cukce) on R foot (Q), Step L to L (Q), cross R in front of L (S), step L backwards (Q), lift on Left(cukce) (S).
Variation 1. Alternate notes (This alternate form was shown to me by David Skidmore. It essentially reverses the final lift and step in bars 2 and 3)
Bar 1. Lift (cukce) on L foot (Q), Step R to Right (facing center) (Q), cross Left in front of R (S), step R to R (Q), cross L in front of R (S)
Bar 2. Lift (cukce) on L foot (Q), Step R to Right (Q), cross Left in front of R (S) lift on L (cukce) (Q), step R backwards (S)
Bar 3. Lift (cukce) on R foot (Q), Step L to L (Q), cross R in front of L (S), lift on R (Q) step L backwards (S).
Variation 2
Bar 1. Lift (cukce) on L foot (Q), Step R to Right (facing center) (Q), cross Left in front of R (S), step R to R (Q), cross L in front of R (S)
Bar 2. Lift (cukce) on L foot (Q), Step R in (Q), Close L next to R with weight (S), step R backwards (Q), lift on R (cukce) (S)
Bar 3. Lift (cukce) on R foot (Q), Step L in (Q), Close R next to L with weight (S), step L backwards (Q), lift on Left(cukce) (S).
Go Fatile Mome Kleti turci Edno Mome (Tucson Version!!)
Go Fatile Mome
Notes to Tucson Version
Ira Weisburd developed an original choreography to this piece of music (seen in this video: http://www.youtube.com/watch?v=vv2sowT5og0). The dance was inspired by traditional Macedonian dance but had a definite "israeli" feel (no surprise given that Mr. Weisburd is an award winning Israeli dance choreographer). The Lighthouse Y folkdance club liked the music and to a certain degree the dance, but decided to modify the choreography so that it feels more traditional macedonian/gypsy. The description below describes this modified version of Mr. Weisburd's choreography.
Part 1
Bar 1 Step R to R in LOD (1), touch left toe next to R foot with "rumelaj hip bump". (2)
Bars 2-6. 5 steps of a grape vine, start crossing L in front of L. pause
bars 7-12 Repeat
Part 2
Bar 1 Into center Step R, L,
Bar 2 kick Right forward.
Bar 3-4 Three steps back RLR out. Touch L twice next to R, knee in, then knee out (QQ rhythm).
Bar 5 -9 Step L to L, cross R in front of L, step back on L. Four steps of grapevine, step to R then cross L in front.
Repeat twice
on 2nd repeat turn a complete turn instead of grapevine.
------
Go fatile kleti Turci
edno mome najubavo
go fatile kleti Turci,kleti Turci
najubavo vo seloto.
Mu vrzale dvete race
dvete race naopaku
mu vrzale dvete race,dvete race
dvete race naopaku.
Ka`i ka`i li~no mome
kaj se krie Goce Delčev?
Ka`i,ka`i li~no mome,li~no mome
kaj se krie Goce Delčev?
I da umram da zaginam
jas za Goce ne ka`uvam!
I da umram da zaginam,kleti Turci
jas za Goce Ne ka`uvam!
Notes to Tucson Version
Ira Weisburd developed an original choreography to this piece of music (seen in this video: http://www.youtube.com/watch?v=vv2sowT5og0). The dance was inspired by traditional Macedonian dance but had a definite "israeli" feel (no surprise given that Mr. Weisburd is an award winning Israeli dance choreographer). The Lighthouse Y folkdance club liked the music and to a certain degree the dance, but decided to modify the choreography so that it feels more traditional macedonian/gypsy. The description below describes this modified version of Mr. Weisburd's choreography.
Part 1
Bar 1 Step R to R in LOD (1), touch left toe next to R foot with "rumelaj hip bump". (2)
Bars 2-6. 5 steps of a grape vine, start crossing L in front of L. pause
bars 7-12 Repeat
Part 2
Bar 1 Into center Step R, L,
Bar 2 kick Right forward.
Bar 3-4 Three steps back RLR out. Touch L twice next to R, knee in, then knee out (QQ rhythm).
Bar 5 -9 Step L to L, cross R in front of L, step back on L. Four steps of grapevine, step to R then cross L in front.
Repeat twice
on 2nd repeat turn a complete turn instead of grapevine.
------
Go fatile kleti Turci
edno mome najubavo
go fatile kleti Turci,kleti Turci
najubavo vo seloto.
Mu vrzale dvete race
dvete race naopaku
mu vrzale dvete race,dvete race
dvete race naopaku.
Ka`i ka`i li~no mome
kaj se krie Goce Delčev?
Ka`i,ka`i li~no mome,li~no mome
kaj se krie Goce Delčev?
I da umram da zaginam
jas za Goce ne ka`uvam!
I da umram da zaginam,kleti Turci
jas za Goce Ne ka`uvam!
Mermingas Kefallinias (Greece)
Mermingas Kefallinias
(Greece)
Notes by Andrew Carnie
2/4
W-position
Bar 1, Step R to R, step L behind facing center
Bar 2, step R, L in LOD
Bar 3, step R, L in LOD
Bar 4, Fall on R to R facing center, step L to L
Bar 5, cross R in front, step Left to L
Bar 6, touch R in front, lift right in place (no cukce!)
(Greece)
Notes by Andrew Carnie
2/4
W-position
Bar 1, Step R to R, step L behind facing center
Bar 2, step R, L in LOD
Bar 3, step R, L in LOD
Bar 4, Fall on R to R facing center, step L to L
Bar 5, cross R in front, step Left to L
Bar 6, touch R in front, lift right in place (no cukce!)
Dansul Ţigănesc Dunărean (România)
Dansul Ţigănesc Dunărean
(Romanian in the loosest sense of the word)
Translation: Danubian Gypsy Dance
Music: 'Son', De Amsterdam Klezmer Band Album Son.
Meter: 4/4
Formation: circle V-position, or solo dancers in a circle
Styling, very similar to the Bulgarian dance Kraj Dunavsko. Bouncy with high leg lifts.
Start after the spoken female voice finishes
Step 1. Grapevine, fall & closes
Bar 1 Facing center, Lifting right knee high, cross R in front of L (1), slight bounce on R (2), step L to L (3), slight bounce on L (4)
Bar 2 Repeat bar 1, but stepping behind instead of in front
Bar 3 Leading with R shoulder and facing CW fall on R into center (1), pause (2), fall on left out of circle, extending R out to side (into center) (3) pause (4)
Bar 4 Close R next to L with weight (1), small step out of center with L (2), repeat counts (1) & (2)
Bars 5-16 repeat 1-4 three times.
Step 2. In and out, Alunelul stamps
Bar 1 Facing center walk into center with two steps RL on counts 1 and 3, pause on counts 2 and 4
Bar 2 continuing into center step R (1), pause (2), leap forward on L (3) stamp R no weight (4)
Bar 3 Backing out step RLR (123) stamp L (4)
Bar 4 Continuing out step LRL (123), stamp R (4)
Bar 5 Facing center Step R to R (1), Step L behind (2), Step R to R (3), Stamp L (4)
Bar 6 repeat 5 opposite footwork
Bar 7 Leap onto R (1), stamp L (2), leap onto L (3), stamp R (4)
Bar 8 Leap onto R (1), stamp L twice (2,3), pause (4)
Bars 9-16 repeat 1-8
Notes by Andrew Carnie
(Romanian in the loosest sense of the word)
Translation: Danubian Gypsy Dance
Music: 'Son', De Amsterdam Klezmer Band Album Son.
Meter: 4/4
Formation: circle V-position, or solo dancers in a circle
Styling, very similar to the Bulgarian dance Kraj Dunavsko. Bouncy with high leg lifts.
Start after the spoken female voice finishes
Step 1. Grapevine, fall & closes
Bar 1 Facing center, Lifting right knee high, cross R in front of L (1), slight bounce on R (2), step L to L (3), slight bounce on L (4)
Bar 2 Repeat bar 1, but stepping behind instead of in front
Bar 3 Leading with R shoulder and facing CW fall on R into center (1), pause (2), fall on left out of circle, extending R out to side (into center) (3) pause (4)
Bar 4 Close R next to L with weight (1), small step out of center with L (2), repeat counts (1) & (2)
Bars 5-16 repeat 1-4 three times.
Step 2. In and out, Alunelul stamps
Bar 1 Facing center walk into center with two steps RL on counts 1 and 3, pause on counts 2 and 4
Bar 2 continuing into center step R (1), pause (2), leap forward on L (3) stamp R no weight (4)
Bar 3 Backing out step RLR (123) stamp L (4)
Bar 4 Continuing out step LRL (123), stamp R (4)
Bar 5 Facing center Step R to R (1), Step L behind (2), Step R to R (3), Stamp L (4)
Bar 6 repeat 5 opposite footwork
Bar 7 Leap onto R (1), stamp L (2), leap onto L (3), stamp R (4)
Bar 8 Leap onto R (1), stamp L twice (2,3), pause (4)
Bars 9-16 repeat 1-8
Notes by Andrew Carnie
Bablekan (Kurdish)
Bablekan
(Kurdistan)
Notes by Andrew Carnie
Note: this is not the same dance as the choreographic dance described by Ahmet Lüleci, but is closer to the traditional village dance done by kurds. Music and video for this dance can be found at: http://www.youtube.com/watch?v=Tcd8Xy94u7A&feature=related and http://www.youtube.com/watch?v=XuYmC1QwUU0&feature=related
2/4; arms are in a w position
Bar 1, Traveling diagonally forward to the R, touch left forward (1), step on it (2) Arms make small circles forward and back
Bar 2, Continuing diagonally forward R, touch R forward (1) step on it (2), Arms continue to make small circles
Bar 3, Facing center touch left foot next to R, arms start to swing down and back (1), step back on L (arms swing back) (2)
Bar 4, Facing center step back on R, arms swing forward (1), step back on L, arms swing back (2)
Bar 5, touch R, (1) step R in place (2) Arms swing up to W position
(alternate bar 5, step on R (1), bounce on both feet (but with weight mainly on R) (2))
(Kurdistan)
Notes by Andrew Carnie
Note: this is not the same dance as the choreographic dance described by Ahmet Lüleci, but is closer to the traditional village dance done by kurds. Music and video for this dance can be found at: http://www.youtube.com/watch?v=Tcd8Xy94u7A&feature=related and http://www.youtube.com/watch?v=XuYmC1QwUU0&feature=related
2/4; arms are in a w position
Bar 1, Traveling diagonally forward to the R, touch left forward (1), step on it (2) Arms make small circles forward and back
Bar 2, Continuing diagonally forward R, touch R forward (1) step on it (2), Arms continue to make small circles
Bar 3, Facing center touch left foot next to R, arms start to swing down and back (1), step back on L (arms swing back) (2)
Bar 4, Facing center step back on R, arms swing forward (1), step back on L, arms swing back (2)
Bar 5, touch R, (1) step R in place (2) Arms swing up to W position
(alternate bar 5, step on R (1), bounce on both feet (but with weight mainly on R) (2))
Feruško Oro (Macedonia)
Feruško Oro
(Macedonia)
Notes by Andrew Carnie
Dunav attributes this dance to Rene Gosse.
a video of this dance can be found athttp://www.dunav.org.il/video/024_ferusko.mpg
Music for this dance can be found at http://www.dunav.org.il/music/macedonia/092_Ferusko.mp3
4/4
Hands in W position.
Part 1.
Bar 1, facing center do a lift (čukče) on the left foot (1) Step R to R (2), step L across in front of R (3), step back onto R in place (4)
Bar 2 repeat 1with opp footwork and direction
Bar 3, repeat bar 1, counts 1 and 2, then Step Left across in front of R (3) close R (&), step Left across in front of R (4)
Part 2, when music speeds up.
As in part 1, but replace each čukče with two hops (counted ah 1) and replacing steps with leaps, arms can come down to V position.
(Macedonia)
Notes by Andrew Carnie
Dunav attributes this dance to Rene Gosse.
a video of this dance can be found at
Music for this dance can be found at http://www.dunav.org.il/music/macedonia/092_Ferusko.mp3
4/4
Hands in W position.
Part 1.
Bar 1, facing center do a lift (čukče) on the left foot (1) Step R to R (2), step L across in front of R (3), step back onto R in place (4)
Bar 2 repeat 1with opp footwork and direction
Bar 3, repeat bar 1, counts 1 and 2, then Step Left across in front of R (3) close R (&), step Left across in front of R (4)
Part 2, when music speeds up.
As in part 1, but replace each čukče with two hops (counted ah 1) and replacing steps with leaps, arms can come down to V position.
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