Folkdance Musings

't Smidje (Belgium)

2011-11-10T15:11:00.001-08:00

't Smidje

(Belgium)

Translation: The Blacksmith.

This is a popular dance among youth groups in Europe (all over). It's easy and is mostly being done to the the song 't Smidje by the Folk/Rock Group Lais. It's nearly identical to All American Promenade and Humppa Mixer.

The version described here is the Tucson version. It's very close to the version seen in the following video from the Hamilton International Folkdancers.

http://www.youtube.com/watch?v=sZS8sCdx-Xg

Slightly less articulated versions can be found in the following vids:

http://www.youtube.com/watch?v=oapDnsk2DG4&feature=related
http://www.youtube.com/watch?v=0yil398NujU&feature=related

Formation: Couples in a circle facing CCW, holding nearer hands, Man on the inside.

Bar 1: Starting with inside foot (Man's R, Lady's L), Run 123, hop on count 4 and turn towards each other to face the reverse direction (CW).
Bar 2: Going backwards (CCW), repeat bar 1 with opp footwork
Bar 3-4: Repeat bars 1-2, but in the opposite direction (CW first, then backing up CCW)
Bar 5 facing CCW again, do a pas de basque towards your partner, coming shoulder to shoulder (1&2), then a pas de basque away (3&4). [Alternately: jump on both feet towards partner (12), and both feet away (34)
Bar 6. "Roll away with a half sashay". With the man traveling to the Right, and the lady crossing in front of him by first facing him and then switching hands (M's L and Lady's R) and rolling out. RLR hop
Bar 7. Repeat bar 5 opp foot work and direction.
Bar 8. Progression: Both turning towards the joined hand, but dropping it. Man does a complete turn in three steps going diagonally backwards (to end one person behind him and on the inside), lady does a complete turn moving diagonally forward to end up one person ahead on the outside. if the turns are too difficult for the group, then the lady progresses diagonally forward, and the man shifts to the inside.

Lyrics:
Wie wil horen een historie
Al van ene jonge smid
Die verbrand had zijn memorie
Daaglijks bij het vuur verhit

Was ik nog, nog met mijnen hamer
Was ik nog met geweld op mijn aambeld

'k Geef den bras van al dat smeden
Ik ga naar de Franse zwier
'k Wil mij tot den trouw begeven
Nooit een schoner vrouw gezien

Was ik nog, nog met mijnen hamer
Was ik nog met geweld op mijn aambeld

't Is de schoonste van de vrouwen
Maar nooit was er zo'n serpent
Nooit kan zij haar bakkes houden
Nooit is zij eens wel content

Was ik nog, nog met mijnen hamer
Was ik nog met geweld op mijn aambeld

Nooit mag ik een pintje drinken
Nooit mag ik eens vrolijk zijn
Nooit kan ik iemand beschinken
Met een glaasje bier of wijn

Was ik nog, nog met mijnen hamer
Was ik nog met geweld op mijn aambeld

'k Geef den bras van al dat trouwen
Werd ik maar eens weduwnaar
'k Zou mij in een hoeksken houden
En mij stellen uit gevaar

Was ik nog, nog met mijnen hamer
Was ik nog met geweld op mijn aambeld
Was ik nog, nog met mijnen hamer
Was ik nog met geweld op mijn aambeeld

-----
Who wants to hear a history
of one young blacksmith
Who had burnt his statement
Daily heated by the fire

I was still with my hammer
I was forcibly on my anvil

I've stopped of all that forging
I go to the French panache
I want my wedding to go
Never seen a woman cleaner

I was still with my hammer
I was forcibly on my anvil

She is the fairest of women
But never was so heralded an serpent
Never can she keep her mouth
Never is she once pleased

I was still with my hammer
I was forcibly on my anvil

I should never have a beer
I should never again be merry
I can never someone pleasures
With a glass of beer or wine

I was still with my hammer
I was forcibly on my anvil

I had enough of all that marry
I was once again widowed
Could I keep myself in a corner
And make me out of danger

I was still with my hammer
I was forcibly on my anvil
I was still with my hammer
I was forcibly on my anvil

Sasha (Russia)

2011-10-22T09:58:00.000-07:00

Sasha

Russia

Original Source: Bob Dalsemer

You can find sheet music and an informal description of the dance at: http://www.dancingmasters.com/newdances/web_sasha.html

A downloadable MP3 of the music can be found at: http://www.dancingmasters.com/newdances/sasha.html

Probably a children's dance, this came to the US via bob Dalsemer who learned it from a Danish instructor. I learned the dance from Bill and Keren Faust who saw it done in Phoenix. Sasha is a nickname for Alexander or Alexandra.

4/4

Formation: couples scattered around the room; partners face each other without touching.

Part 1: Scolding:

Bar 1 Shaking index fingers at each other, the dancers shout SA-sha (12) pause (34)
Bar 2 repeat bar 1
Bar 3 Shout Ras (1) pause (2) Shout Dva (3) pause (4)
Bar 4 Shout Tri (1) pause (234)

Part 2: Clapping

As described on the "dancing masters" website:
Bar 5: Clap with parter R hand (1), R(2) R, (3) pause (4)
Bar 6: repeat 5 with L hand
Bar 7: repeat 5 with both hands
Bar 8: repeat 5 but patting both hands on your own knees
Bars 9-12: repeat 5-8

As we do it in Tucson:

Bar 5: Clap your hands (1), R(2) R, (3) pause (4)

Bar 6: Clap your both hands against your partners 3 times (123)

Bar 7: repeat 5

Bar 8: repeat 5 but patting both hands on your own knees

Bars 9-12: repeat 5-8

Part 3: Turning

Bars 13-16; Locking R elbows with partner, walk around in a clockwise direction starting with the outside foot for 7 steps (each step takes 2 beats), on the last 2 beats of bar 16 shout "Hey" and extend left hand up and out diagonally.
Bars 17-20: repeat Bars 13-16, but with L elbows joined, and walking counter clockwise.

Part 4: Walking

Bar 21: Face your partner and say "Dasvadanya" (good bye) and give them a wave.
Bar 22-36: Walk around the room (solo), randomly. Greet people as you pass them. On bar 36 face the nearest person and start the dance again. If there is no one nearby run to the center to see if there is someone else there.

Some Links to Dance Notes for dances we do, but I haven't written notes for

2011-10-16T14:35:00.000-07:00

Here are some links for notes for dances that we commonly do in Tucson, but I haven't written up notes for. These notes are all written by others. I might write up notes for these later, but until then...

Ordu or Ordu'nun Işiklari (Turkey): http://www.folkdancecamp.org/10syllabus/Ordu%20(2010SFDC).pdf

Loukỳ (Czech)
http://www.daytonfolkdance.com/mvfd/instructions/louky.html

Do Mar Çiften (Albania)
http://www.andybettis.com/dance/steps/DoMarChiften.html

Mazurca Di Sant'Andieu (Italy/France)
http://www.folkdancecamp.org/09syllabus/Mazurca%20Di%20Sant'%20Andieu%20(&%20lyrics)%20(2009SFDC).pdf

Viele Zwiefachen (Zweifacher, Germany)

2011-10-08T10:58:00.000-07:00

In celebration of Oktoberfest...

Zwiefacher

(Germany)

The Zweifacher (translated loosely as "two turns") is a style of dance done in Bavaria and other parts of Southern Germany. The dances usually consist of some sequence of Pivot Turns (or drehersteps) (in the notation below P) and Waltz steps (notated as W). The precise combination of pivot steps and waltz steps is determined by the particular tune, which will have sequences of bars in 2/4 (pivots) and 3/4 (waltzes).

A pivot step is a step on either the R or L foot while turning. A waltz step is 3 steps RLR or LRL while turning.

Formation: Couples in Shoulder-Shoulderblade position or Ballroom position.

There are extensive notes and instructions on various websites, far more comprehensive than mine:

You can also find numerous Youtube videos.

The notation here should be interpreted the following way. A subscripted number is a multiplier, so P₂ should be interpreted as two Pivots in sequence. A subscripted number after a bracketed string means that that bracketed string should be multiplied (PW)₂ means Pivot Waltz Pivot Waltz.

I did not write these descriptions, I just compiled the ones we have in the Tucson Folkdance Club and Lighthouse Y Club collections.

Name	Pattern	Video link
's Lauda	(P₂W₂)₄P₃₂	Dancilla
44 Hühne und 1 Hahn	(P₂W₂)₂W Polka₄ P₂W₃
Alte Kath	W₂P₂
Bayerischer Bauer	(W₂P₂)₂W₄P₂WP₂W₂
Boehmischer Wind	(PW)₃W
Da Hupfate Vuagl	W₂P₄
Deifi Du Dürrer	(WP₂)₇W₂
Der Wampertgust	P₄W₂
Eisenkeilnest	(P₂W₂)₂(PW)₂P₂W₂	Dancilla
Hans Sachs	W₂P₂
Hopfenschnupfer	(P₂W₂)₂PW₄(P₃W₂)₂
Leit Leit Leit Muassts Lusti Sein	(P₂W₃)₃P₂W₂	Dancilla
Lemmennosto (Finland)	(P₂W)₃P₃
Nagelschmied	W₁₂(P₂W₂)_{1,2,3,4,3,2,1}
Neun Hauser	(W₂P₃)₃W₃
Nudeli	P₂W₂
Sauerlocker/Saulocker	P₄W₂
Schnieder	((P₂W)₂W)₂(P₂WP₃W₂)₂
Schelin Ober (the Post Graduate)	[WP₃WP₂WP₃WP]₂[PWPW₂PW₃P₃WW][PWPW₂PW₃P₃WP] [WP₃WP₂WP₃WP]₂[PWPW₂PW₃P₃WP]₂
Schubkarn	(W₂P₂)₄P₁₆
Sechs Löffel	P₆W₂
Sechsundreisinger	(W₂P₂)₂W₂P₄(W₂P₂)₂
Sommermichel	(P₄W₂)₂W₄(P₄W₂)₂(WP₂)₃W₂
Suserl	((P₂W)₃W)₂[(P₂WP₂)₃WP₂W₂]₂
Tauberer	(W₄P₄W₂)₂(W₁₂P₄W₂)₂
Wingergrün	W₄(P₂W₂)₂
Wirt Vo Stoa	(WP₂)₂W₂
Zwei Kapellan	(P₄W₂)_4/2(W₂P₄)_4/2[(WP₂)₃W₂]_4/2
Zwei Vier Sechs (246)	P₂W₂P₄W₂P₆W₂

Cumbia Amore

2011-09-27T15:51:00.000-07:00

Cumbia Amore

(USA/Mexican)

Dance choreographed by Ira Weisburd.

Several videos for this 32 count 1 wall line dance can be found online. Here's a couple:

http://www.youtube.com/watch?v=dNQ_xNf4ySg
http://www.youtube.com/watch?v=YAIpfKI224Y&feature=related
http://www.youtube.com/watch?v=PxJBVaMxMKQ&feature=related
http://www.youtube.com/watch?v=PxJBVaMxMKQ&feature=related
http://www.youtube.com/watch?v=ZwpOHdsar48&feature=related

In the Tucson Folk Dance community, we do this dance as a circle facing in, no hands. It works well this way too.

The notes here are in terminology that will be familiar to Folk Dancers (i.e. different from the terminology used by line dancers).

Music: Dulce Amor by The Tequila Band (CD: Ballo Di Gruppo Vol 2 )

------
Basic Dance
Bar 1 Step Left to Left (1) close R with weight (2)
Bar 2 Step Left to Left (1) close R with weight (&) Step Left to L (2)
Bar 3 Step R behind L (1) Step L to L (&) Cross R in front of L (2) (i.e. a 3 step grapevine)
Bar 4 Staring to turn to face R (LOD), step L to L (1) , Step R backwards in RLOD (facing R) (&), Step L forward in LOD (facing R) (2)
Bar 5 in LOD Step R (1), Left closing slightly behind (&), Step R
Bar 6 still traveling LOD repeat bar 5, opp footwork.
Bar 7 Starting to turn to face center (or front in the line dance version) Step on ball of R foot (1) step on L flat footed continuing turn (&), repeat counts 1& to face center (2&)
Bar 8 repeat bar 7 but traveling slightly to the left, facing center, end on count 2, do not step on L on the final & count
Bar 9 Step Left to L (1), step R in place (&), step L next to R (2) (mambo L)
Bar 10 repeat 9 with opposite footwork and direction (mambo R)
Bar 11 repeat 9, but stepping forward on L instead of to the side (Mambo forward)
Bar 12 repeat 10, but stepping backwards (mambo back)
Bar 13 facing diagonal R, step forward on L (1) Step in place on R (&) step back on L (2) step in place on R (&) (Cherkessia or Rocking Step)
Bar 14 repeat bar 1, omitting final step on R, The step back on count 2 is used to run to face diagonal L
Bars 15-16 repeat 13-14 with opp footwork.

Tag
There is an 8 count tag done after times 1, 4, and 7.
Bar 1: Turning to face out (back) step L (1) R (on ball of foot) (&) L (2)
Bar 2: Step R backwards (1), Left backwards (&), R forwards (2)
Bars 3-4: repeat bars 1-2 of tag to face center again.

Fiona's Saunter (USA)

2011-09-27T14:36:00.000-07:00

Fiona's Saunter

(USA)

This is a contra-style mixer version of the Scottish Country Dance mixer "McDonald's Saunter". The contrification was done by the Tucson Folkdance Club.

Couples in promenade/Skater's position facing counter-clockwise around the room.

1-4 Promenade forward CCW 7 steps, on 8th step, pivot towards one another to end up facing CW.
5-8 Repeat 1-4, but end facing each other, Ladies facing in, Gents facing out.. Retain L hands, drop R.
9-12 Reach out with the R, and allemande R with your corner (turn your corner all the way around with the R)
13-16 Allemand L your original partner
17-20 Form a wavy line (a.k.a. alamo style), Balance to the R (corner) and L (partner) twice.
21-24 Allemand R your corner
25-28 Do Si Do your corner
29-32 Swing your corner end with corner as your new partner ready to promenade.

Gay Gordons (Scotland)

2011-09-25T21:03:00.000-07:00

Gay Gordons

(Scotland)

Couples in Varsouvienne position (called Allemand position in Scottish Dance): Both facing the same direction (CCW in a circle), man on the left (inside), woman on the right (outside), man is slightly behind the lady. The lady's R hand is held up at her R shoulder and her left hand at her left shoulder. The man holds the lady's R in his R, and her left in his left.

Bars 1-2, Take 4 walking steps forward (CCW forwards in the circle) (Can be on either foot, but traditionally start on the R) (2 skip change steps may be used instead of the walks)
Bars 3-4, Pivot to R without dropping hands, end facing CW. Walk backwards 4 steps (again skip change steps may be used instead
Bars 5-8, Repeat 1-4 traveling CW, then CCW.
Bars 9-12, Drop L hands, but retain R. with 4 pas de basque steps, the man travels forward in CCW Line of Direction, while the woman turns (usually twice) under the man's arm, still traveling forward. End facing one another and shift to Ballroom position. Depending upon what foot you started on, someone might have to end with a touch instead of a step, end with M's L foot free and W's R foot free.
Bars 13-15, 4 polka steps turning and traveling in LOD.

Čoček

2011-09-24T12:15:00.000-07:00

Čoček

(Rom Gypsy)

Also called Sa or Sa Sa, the Čoček is a very common Rom or Gypsy dance done throughout the Balkans, but with a concentration in Serbia and Macedonia. The name means "little camel" and is a reference to male courtesans and dancing boys in Ottoman times.

Formation: Open circle in W position.

Bar 1: Step a small step back on the R foot (1) Small step back on L (2)
Bar 2: Small step back on the R (1), step L back and slightly to L (2), step R diagonally back to L (&)
Bar 3: Traveling diagonally forward Step L (1) R (2) L (&)

Turkish Ramo Ramo

2011-09-24T12:08:00.000-07:00

Turkish Ramo Ramo

(Wisconsin)

Turkish Ramo Ramo is a modern two-wall dance taught to the American IFDC community by Yuliyan Yordanov. It was introduced to him by a Turkish woman called Krimat in Wisconsin.

Yuliyan's original notes, including styling instructions can be found at: http://www.swifdi.org/downloads/2011%20Dance%20Notes/Turkish%20Ramo%20Ramo.pdf

A video of the dance: http://www.youtube.com/watch?v=1pAzJQcIww4

The tune Ramo Ramo is often used for the Rom dance Čoček, this version is not related.

Formation: The notes here are for the Tucson version which are slightly different in terms of orientation. The original notes specify two lines. In Tucson, due to the shape and size of our room we do it in many lines, each one facing alternate directions. The dancers form single file lines facing one wall, each dancer facing the back of the dancer in front of them. The alternating lines face opposite directions.

Bar 1: Rock forward on right (1), bounce on R (&), rock back on L (2), bounce on L (&)
Bar 2: repeat bar 1
Bar 3: Rock backward on R (1) bounce on R (&), rock forward on L (2) bounce on L (&)
Bar 4: Repeat bar 1
Bar 5: Pulling R shoulder back, step on the R turning 90° to face the side wall (1) Continuing to turn in a clockwise direction, cross the left over the R to turn 180° to face the other side wall (2)
Bar 6: Facing the 2nd side wall, step R behind the left (1), Turning 90° in a Counterclockwise direction step L to left to face the wall opposite the one you originally started facing

repeat entire dance facing the opposite wall

Sampson (Greece -Pontos)

2011-09-07T23:44:00.000-07:00

Sampson (Zabzon)

Pontic Greek

Notes by Andrew Carnie
Video (Dunav) at: http://www.youtube.com/watch?v=nCi6LToYD1Y

Arms start in V position, but eventually come up over head

All steps are done with a loose kneed Black Sea styling, which gives a bit of a bounce to each step. The whole dance is done facing the center of the circle.

bar 1: Step R to R (1), Close L next to R with weight (2)
bar 2: repeat bar 1
bar 3: Step R in place (1), touch L slightly forward with heel turned out.
bar 4: repeat bar 3 but starting with L foot.
bar 5: repeat bar 3
bar 6: step L in place (1), close R next to L with no weight (2)

When the music speeds up the arms come up over the head in typical Pontic/Blacksea style.

Ten Pretty Girls (USA)

2011-09-07T14:41:00.000-07:00

Ten Pretty Girls

USA

Learned from Harvey Gardner, August 2011; Dance Notes by Andrew Carnie

Dance originated in the Lloyd Shaw Collection. See his original notes here: http://www.lloydshaw.org/Catalogue/CueSheets/Community/10PrettyGirls.htm

Formation. Groups of people in lines forming the spokes of a wheel in a circle facing CCW around the room. Hold each other around the waist or shoulders as height determines.

Bar 1: Touch R in front (1), Touch R to diagonal side (2)
Bar 2: Step R back (1), step L back (&), Step R forward (2)
Bar 3: Take 2 walking steps forward (CCW around the round) RL
Bar 4: Repeat bar 3
Bar 5: Swing R foot forward, bend slightly back at waist (1), Swing R foot back, bend forward at the waist (2)
Bar 6: Stomp R (1), L (&), R (3) in place
Bars 7-12 repeat 1-6 with opposite footwork.

Sadila Moma (Macedonia/Israel)

2011-09-06T17:55:00.000-07:00

Sadila Moma

Choreographed by Ira Weisburd, Notes by Andrew Carnie

A video of Ira doing the dance can be found at: http://www.youtube.com/watch?v=_2KvHoKd_Zs

Done to the music by Rajna (Music Video: http://www.youtube.com/watch?v=Dr4dFq5QfTs)

This dance is not to be confused with Sadilo Mome, which is a traditional dance and completely different!

7/8 counted SQQ

W-position.

Part 1

Bar 1: With a preparatory Čukče on the L (&), Cross R over left (S) Step on L in place (Q) Step R to R (Q)
Bar 2: In LOD, Čukče R (&) Step LRL (SQQ)
Bar 3: Raise R behind L calf (S) Step R back (Q) step L to L (Q)
Bar 4: Repeat bar 1
Bar 5: "Grapevine", Cross L in front of R (S), Step R to R (Q), Step on L behind R (Q)
Bar 6: Step R to R (S), Lift L in front lesnoto style (QQ)
Bar 7: Step on L to L, Right foot goes out to start circle (S) Swing R in front and behind (drawing an arc on the floor) (Q) step on R behind (Q)
Bar 8: Sway to the L on L (S) Sway to the R on R (Q) Sway to the L on L (Q)

Part 2

Bar 1: Repeat bar 1 of part 1
Bar 2: Repeat bar 1 with opposite footwork
Bar 3: Step RLR into the center (SQQ)
Bar 4: Step L into center (S) rock forward onto R (Q), and back onto L (Q)
Bar 5: Step RLR out of the center (SQQ)
Bar 6: Step L out of center (S), Rock on R to the R (Q) Step L slight to the left (Q)
Bar 7: Repeat bar 1
Bar 8: Repeat bar 2

The Steps alternate 121212 etc, until the very end (the last time through the music undergoes a key change). When after completing part 2, you use the following ending:

Ending:

Bars 1-3 as in part 2
Bar 4, take two slow steps in (L, R), arms come slightly up.

Tucson Variation:
In Tucson, we decided to make the second part of this dance feel a bit more Macedonian in style. We also think our version is easier. Since the dance is a modern choreography anyway, we make no apologies :-).

Part 1
As above, except in bar 8, step Left to Left, cross R in front of L, step back on left.

Part 2
Bar 1, Travel into the center with a SQQ (RLR)
Bar 2, repeat bar 1 (LRL) into center
Bar 3, step R to R (S), lift L (QQ)
Bar 4, repeat bar 3, to left
Bar 5-6, repeat bars 1-2, but traveling out of center
Bar 7-8, repeat bars 3, 4.

Barefoot Girl (Israeli/Lebanese)

2011-08-23T17:54:00.001-07:00

Barefoot Girl

This is an Ira Weisburd Choreography. Notes are by Andrew Carnie.

Line, W
There is a video at

http://www.youtube.com/user/iraweisburd#p/search/0/EykTXKxRhug

Part 1

Bar 1: FIRST time through dance, just pause on this bar. The 2nd and all subsequent times you step RLR (1&2) going slightly into the center turning into center from outside [Ira actually teaches this bar as the final bar of the dance phrase, but musically it's actually the first bar of the musical phrase]
Bar 2: touch Left in front (1) Touch L to Side (2)
Bar 3: Step back on Left (1) Back on R (&) Slightly forward on L (2)
Bar 4: Repeat bar 2 with opp footwork
Bar 5: Repeat bar 3 with opp ftwk
Bar 6: Step Left in front (1), Step R to side (&) Step L behind (2), Step R to R (&)
Bar 7: Repeat bar 6
Bar 8: Cross left in front of R (1) step back on R (2)
Bar 9: Doing a 1/2 turn to L, step LRL (1&2) end facing out.
Bar 10: Yemenite R (Sway R (1), Sway L (&) , cross R over left (2))
Bar 11: Yemenite L
Bar 12: Step R out, step L back.

First time through the dance repeat step 1, after that you alternate steps 1 and 2.

Part 2
Bar 1 RLR into center [Ira teaches this as the last part of the preceding step but musically it's actually part of this musical phrase[
Bar 2-4 RLR, LRL, RLR into center
Bar 5, Step back R, swivel L heel (1) Step Back L swivel R (2), Step back R swivel L (&) (SQQ)
Bar 6 repeat bar 5 opp footwork
Bar 7 repeat bar 5
Bar 8 Cross L in front of L (1) back on R.
Bar 9-12 repeat bars 9-12 of part 1.

Ending, Do the travels of part 2 into the center and end with your hands spread out. Olé!

Hora Pe Loc

2011-06-21T16:50:00.000-07:00

Hora Pe Loc

România

Notes by Andrew Carnie, 2011

Dunav video: http://www.youtube.com/watch?v=_WunFRV22aI

W position, short lines

Part 1 step touches
Bar 1, 4 steps forward (into center) starting with R
Bar 2, step R in place, touch left next to R, Step L in place, touch R next to L
Bar 3, 4 steps backwards, starting with R
Bar 3, step R in place, touch left next to R, Step L in place, Stamp R
Extra count: Stamp R again.

Part 2 step lifts
Bar 1, same as part 1
Bar 2, step R in place, lift L with Bent knee, step L in place, lift R with bent knee
Bar 3, same as part 1
Bar 4, same as part 2, bar 2

Part 3 pas de basques
Bar 1, same as part 1
bar 2, two little pas-de-basques in place: R (1) L slightly in front (&), R (2), same opp footwork
Bar 3, same as part 1
Bar 4, same as part 3, bar 2

Part 4 PDB open close
Bars 1 same as part 1
bar 2, one pas de basque (1&2), followed by putting weight on toes together, but heels spread apart (3), close heels (4)
bar 3 same as part 1
bar 4 same as part 4, bar 2

part 5, Step lift Step stamp
Bar 1, same as part 1
Bar 2, step on R, lift L, step on L stamp R
Bar 3, same as part 1
Bar 4, same as bar 2
Extra count: stamp

Part 6 "Weird step"
Bar 1, same as part 1
Bar 2, step on R, Lift L. Touch Left to Left, drag closed next to R with weight
Bar 3, same as part 1
Bar 2, same as bar 2
Extra count: stamp

Arms come down to V position for parts 7-10

Part 7 Pas de basques
Bar 1, with 2 pas de basques running forward (RLR, LRL) go into the center
Bar 2 Same as part 3, bar 2 (2 pas de basques in place)
Bar 3, 2 pas de basques running out
Bar 4, same bar 2

Part 8 Step lifts
Bar 1, same as part 7
Bar 2 same as part 2 (two step lifts)
Bar 3, same as part 7
Bar 4 same as part 2 (two step lifts)

Part 9 "leapty-basques"
Bar 1, same as part 7
Bar 2, leap on to R, cross left in front with a large lift, step on R in place, repeat Opp footwork
Bar 3, same as part 7
Bar 4, same as bar 2

Part 10, PDB, open close
Bar 1, same as part 7
Bar 2, same as part 4 (Pas de basque, open close)
Bar 3, same as part 7
Bar 4, same as part 4

Bring arms back up to W position and repeat dance from the beginning

Zaiko, Aegean (Greek) Macedonia

2011-06-01T06:44:00.000-07:00

Zaïko

Aegean Macedonia

from Dunav Video: http://www.youtube.com/watch?v=Cj7fzMfBDs8

bar 1: facing LOD, step R in LOD (1) lift L up and forward (2)
bar 2: repeat bar 1, opp ftwk
bar 3: Turn to face center, step R in place (1) lift L (2)
bar 4: Cross L in front of R (&) Step R back in place (1) lift L (2)
bar 5-6: repeat bar 3-4 opp footwork
Bars 7-8 repeat 3-4
Bar 9: small leap onto L, kick R out to diag right (1) Swing R in front of L (straight knee) (2)
Bar 10: Swing R to diagonal Right (1), Swing R in front of L with a slight lift

Notes by Andrew Carnie, June 1, 2011

Veličko Skopski Vojvoda

2011-03-01T15:05:00.000-08:00

Veličko Skopski Vojvoda

Macedonia

Dance taught by Atanas Kolarovski
Notes by Andrew Carnie, based on video from the Hamilton International Folk Dancers

http://video.google.ca/videoplay?docid=6356764505795549418#

7/8 Time counted SQQ

Open Circle in W position

Start with singing.

Main Sequence.

1 Step R in LOD (S), Close left next to R (Q) step R in LOD (Q) "two step"
2 Step on Left in front of R (S), bounce on Left foot turning to face center (Q), bounce on Left, while slightly lifting R in front (Q) "Cross bounce bounce"
3 Step R in LOD (S), bounce slightly on R while bringing left in front (Q), Cross L in front (Q) "Step, lift, step"
4 Facing center step R to R (S) lift L (with optional čukče on R)(QQ) "Step Lift"
5 Facing center step L to L (S) Lift R (QQ) "Step Lift"
6-8 repeat bars 3-5

Interlude. Happens twice in the dance. If you start with the singing, it happens after 4 times through the main sequence , and then again after times after the singing sequence which follows the instrumental interlude.

1: Step R back (S) step L back (QQ)
2. Step R (S) L (Q) R (Q) into the center
3. Step on L (S), lift R (QQ)
4. Step on R (S) lift L (QQ)
5. Step on L (S), lift R (QQ)
6-9 repeat bars 2-5, but dancing out of the center of the circle.

This sequence goes through only once at a time, then you immediately go back into the main dance step.

Dolama Dolamayı - Turkey (sort of)

2010-10-19T16:36:00.000-07:00

Dolama Dolamayı

Turkish

Notes by Andrew Carnie, October 2010
No claims to authenticity of this dance...

The Music is a very popular song in Turkey although it might also be Turkish Cypriot. It's sung at various speeds, I think the one sung by Brenna MacCrimmon is the best fit. (http://www.youtube.com/watch?v=vUqWc9KQLF4)

This dance is in a tricky rhythm: 5/8 + 6/8 + 5/8 (counted Quick Slow, Quick Quick Quick, Quick Slow). The Dance actually treats the middle bar as "Quick Slower" rather than 3 quicks. For pedagogical purposes I normally don't discuss the fact that the middle bar is slightly longer than the other, and just count it with QSQSQS. This works for most people, but the rhythmically sophisticated will pick up that this is an oversimplification.

Open Circle in W-position

Bar 1: Step Right to Right (Q) cross Left in front (S)
Bar 2: Step Right to Right (Q) cross Left in front (QQ or "slower")
Bar 3: repeat bar 1
Bars 4-6 repeat Bars 1-3
Bar 7 : Facing center, Touch right toe next to left foot with knee pointed to left (Q), touch R toe next to L foot again this time with knee pointing to R.
Bar 8: lift R foot (Q), step on R slightly backwards (QQ)
Bar 9: Step L (Q) R (S) in place
Bars 10-12 repeat bars 7-9, opposite footwork

lyrics and translation taken from Brenna MacCrimmon's album Kulak Musafiri

dolama dolamayı x2
getirin bağlamayı x2
nerden öğrendin hanım? x2
sen oyun oynamayı x2

akşam ben uyumadım x2
uykuma doyamadım x2
gasavet bastı beni x2
yar gelmiş duyamadım x2

chorus:
çiğ yağar tekerlenir
öptükçe şekerlenir
çiğ düşer yerde kalmaz
güzellik sende kalmaz

let the wheels spin
bring along your 'bağlama'
where on earth did you learn
to dance like that dear lady

last night i couldn't sleep
i was restless
i am sad and blue
i haven't heard word that
my love has come

dew falls, it rolls across the ground
moments are sweetened with a kiss
but dew doesn't last long and
you won't stay beautiful forever

Sam Samaliga -Сам Самалига, Macedonian (Pirin, Bulgaria)

2010-10-19T16:06:00.000-07:00

Notes based on teaching by Gerry Spinks, June 2010

Music for this dance from Leb I Vino (http://lebivino.com/lv/) and given their "philosophy" (one which I find bizarre in the context of what it means to have a folk tradition, which by nature are living and ever changing entities), I suspect that they'd be appalled that we here in Tucson have slightly changed the dance. I'll point out the places where we vary from their version below. Their videos of this dance can be found on youtube:
http://www.youtube.com/watch?v=hdSSnrN-YLQ
http://www.youtube.com/watch?v=0ZRy4s1THAE

4/4

Open circle, hands in W position

Part 1 (done to the melody with out the pause in the tambura)

Bar 1 Walking in LOD, step R (1,2) L (3.4),
Bar 2 Step R to R (1,2) touch left diagonally in front of R (3.4)
Bars 3-4, repeat 1-2 in opposite direction with opp ftwk
Bars 5-8 repeat bars 1-4

(on the Leb I Vino Video, they sometimes do gentle circles forward with the hands, but they don't do it every time, it's more pronounced as the music speeds up)

Part 2 (Done to the music with the pause in the tambura line)

Bar 1 Facing center step R to R (1,2), Close L next to R (3,4) (on the LiV video they sometimes do an extra bounce on counts 2 (turning this into a "bounce bounce close", this is especially true as the music speeds up, they also sometimes step behind with the L foot instead of next to R).
Bar 2 repeat Bar 1
Bar 3 repeat Bar 1
Bar 4, no footwork, Arms swing down (counts 1,2) and up (3.4)
(the LiV video, then take an extra step to the R with the R on count 1, they also leave the arms down on counts 3,4 bringing them only up on count 1 of bar 5).
Bar 5-8 repeat Bars 1-4 opp ftwork and direction.

Dobrudžanski Buenek (Bulgaria)

2009-12-22T15:18:00.001-08:00

Taught by Yves Moreau (video available by purchasing his tapes from: http://www.bourque-moreau.com/)

2/4
Hands in W position
Music by Eva Georgieva.

1-4 Introduction (jingles), no action

Part 1 R and L
1 facing slightly diagonally R, Step R in LOD (1) body sways slightly to the R. Scuff Lft next to R, scuffing forward (2)
2 continuing in LOD, repeat 1 with opposite footwork
3-8 repeat 1-2, 3x
9 facing centerStep R to R (1), step L behind (2) Arms swing up and forward
10 repeat 9, arms swing forward
11 Step R to R (1) hold (2), arms back in W position
12 Stamp L next to R twice (1,2), arms "pull" on each stamp
13 pause (two drum beats)
14-25 repeat 1-12 (no 13!)

Part 2 Limping in and out
1 Moving into the center of the circle (ends curl in more vigorously), step on ball of R (1) then on flat L (2)
2-8 repeat bar 1 7 more times, arms swing down and back up on bars 7 and 8. (Note: this is based on Yves Video -- His dance notes are different! The notes have 2 stamps with the R foot: one on bar 7 and one on bar 8)
9-16 repeat 1-8 but moving out of the circle
17 facing center, no foot movement, arms windshield wiper to the Rm
18 as in 17, but wiper to the L
19-20 repeat 17-18
during 17-18, say "yooie-yooie-yooie-yooie-yooie-yooie-yoo"

Hora De La Soroca (Basarabia, Moravia, Romania)

2009-12-04T06:48:00.000-08:00

Hora De La Soroca

Romania

Notes by Andrew Carnie as learned from Gerry Spinks. (who learned it from Sonia DIon and Cristian Florescu) (CORRECTED)

From the original notes by Sonia Dion & Cristian Florescu: "Soroca, a town of some 40,000 inhabitants on the banks of the Nistru River, is the administrative seat of the district of the same name. The town’s coat of arms displays the fortress of Soroca against a purple background. There are references as far back as the 15th century to Soroca as an important fortress in Moldavia’s fortification system. The origin of the town’s name is the subject of a dozen theories. One version claims it is taken from the Romanian word soroci, referring to sorcery and incantations. Less romantic versions would have it that soroca comes from the name of a landowner or, more likely, from the word saraci, meaning poverty. We learned this dance with friends at a typical Moldavian party, where the atmosphere is bound to be warm, animated, festive and very joyous. A Moldavian evening is graced by music, dance, laughter, excellent food and lots of wine! The song that goes with this dance is sung here by Maria Iliuţ."

Two videos on YouTube:
http://www.youtube.com/watch?v=yaabvg5XW98
http://www.youtube.com/watch?v=mpQztCKtNhg&feature=related

4/4, (Dion and Florescu say it is 2/4 in their notes) but each step falls on counts (1) and (3) of each bar

Open Circle, W position, face center

Bar 1: Step R to R, arms windshield-wiper (bend at elbow and point to the right) (1), close L with weight, arms return to neutral position (3)
Bar 2: repeat bar 1, except don't take weight on the L foot when it closes, just touch.
Bar 3: Step into the center with Left foot, arms swing forward and down to V position (1), Right foot closes up next to back ofL calf (3)
Bar 4: Step back on R (arms swing back up to V position (1), Small lift of free left foot (3)
Bar 5: Step L to Left (1), lift R in front (3)

Merak Čoček (or Čoček Za Merak) (Macedonia- Gypsy)

2009-10-13T16:38:00.000-07:00

Čoček Za Merak

Macedonia - Gypsy

Notes by Andrew Carnie

Video: http://www.youtube.com/watch?v=ajQbsXdQxZY

Line, W-position

Bar 1, facing center, step R to R (1), Step on Left forward in front of R (2)
Bar 2, Step R back in place(1), Step S, R in place next to R (2&)
Bars 3-4 repeat 1-2 opposite footwork
Bars 5-8 repeat 1-4
Bar9 Step R in LOD (1), touch L next to R (2).
Bar 10 Step L in LOD (1), Step R, L in LOD (2&)

Chilili - Bolivia

2009-10-13T16:06:00.000-07:00

Video 1: http://www.youtube.com/watch?v=6cPeof5a5qg
Video 2: http://www.youtube.com/watch?v=JYBHnOkiPW4

Couples, in a contra-dance like formation (men on one side ladies on the other)

Basic Footwork (used through out):
Bar 1: Step R, L, R, touch L
Bar 2: Step L, R. R. touch R

Part 1:

Bar 1: Facing center of set, travel to own right using 1 basic step (RLR-touch). Clap hands high and to the right on the touch.
Bar 2: repeat bar 1 with opposite footwork and clapping hands low to left.
Bar 3: repeat bar 1
Bar 4: repeat bar 2

Part 2:
Bar 1: Use one basic step (RLR,touch) to travel into the center so that you come R-shoulder to R-shoulder with partner, While traveling forward, bring hands forward up to shoulder height.
Bar 2: repeat bar 1, but back up away from partner. Hands come down. clap low in front of you on the touch
Bars 3-4 repeat part 2, bars 1-2

Part 3 (interlude)
Bar 1, with arms up at shoulder height, take one basic step forward but this time end facing your partner up and down the dance (i.e. perpendicular to starting position)
Bar 2 using one basic step (LRL-touch), and moving across the set into the place previously occupied by your partner, do one complete CCW turn (pull L shoulder back as you turn). clap low on the touch.

Repeat dance on opposite side of the set.

Kerem Ejle (Serbia)

2008-09-16T09:39:00.000-07:00

Kerem Ejle
Serbia

Music by Ayde Mori (Brenna MacCrimmon and Band)

Notes by Andrew Carnie, September 16, 2008

This is a Gypsy dance from Serbia, sung in Romani, but with a Turkish title. The dance is a variation on Jeni Jol/Yeni Yol.

W-position

Bar 1. Facing slightly LOD, touch R toe next to L while lifting right hip (1), step onto R in LOD (2), touch L toe next to R while raising L hip (3), step onto L in LOD (4). (count as 1,2,3,4)

Bar 2. Swooping R foot low to the ground forward to Center, step onto R into center (1) hold (2), lift Left foot behind R calf (3) hold (4) (count as SLOW, SLOW)

Bar 3. Step on L behind R (1), pause (2) do a lift (čukče) on L, while raising R foot up and back (bicycle) (3), step on R behind L (4). (count this as SLOW, quick quick)

Bar 4. ("serbian Yemenite"). Step L to L (1), step R slightly diagonally back behind L (2), cross L in front of R (3), hold (4). (count as quick quick slow)

Transition: There is a long taxim in this music, and there is an extra bar of music in the taxim. To get back into the right phrasing of the music, when the horns start playing the melody again after the taxim, just repeat Bar 1 over and over again (touch, step, touch step), until you hit the beginning of a phrase. In Tucson we do a total of 8 bars of touch steps then start the dance again with the singing.

Haisai Ojisan - Okinawa

2008-08-19T10:20:00.000-07:00

Haisai Ojisan - ハイサイおじさん
(Okinawa, Japan)
4/4
Notes by Andrew Carnie, Based on a video on You Tube: (http://www.youtube.com/watch?v=8ARSlY4AKYI)

Introduction Step:
Bar 1 with weight on both feet, feet together, bend knees and cross arms low in front of body (1), straighten knees, arms go out to side (fully extended) (2), repeat (3,4)
Bars 2-8 repeat bar 1

Part 1: Haisai Ojisan Step (done while the singer is singing Haisai Ojisan chorus).
Depending upon the place in the music and the recording, this step can be done twice (bar 1,2) or three times (bars 1, 2, 3).
Bar 1: clap twice (12) Lift R foot bent at knee, hands come up to shoulder height palms facing R (3), place R heel to ground, Push R hands out to the R (4).
Bar 2: same as bar 1, but with the opposite footwork and direction. Step onto R on count 1
(Bar 3, when it happens): same as bar 1, but with a step on L foot on count 1.

Part 2: Butt wiggles & gathering
Bar 1: Stepping RLRL in place, bending knees on each step so that your hips sway side to side. Arms are parallel to each other and the ground, hands are in a fist, on each step bring either the R or L arm up and over the other. Arms are kept in front of the stomach.
Bars 2-4 repeat bar 1

Part 2: Variation: Pumping Hoedown
At the dancer’s whim, they can replace the butt wiggle step with this one.
Bar 1: step onto L foot (if weight isn’t there already), then with an exaggerated motion, stomp the R foot into the ground on every count. Lift knee high between each stomp. While stomping you are bent over at the waist, and you push your right fist downwards on each stomp (when the leg is up the back of the elbow is parallel to the ground.)
Bars 2-4 repeat

Part 3: Shoulder Wiggle
Bar 1 step forward on R while wiggling shoulders, step back in place on L, step on R next to L, pause.
Bar 2 repeat opposite foot work

Part 3: variation 1: Body Builder
This step may be done at the whim of the dancer instead of part 3, shoulder wiggle. Do the same footwork, but instead of shaking shoulders, hunch shoulders over, with arms forward, elbows turned out (like one typical body builder’s pose). Pump arms inward once or twice.

Part 3: variation 2: Karate Thump
This step may be done at the whim of the dancer instead of part 3, shoulder wiggle. Do the same footwork, but instead of shaking shoulders, extend R hand out to side, then bring it forward touching Left shoulder. Palm of hand is facing down throughout. Repeat with opposite hand.

Part 4: walking
On the video this step is done in place. In Tucson we decided to walk around with it.
While making slow circles with your hands in the air, step R (1), L (3), on the offbeats lift the free foot high behind the foot on the ground.

Sequence:
Every time through you do: 3 bars (RLR) of part 1, either variation of part 2, any variation of part 3, 2 bars (RL) of part 1, either variation of part 2, any variation of part 3, then walking (part 4). Repeat this until the end of the dance.
The exception is at the very beginning. Leave off everything up to the 2x through step 1, replacing the missing material with the introduction step.
The Sequence on the video:
1) Intro, RL, hoedown, Shoulders, Walking
2) RLR, Butt, Karate, RL, butt, Wrestler, Walking
3) RLR, Butt, Shoulders, RL, Butt, Wrestler, Walking
4) RLR, Butt, Shoulders RL, Butt, Wrestler, Walking
5) RLR, Butt, Karate, RL, hoedown, Shoulder, Walking
6) RLR, Butt, Karate (Karate again)

----
ハイサイおじさん (By Shokichi Kina)

ハイサイおじさんハイサイおじさん昨夜 (ゆうび) ぬ三合びん小残 (くわぬく)とんな
残 (ぬく) とら我 (わ) んに分 (わ)きらんな
ありあり童(わらば) いえー童(わらば) 三合びんぬあたいし我 (わ) んにんかい残 (ぬく) とんで言ゆんないえー童(わらば)
あんせおじさん三合びんし不足 (ふすく) やみせぇーら一升びん我 (わ) んに呉 (くい) みせーみ

ハイサイおじさんハイサイおじさん年頃 (としぐる) なたくと妻小 (とじぐわ) ふさぬ
うんじゅが汝ん子 (いなぐぐわ) や呉 (くい) みそうらに
ありあり童 (わらば) いえー童 (わらば) 汝 (やー) や童 (わらび) ぬくさぶっくいて妻小 (とじぐわ)
とめぬんないえー童 (わらば)
あんせおじさん二十 (はたち) や余 (あま) て三十過ぎて白髪 (しらぎ)からみてから妻 (とじ ) とめゆみ

ハイサイおじさんハイサイおじさんおじさんカンパチまぎさよいみーみじカンパチ
台湾はぎありあり童 (わらば) いえー童 (わらば) 頭 (ちゅぶる)
ぬはぎとし出来やーど我 (わ) ったー元祖 (がんすん) んむる出来や
あんせおじさん我 (わ) んにん整形しみやーいあまくまカンパチ植 (い ) いゆがや

ハイサイおじさんハイサイおじさんおじさんヒジ小 (ぐわ) ぬをかさよい
天井ぬいぇんちゅぬヒジどやる
ありあり童 (わらば) いえー童 (わらば) 汝 (やー)やヒジヒジ笑わしがヒジ小 (ぐわ) ぬあしがるむてんゆんど
あんせおじさん我 (わ) んにん負きらん明日 (あちゃ) からいぇんちゃぬヒジ小 (ぐわ) 立てゆがや

ハイサイおじさんハイサイおじさん昨夜 (ゆうび) ぬ女郎小 (じゅりぐわ) ぬ香 (かば) さよい
うんじゅん一度めんそーれ
ありあり童 (わらば) いえー童 (わらば) 辻 (ちいど) 中島 (なかしま) 渡地 (わたんで)とおじさんや
あまぬ株主どあんせおじさん毎日 (めえなち) あまにくまとーて我 (わ) んねー貧乏 (ひんず) やたきちきゆみ

Hey, man! Hey, man !
If there’s a drop of sake left in last night’s little bottle
Won’t you give me some?
Hey, boy! Hey, boy!
You think I’m satisfied with a little bottle?
Don’t say there’s none left!
Ok, man! If the little bottle’s not enough, give me a big one

Hi, man! Hi, man!
I wanna marry, I’m not a kid anymore
Can I marry your daughter?
Hey, boy! Hey boy!
Marry? No kidding!
You’re still too young to talk about such things
Ok, man! I’ll wait till my hair turns white

Hi, man! Hi, man!
What a big bald spot you have!
Hey, boy! Hey, boy!
Bald men are excellent
My forefathers were really excellent
Ok, man! I’m gonna have cosmetic surgery to add bald spots

Hi, man! Hi, man!
Your beard is funny, like the whiskers of an attic mouse
Hey, boy! Hey, boy !
Laugh at my beard, but women love bearded men
Ok, man! I don’t wanna be outdone by you,
Starting tomorrow, I’ll grow a beard that looks like the whiskers of a mouse

Hi, man! hi, man!
Last night’s hooker was really pretty, you should go there, too
Hey, boy! Hey, boy !
In Chiji, Nakajima and Watanji,* I’m a big shot
Okay, man! Going around here and there, I’m wasting my money
You’re wasting your money

Collection of Online Videos

2008-05-28T18:18:00.000-07:00

Check out Roy Butler's pages of folk dance videos:

http://my.starstream.net/patroy/videodancelist.htm
http://internationalfolkdance.blogspot.com/

Trgnala E Malka Mome (Bulgaria)

2008-05-04T18:59:00.001-07:00

Trgnala E Malka Moma
Bulgaria

9/8, V position

Notes by Andrew Carnie

Part 1:

1 facing LOD step R in LOD (QQ) , step L in LOD (QS)
2 facing center Step R to R (Q), step L behind (Q), Step R to R (Q), Step Left in front of R (S)
3-4 repeat 1-2, there is a big pause at the end of bar 4, just hold
5-8 repeat bars 1-4

Part 2
1 take 4 walking steps into the center RLRL (QQQS)
2 repeat bar 1
3 step R to R (QQ), lift left (QS)
4 repeat bar 3 opp ftwork & direction
5-8 repeat bars 1-4, but travel

Daliana (Greece)

2008-05-04T12:20:00.000-07:00

Source Joe Graziozi

Formation: line with hands in W position

Step R to R (1), step L behind (2), Step R to R (3)
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 (in place) on R (3)
"Tsamikos" (left to Left, R in place, L in place)(1&2), cross R in front of L (3)
step Left to L (1), Cross R in front (2), step back (in place) on L (3)

(Dance notes by Andrew Carnie, source of lyrics is unknown)

Ach de boressa, more Daliana mu,
De boressa ma wro kamia,
Ach de boressa na wro kamia,
San ti diki su omorfia.
Ach ti na ta kano more Daliana mu,
Ti na ta kano ta fluria,
Ti na kano ta fluria,
Bros ti diki su omorfia.
Ach thelo na ginis more Daliana mu,
Ach thelo na ginis teri mu.
Ach thelo na ginis teri mu,
Omorfo peristeri mu.

Meryem Ana - Turkey

2008-05-04T12:16:00.000-07:00

Taught by Ahmet Luleci

1, step R diag forward R, touch L flat foot next to R
2. Repeat 1 opp ftwk
3. repeat bar 1 but backing straight back
4. Repeat 2, but travelling diag back L

Dance notes by Andrew Carnie, source of lyrics unknown

Meryem Ana Deresi
Akar akar da gider
//Kenarinda durunlar
Bakar bakar da gider//

Edere garip dere
gene güzel akayisun
//Gözlercumun içine
Sevdali bakayisun

Meryem Ana Deresi
Alabaluk gaynayi
//Meryemun uşaklari
Kenarinda oynayi//

Kışın buz gibi olurda
Baharda bulaniyi
//Bazi şelale olurda
Çoğu kez dolaniyi//

Haire Mamougah - Armenia

2008-05-04T12:11:00.001-07:00

Haire Mamougah
Armenia

2 lines facing each other, one line represents the groom's family the other the bride's family

(1234)(1234)(1234)(1234)

1 Touch L back, touch L next to R, Touch L back Touch L next to R
2 Step L to diag L, close R, step R to diag R close L
3 step back LRLR, free toe swivels on floor

Udarata Kandukara - Tea Picker's dance (Sri Lanka)

2008-05-04T12:08:00.000-07:00

Udarata Kandukara
(Tea Plucker's Dance)
Sri Lanka- ශ්රී ලංකා -இலங்கை

Notes by Andrew Carnie, July 3, 2002, based on instruction by Samanthi Hewakupuge

Individuals in a big circle

Style: Legs turned out and far apart, knees slightly bent. Body bent slightly forward.

Tea Plucking Hand Movement: start with hands splayed open. Palm of the right hand faces body, fingers pointing down. Left hand palm faces away from body, fingers pointing up. Pull index fingers and thumbs together, other fingers remain splayed out (ct. 1) Rotate hands, resplaying fingers so that L hand faces body and fingers point down, and R hand faces out, fingers up. Pull fingers together (ct. 2) repeat (ct. 3,4)

Throwing Tea Movement: starting with palms facing away from body, turn hands towards each other until they face body. Meanwhile bend at elbows, bringing hands up above (either) shoulder (ct. 1). Bring hands down, rotating palms to face down about waist high (ct.2)

Step 1- Taking the basket out to the field

In this step you are taking your tea basket out to the field. Facing LOD.
Arms are bent at elbow, hands touch own shoulders as if holding basket on the back.

Bar 1
1, Leap onto R, crossing in front of L body turns to face left
2 Step back onto L, body faces LOD
3 Step onto R behind L
4Step in LOD with L

Bars 7-8 repeat bar 1

Step 2 - Tea Plucking
start facing center of the circle

Bar 1 -- Bent over at waist.
1 Step R into center
2 Step L into center
3 Step R into center
4 Step L into center

Finger plucking with hands

Bar 2 -- Straighten up.
1 Touch R heel to R Throwing movement to R shoulder
2 Step R
3 Touch L heel to L Throwing movement to L shoulder
4 Step L

Bar 3-4 pull RIGHT shoulder back and repeat bar 1-2 facing out
Bars 5-6 pull Right shoulder back and repeat bars 1-2
Bars 7-8 repeat bars 3-4

Step 3 Moving through the fields
Start facing out, body is upright throughout. Legs are spread out about shoulder width apart.

Bar 1 start facing out

1 Step R to R Tea Picking
2 Step L to L
3 Pivot on L foot CCW with a lift to face center, bring R foot up behind L knee' Throwing movement to R shoulder
4 Step R To R

Bar 2 start facing in
Repeat bar 1 pivoting CW
Bars 3-8 Repeat bars 1-2 three more times

Step 4 (Not usually done in I-dance group)
facing LOD

Bar 1 facing LOD
1. Step R, behind L tea picking
2 Step L, crossing over R
3Touch R heel to Diagonal R throwing movement
4Step R forward to diagonal R

Bar 2 repeat bar 1 opposite footwork and directions
Bars 3-8 repeat 1-3 3 more times

Sequence:
Step 1, 2, 3, 2, 4, 2, 1 etc.

Satovčensko Horo - Сатовченско Хоро (Bulgaria)

2008-05-04T12:05:00.000-07:00

Bulgaria

W position

Part 1 Širto

1) in LOD, RLR (SQQ)
2) in LOD, LRL (SQQ)
3) facing center, kick R down and front (S), hope on L bring R up and around (Q), step R behind (3)
4) Step left diagonally back (S), step R diagonally back (Q), Step L diagonally forward (cross in front) (Q)

Repeat 3 more times.

Part 2 Turn

1) Step R in LOD (S) Cross L in front (QQ)
2) Step R to R (S) lift L (QQ)
3) Step L to L (S) lift R (QQ)
4) Turning to the R (CW), Step R (S), complete turn stepping L (QQ)
5) repeat 2
6) repeat 3
7) as in bar 1 of part 1
8) as in bar 2 of part 1

repeat

Alternate parts 1 & 2 until music changes -- the last time through the taxim music there is a transition version of part 1

bars 1-3 as in part 1
bar 4 Step L (S) | bar 1 of part 3 (QQS)

Part 3 -Fast

1) RLR (QQS) in LOD
2) LRL (QQS) in LOD
3) Facing center, arms swing down; R to Right (Q) hop on R (Q) step left behind (S)
4) R to R (Q), Close L (Q), Step R to R (S)
5) Cross the left in front, arms swing down (QQ) Step R back (S)
6) L to L (Q), CLose R (Q), Step L to L (S)
7) as in 5 but opp ftwrk
8-9 repeat 4-5
10) Step L diagonally back to L (Q), Step R next to L (Q), Cross L in fron tof R (S)

Mazurka (Tohono O'odham)

2008-05-04T12:02:00.001-07:00

Mazurka
Tohono O'odham (papago) Native Americans

This is a 4 beat two-step done against 3/4 music.

Observed at teh 2000 Wiala Festival 20 May Tucson AZ,

Couples in ballroom travelling CCW aroudn the room. Held close, bent knees, M's R leg between W"ls legs

Rows represent dance phrases. the | marks the musical boundaries
M
Step L to diag L (1), close (2), step L to diag L (3) | touch R (1)
Step R to diag R (2) close (3), | step R to diag R (1) touch L (2)
Step L to diag L (3), | close (1), step L to diag L (2) touch R (3) |
Step R to diag R (1) close (2), step R to diag R (3) | touch L (1)
Step L to diag L (2), close (3), | step L to diag L (1) touch R (2)
Step R to diag R (3) |close (1), step R to diag R (2) touch L (3)|

W
opp of men and backingup.

Just do Step-together-step-touch and ignore the music!

Couple may turn CW once.

Chote (Tohono O'odham)

2008-05-04T12:01:00.000-07:00

Chote
Tohono O'odham (papago) Native Americans

Chote is from "schottische", although the step is most similar to symmetrical two step.

Observed at teh 2000 Wiala Festival 20 May Tucson AZ,

Couples in ballroom travelling CCW aroudn the room. Held close, bent knees, M's R leg between W"ls legs

M
1) Step L to diag L (1), close (2), step L to diag L (3) touch R (4)
2) Opp footwork and direction

W
opp of men and backingup.

Couple may turn CW once.

Cumbia (Tohono O'odham)

2008-05-04T12:00:00.002-07:00

Cumbia
Tohono O'odham (papago) Native Americans

The most popular TO dance.

Observed at the 2000 Wiala Festival 20 May Tucson AZ,

individuals travelling CCW in a circle, the dancers may be several poepl deep, peopel usually stand in spokes next to their friends.

In LOD, step RLR (1&2), LRL (3&4) forward

OR

L (1) touch R (2) R (3) Touch L (4)

Waila (Tohono O'odham)

2008-05-04T12:00:00.001-07:00

Waila
Tohono O'odham (Papago) Native Americans

Observed at the 2000 Waila Festival Tucson AZ, May 26, 2000

Done to Waila Polka Tunes

("Waila" comes from the Spanish Bailar)

Ballroom position, held very close, knees are bent and legs turned out. The couple is offset -- The man's R leg is between the woman's (like ina lambada). The Free feet drag slightly. Style is sexy but low to the ground.

THe step is just a walk, man going forward woman backing up. Man starts L, woman RI. May occasionally turn CW.

Couples progress CCW in a circle around the dance floor.

Ventzi's Graovsko

2008-04-18T14:46:00.000-07:00

Ventzi’s Graovsko

Source Ventzi Sotirov
Notes by Andrew Carnie (October 5, 2005)
2/4

1 Facing RLOD, hop on L (1), Step R bkwd RLOD (&), Step L bkwd RLOD (2)
2 Facing LOD, Step R in LOD (1), Step L in LOD (2)
3 BlooBloop RL (leap RL) (&1) hop L in place (2)
4 face center, step R to R (1) hop on R and lift Left (2)
5 hop R in place (1), step left to left (&), Cross R in front (2)
6 hop R in place (1), step left to Left (&), Cross R behind (2)
7 Step L in place, lift R (1), Step R, lift L (2)
8 Step L in place, lift R (1), Step R behind L (2)
9 Step L in place (1) Kick R in front (2)
10 Close R (no wt) (1)Step R in place (2)
11 Hop on R (1) Cross L in front (2)
12 hop on L (1), Cross R in front (&), Cross Left in front (2)

Red Wing (USA - Old Time Singing Square)

2008-04-18T14:43:00.000-07:00

Opener

You Allemenad Left your corner
A right hand to your own
A Grand Right and left aroudn you go
Meet your own and DSD
DSD your partner
And then your partner swing
Take them all go by the hand and Promenade the ring
Get back home and settle and the first couple Right

First couple Right and circle Right 1/2
The inside couple arch
You Duck and you dive and away you go
The Inside High the outside low
Now, Hurry Hurry Hurry let's go
It's over and below
You duck right thru to the opposite two
and circle 1/2 around
Now duck to the last and circle 1/2
the inside couple arch
You Duck and you dive
Inside High the outside low
Hurry Hurry Hurry, lets go
It's over and and below
You duck right home and Home you go
NOw Everybody swing
You all swing round there with your redwing
You Promenade her, You serenade her
Oh you all promende there with your redwing
And Swing your partner go once around

Alunelul de la Orodel (România)

2008-04-18T14:41:00.000-07:00

Alunelul de La Orodel

First step - Facing center
1) Step R heel to R (1), Step Left Behind (2), Step R heel to R (3), Step L behind (4)
2) Step R behind L (a bit of a bicycle to do this) (1), Step L to L (2), Cross R in front (3), Step L to L (&), Cross R in front.
3-4) repeat 1-2 opp ftwork and direction
5-8) repeat 1-4

Chorus Step - Starts facing center
1) Step R forward (1), step on L turning to face LOD (stay in basket!) (2), Traveling out of the center of the circle, step R to R (out) (3) close L (&), step R to R (4)
2) repeat 1 opp footwork
3-4) repeat 1-2

2nd Step - facing center
1) Step R into center (12), step L into center (34)
2) Step RLR into center (1&2), Step LRL (3&4), Kick R forward (&)
3) Moving backwards, Cross R in front (1), step L in place (&), step R to side (2), Step L in place (&) Cross R in front (3), Step L in place (&), Step R to Side (4), Step L in place (&)
4) Moving backwards, Cross R in front (1), step L in place (&), step R to side (2), Step L in place (&) Cross R in front (3), Step L in place (&), Stamp R (4)

Chorus

Haida Haida (România)

2008-04-18T14:40:00.001-07:00

Notes by Andrew Carnie

The dance is based on Alunelul de La Orodel

First step - Facing center
1) Step R heel to R (1), Step Left Behind (2), Step R heel to R (3), Step L behind (4)
2) Step R behind L (a bit of a bicycle to do this) (1), Step L to L (2), Cross R in front (3), Step L to L (&), Cross R in front.
3-4) repeat 1-2 opp ftwork and direction
5-8) repeat 1-4

Chorus Step - Starts facing center
1) Step R forward (1), step on L turning to face LOD (stay in basket!) (2), Traveling out of the center of the circle, step R to R (out) (3) close L (&), step R to R (4)
2) repeat 1 opp footwork
3-4) repeat 1-2

2nd Step - facing center
1) Step R into center (12), step L into center (34)
2) Step RLR into center (1&2), Step LRL (3&4), Kick R forward (&)
3) Moving backwards, Cross R in front (1), step L in place (&), step R to side (2), Step L in place (&) Cross R in front (3), Step L in place (&), Step R to Side (4), Step L in place (&)
4) Moving backwards, Cross R in front (1), step L in place (&), step R to side (2), Step L in place (&) Cross R in front (3), Step L in place (&), Stamp R (4)

Chorus

Order 1,2, chorus, 1, 2, 1, 2, chorus, 1, 2, strigaturi (below), chorus

Strigaturi:

1. Step R to R (1), hop on R (2), Run RLR in LOD (3&4)
2-4 repeat 1 3 more times.

Draganovo -Драганово (Bulgaria)

2008-04-18T14:38:00.000-07:00

Draganovo,
notes by Andrew Carnie based on J. Araonvitch's teach in 1987, retranscribed in 2000,

QQS
Line, V-position

1) Facing LOD, hop on L (Q), step R in LOD (Q), Step L in LOD (S)
2) repeat bar 1
3) facing center, step R to R (Q), step L behind (Q), Step R to R (S)
4) put left shoulder in, Step on L in (QQ), Hop on L (S)
5) Hop on L (Q) step RL (QS) in place, facing center
6) repeat 4, but with R foot and R shoulder in.
7) as in 5, opp ftwork
8) as in 5, turning to face LOD

Dimna Juda - Димна Јуда (Macedonia)

2008-04-18T14:19:00.000-07:00

Dimna Juda
Macedonia

Notes by Andrew Carnie October 28, 2001

This dance is a variant dance done to the slow music at the beginning of the dance suite Kopačka. I learned this variant from Judy Silver in Toronto. This is not the same dance as the one as traditionally called "kopačka I"

Hands in W-position.

Bar 1 Step R in LOD, Cross L over R
Bar 2 Step R to R, Touch L next to R
Bar 3 Step L to L Touch R
Bars 4-12 repeat bars 1-3 three more times
Bar 13-15 repeat bars 1-3
Bar 16 repeat bar 2
Bar 17 Step L to L, cross R in front of L
Bar 18 repeat bar 3
Bar 19 repeat bar 2
Bar 20 repeat bar 3

(or in other words: 4 x step step step touch step touch, and 2 x step step step touch step touch step touch).

Dimna Juda mamo, grad gradila x3 Димна Јуда мамо, град Драдила
Na planina mamo na Vlaina x2 На планина мамо на влајина

/Što je kolje mamo pobivala. што је коље мамо побивала
Sve ergenje, mamo, za glavenje. / x2 Све ергенје мамо эа глвенје

/Što je priče, mamo, zapričala. што је приче мамо эапричала
Se devojke, mamo za maženje/ x2 Се девојке, мамо эа маженје

Dimna Juda, mother, built a castle
on a mountain, mother, on Vlajna
What she drove, mother, for piles
where young batchelors, mother, hearty lads
What she thatched, mother, for roofs,
were Maidens, Mother, ready for giving in Marriage.

Dabke Qamrosh -دبكة (Lebanon)

2008-04-16T21:25:00.001-07:00

This is a simple Dabke variation taught to me by Ann Kyle. She learned the dance in Camrose Alberta, thus we've labelled this Dabke Qamrosh.

Open circle, "glu glu" position, fingers interdigitated forearm to forearm, arms bent at elbow. Forearm is parallel to the floor.

Notes by Andrew Carnie, April 2008

Moving LOD, cross L over R (1), step R (2), cross L over R (3), step R (4), touch L front (5), touch L side (6)

Variation: Step L (1), hop on L (&), step R (2), (3-6 same).

Tankosava Танкосава (Serbia)

2008-04-16T21:21:00.000-07:00

Танкосава
Tankosava

Escort hold
Start with Singing

Notes by Andrew Carnie
A video of this dance can be seen at The Dunav website

8 bar introduction, start with singing
Part 1:

Bars 1-4 are just like Šetnja
Bar 1: Step R in LOD (1,2), step L in LOD (3,4)
Bar 2: Step RLR in LOD (123), pause (4)
Bar 3: Step L backing up (1,2), Step L backing up (34)
Bar 4: Step back on L (1), Step back on R (2), Step forward on L (3) pause 4
Bars 5-8 "7s" Crossing
Bar 5: Cross R over Left (1), still facing center step L to L (2), Cross R over Left (3), step L to L (4)
Bar 6: Same as bar 5 but pause on count 4 (no step on count 4)
Bar 7-8: repeat 5-6 but with Left foot crossing in front
Bars 9-10 Csardas
Bar 9 facing center step R to R, close L next to R, step R to R. There is a slight hip twist with each step
Bar 10 repeat bar 9opp ft and direciton

Part 2
Bars 1-4 as in part 1
Bars 5-8 as in part 1, except do 7 steps of a grapevine in each direction instead of crosses. Cross R in front to start
Bars 9-10 as in part 1

Alternate parts 1 and 2.

----
Name: Tankosava
Origin: Serbia
Lyrics:
Tan, tan tankosava,
Tanko si se opasala,
I u kolo uhvatila,
Do Milana gružanina.
Lep Lep Leposava,
Lepo si se očešljala,
I u kolo uhvatila,
Do Milana gružanina,
Do Milana gružanina.
Tan, tan tankosava,
Tanko si se opasala,
I u kolo uhvatila,
Do Milana gružanina.
Lep Lep Leposava,
Lepo si se očešljala,
I u kolo uhvatila,
Do Milana gružanina,
Do Milana gružanina.
Milo Milo Milosava,
Milo si me pogledala,
I u kolo uhvatila,
Do Milana gružanina.
Tan, tan tankosava,
Tanko si se opasala,
I u kolo uhvatila,
Do Milana gružanina,
Do Milana gružanina.

Totur (Denmark)

2008-04-16T21:12:00.000-07:00

Couple Mixer,

Couples in a circle. 2/4

Notes by Andrew Carnie as taught by Gerry Spinks.

Intro (never repeated) in circle formation, man on the left, woman on R
1-8 using 8 two steps circle to the left) Man start L foot, woman start R.
9-16 using 8 two steps circle to the right.

Figure: in ballroom position, Man facing CCW, woman facing CW
1-2 Starting M's L and W's R, do 1 two step (step, together, step) into the center, then two walking steps in.
3-4 repeat bar 1, moving out of center of circle with opposite footwork and direction
5-8 Still in ballroom, but put R shoulders next to Right shoulders, Dance around each other using 4 two steps,
9-16 repeat 1-8
17-24 Facing Partner, giving them R hand to start do a grand right and left around the room with 16 two steps, 2 two steps per hand. Hopefully you will end with a new partner!

Terpsicourante (England)

2008-04-16T21:04:00.001-07:00

Notes by Andrew Carnie

4 couple longwise, 1&3 crossed over, start facing corner. Walking step throughout except for setting, where a pas de basque is used.

With corner:
1-4 Advance for 4 steps, retire
5-6 set twice
7-8 Turn single (4)
9-10 Gypsy 1/2 passing R shoulders, end in corner's place, but facing PARTNER (across dance)

With Partner:
11-20 Repeat above, but end facing partner

21-24 Turn Partner by right hand all the way around (8cts)
25-26 Men exchange places with diagonal
27-28 Women exchange places with diagonal

29-30 Circle 1/2. Retain hands with partner,
31-32 CENTER COUPLEs (1&4), pass back to back with man leading to Left, exchanging places (end back to back with other couple in other couple's place
33-34 Circle 1/2 with new facing couple,
35-36 new centers exchange as in 31-32
37-38 Circle 1/2 with next,
39-40 old centers exchange, as in 31-32

end 3 1 4 2

Lassú Sergő (Hungary)

2008-04-16T21:01:00.000-07:00

Circle, back basket

Notes by Andrew Carnie, as taught by Karen Faust

Traditionally a woman's dance

2/4

Part 1 Symmetrical Sways and rida steps

1 Sway R (1), Sway L (3),
2 repeat bar 1

(what follows is 1 step-hop-step followed by 7 downbeat rida steps to the left crossing R in front)
3 Step on R in front of L (1), hop on R (&), step on L to L (ah), Step R in front of L (2), step L to L (&)
4 step R in front of L (1), step L to L (&), repeat counts 1& (2&)
5-6 repeat bar 4 twice, on last & count of bar 6 don't step L to Left (just cross R on count 2 then pause)

7-12, repeat 1-6 in opposite direction

Part 2. Csardas Step

1-12 , 12x Step R (1) close L next to R (2)

Part 3

1-2, repeat 1-2 of part 1
3-4, repeat 3-4 of part 1
5-6, repeat 3-4 of part 1, except on last & count pause (leaving left foot free)
7-8, repeat 3-4 of part 1 but start with Left foot crossing in front of R, and use opp footwork and directions
9-12 repeat 7-8 of part 3 two more times.

Lassú sergő
/ Széles víz a Duna. /
Keskeny palló ra jta.
/ Ne menj arra, rózsám /
mert beesel róla .

The Danube is a wide river.
A narrow plank is upon it.
Don’t go that way, my sweetheart,
because you’ll fall o it.

Wild Wild West (Couple Mixer USA)

2008-04-16T20:10:00.000-07:00

2/4

Couples in Ballroom position in a circle, men/leaders have backs to center of circle, women/followers face center.

Footwork here is for the man/leader. Women/followers do the opposite throughout.

1 L to L (1), R behind (&), L to L (2), touch R (&)
2 repeat 1, opp ftwk & direction
3-4 repeat 1-2, but the women turn under (CW) m's L hand and then CCW back
5 Face LOD, hold nearer hands, Step L (1), touch R to partners L foot (&), Step R (2), touch L to partner's R foot (&)
6 repeat 5
7 Men back up 4 steps (LRLR), clap on last step, Women back up slightly RLRL
8 Then forward 4 steps progressing CW to next lady, women progress CCW

Chala Chala - Pontic Greek

2008-03-03T01:20:00.000-08:00

Chala Chala

Greece (Pontos)

Notes based on Dunav Video, written by Andrew Carnie. I'm not sure who is the source of the song transcription but it is probably Joe Graziosi.

Music is QQQS, but dance is best described as QSQQ, where the QS is the last two beats of the first bar of the music. You start in the middle of the first bar of singing.

Hands in V position

Dance measure 1: Step R to R, right shoulder moves slightly forward (Q), close L with wt (S), repeat but in QQ rhythm.

Dance measure 2: Step R to R (Q) close L withOUT wt (S), Step L to Left (Q), close withOUT weight (Q)

Dance measure 3: Step R into center (Q), close L without wt (S), Step L back (Q), close R without weight (Q)

CHALA CHALA [GREECE] SONG LYRICS
/Thia m' ti thagatera sou,
Dos aten terpienin. / x2
/Tha sir ke per to psiopo mon. / x2
/M' aikon tarietin. / x2
Chorus:
Chala chala kalochala,
/Ida se thitsa m' ke echara. / x2
Ertha dos ma tin frantalan.
/Thiitsa m' na lelevo se
Do lego se yia pison. / x2
/Emen ke tin thagatera s. / x2
/S enan merean chtison. / x2
Chorus: Chala chala
/Thiitsa m' na lelevo se,
Ne thia m' kalothia. / x2
/Yia dos ma to kortsopo sou. / x2
/Ato me t aspra pshia. / x2
Chorus: Chala chala
AUNTIE AUNTIE
My auntie , you haven't given any upbringing
To your daughter
She pulls at my soul to drive me nuts
With such a cast of mind.
Chorus:
Auntie, auntie, good auntie,
I was so glad to see you,
So glad to see you my auntie,
Give me the young lady.
My auntie I'll be obliged to you,
Please do as I tell you,
I want your daughter, and me,
United in one flesh.
Chorus: Auntie, auntie
My auntie I'll be obliged to you,
Yes, my auntie I say the truth
Give your little daughter to me
The one with the white bosom
Chorus: Auntie, auntie

Jambolska Râčenica Ямболска Ръченица - Bulgaria

2008-03-03T01:17:00.000-08:00

Jambolska Râčenica
Ямболска Ръченица
(Bulgaria)

Notes by Andrew Carnie August 11, 2005, as taught by Gerry Spinks

7/8 time QQS

Open circle, start in W position

Bar 1. Facing slightly LOD, step R forward (LOD) on R with a knee bend (QQ) straighten leg (S)

Bar 2. Repeat bar 2 with opposite footwork

Bar 3. Step R in LOD (Q), close L next to R (Q), step R forward (S)

Bar 4. Repeat bar 3 with opposite footwork

Bar 5. Turn to face center step R to R (Q) slight bounce on both feet (Q), step Left behind R (S), arms swing down throughout bar.

Bar 6. Step R to R (QQ) small lift of the Left foot (S) arms swing back into W position through out bar.

Bar 7. Step Left into center (QQ) small lift on Left (S)

Bar 8. Step back on R (QQ), small lift on R (S)

Bar 9. Still facing center, step Left to Left. arms make a very subtle gesture to the left (QQ) close R (S)

Bar 10-12 repeat bar 9 three more times.

Zonaradikos (Stano) -Greece

2008-03-02T18:28:00.000-08:00

Zonaradikos – Stanos
Boyaliki, East Romilia, Thrace, Greece

Taught by Kyriakos Moisidis
Opa in the Desert 2006

Notes by Andrew Carnie, October 28, 2006
Meter 6/8 (counted 3|3; here notated 1,2)
Formation: W position

Variation 1. Done to singing

Bar 1 Step R into center and slightly diagonally R of center (1), close L next to R (2)

Bar 2 repeat bar 1 ct 1 (1); Do a slight heel lift on R (2)

Bar 3 repeat bar 2 opp ftwrk

Bars 4-6 repeat bars 1-3 traveling diagonally backwards to R

Variation 2. Done to instrumental

Bar 1 repeat bar 1 variation 1

Bar 2 Step RLR (1&2)

Bar 3 repeat bar 3, variation 1

Bars 4-6, repeat bars 1-3 of variation 1; but arms swing down and back up. Arms are back up on first of the two slow steps back

Στανω Stano
Τι φκιάνεις Στανω (2) Ti fkianis Stano (2)
ζνάρια υφαίνω (2) Znaria ifeno (2)

Ζνάρια ιφαίνω (2) Znaria ifeno (2)
μέσα δεν μπαίνο (2) mesa den beno (2)

Για νερό πααίνω (2) Ya nero paeno (2)
κι Γιάννης κοθντά μ (2) ki yannis kunta m (2)

Κι Γιάννης κοθντά μ (2) ki yannis kunta m (2)
φούντα μι γυρεύει (2) funta mi yirevi (2)

Φούντα μι γυρεύει (2) Funta mi yirevi (2)
που μαρτζέλι φούντα pu martzeli funta
που φλουρί φούντα pu fluri funta

Yavaladum - Pontic Greek

2008-03-02T18:26:00.000-08:00

Yavaladum
Ak Mag Dagen, Greece

Taught by Kyriakos Moisidis
Opa in the Desert 2006
Notes by Andrew Carnie

Meter 2/4
Formation: Kurdish position

Styling: very bouncy

Bar 1 Step back on R (1), touch L (2),
Bar 2 Step LRL (1&2) Left in front (pas de basque) forward

Can travel to left, to the right or be done in place

travel call (both directions) "á gauche"
In place call "ston tropo" (check)

Tiz Omal - Pontic Greek

2008-02-29T18:55:00.001-08:00

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

Ti Lazias (Tik) Pontic Greek

2008-02-29T18:54:00.001-08:00

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

Ters - Pontic Greek

2008-02-29T18:53:00.000-08:00

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

Ta Sarananta Ta Tsaknakia - Greece

2008-02-29T18:52:00.000-08:00

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

Milon Kokkinon - Pontic Greek

2008-02-29T18:51:00.002-08:00

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

2008-02-29T18:51:00.001-08:00

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

Kukitsa - Greece

2008-02-29T18:50:00.001-08:00

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.

Intzikiotiko - Greece

2008-02-29T18:49:00.000-08:00

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)

Fýsouni - Greece

2008-02-29T06:34:00.000-08:00

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

Zaharula - Greece

2008-02-29T06:28:00.000-08:00

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.

Syngathistos (8/4) - Greece

2008-02-29T06:27:00.000-08:00

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.

Syngathistos (2/4) - Greece

2008-02-29T06:26:00.001-08:00

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.

Aidoni - Greece

2008-02-29T06:25:00.002-08:00

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

Syngathistos (7/8) - Greece

2008-02-29T06:25:00.001-08:00

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

Sta Tria - Greece (Vlach version)

2008-02-29T06:23:00.004-08:00

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)

Kknikk - Greece

2008-02-29T06:23:00.003-08:00

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)

Za Ramo - Macedonia

2008-02-29T06:20:00.000-08:00

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)

Pasxaliatikos (Choro tis rokas) Oi Kakeis Mou oi Synnyfadis - Greece

2008-02-29T06:19:00.002-08:00

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

Nitsa Nitsa Koukounítsa - Greece

2008-02-29T06:19:00.001-08:00

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.

Nikolos - Greece

2008-02-29T06:18:00.001-08:00

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

Maïs - Greece

2008-02-29T06:17:00.002-08:00

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)

Leonides - Greece

2008-02-29T06:17:00.001-08:00

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)

Enteka - Greece

2008-02-29T06:15:00.001-08:00

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.

Circle Sousta - Greece

2008-02-29T06:13:00.002-08:00

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

Lotzia-Tasia (nouniatikos) - Greece

2008-02-29T06:13:00.001-08:00

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

Tranos Choros - Greece

2008-02-29T06:12:00.000-08:00

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

Stamoulou - Greece

2008-02-29T06:11:00.000-08:00

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)

Sta Dyo - Greece

2008-02-29T06:10:00.002-08:00

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)

Sampaï - Greece

2008-02-29T06:10:00.001-08:00

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.

Nyfiátiko Syrtós Greece

2008-02-29T06:09:00.001-08:00

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)

Diplos Choros - Greece

2008-02-29T06:04:00.000-08:00

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’

Humble Heidi (USA - contra dance)

2008-02-22T14:51:00.000-08:00

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)

Halaï (Pontos, Greece)

2008-02-22T14:42:00.000-08:00

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(&)

Syp Simeon (Russian, Maybe Dutch?)

2008-02-20T21:22:00.000-08:00

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”

Kingston Flyer 8x32 Jig (Scotland)

2008-02-19T20:47:00.000-08:00

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.

Baituska (Greece)

2008-02-19T20:45:00.001-08:00

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

Gori More (Serbian Gypsy)

2008-02-19T20:43:00.001-08:00

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

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Orta Ana Dolu Oyonu (Turkey)

2008-02-16T05:37:00.000-08:00

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

Ziglos (Greece)

2008-02-15T06:29:00.000-08:00

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.

Rezijankas 1 & 2 (Italy/Slovenia)

2008-02-14T19:33:00.000-08:00

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.

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:

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.

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 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).

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).

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.

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.

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.

Troiro (Greece)

2008-02-13T19:41:00.000-08:00

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 (&)

Karafili (Albania)

2008-02-12T23:00:00.000-08:00

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)

Dolgoto Oro Долгото Оро (Macedonia)

2008-02-12T22:57:00.001-08:00

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).

Go Fatile Mome Kleti turci Edno Mome (Tucson Version!!)

2008-02-12T22:46:00.000-08:00

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!

Mermingas Kefallinias (Greece)

2008-02-12T22:44:00.000-08:00

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!)

Dansul Ţigănesc Dunărean (România)

2008-02-12T22:29:00.001-08:00

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

Bablekan (Kurdish)

2008-02-12T22:06:00.001-08:00

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))

Feruško Oro (Macedonia)

2008-02-12T21:51:00.000-08:00

Feruško Oro
(Macedonia)

Notes by Andrew Carnie
Dunav attributes this dance to Rene Gosse.
a video of this dance can be found at http://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.