Picking Up Sticks (England)

Picking Up Sticks

England

These notes ©2016, Andrew Carnie. A Playford dance from the 17th century.

Music:

• https://youtu.be/roL7sVl8q4o
• Folkraft 1410
• EFDSS PLA3
• Columbia 5505
• CDS Popular English Country  Dances fo the 17th and 18th Centuries

Meter: 6/8
Formation: Set of three couples, proper contra
Introduction: Depends upon recording, but is often a chord to acknowledge partner.

Forward a double footwork: Step R (1), L (2), R (1), L (&), R (2) (and reverse with opposite footwork)

Part 1 Forward a double and back

Bars 1-2: Everyone face top of set, and take R hand in R hand, moving up the set everyone dance forward a double (R, L, R-L-R)
Bars 3-4: Backing down the set repeat  bars 1-2 with opposite footwork.
Bars 5-8: repeat bars 1-4

Part 2: Exchanges

Bars 1-2: face partner across the set. With 4 running steps, M1 exchanges place with W2.
Bars 3-4: WIth 4 more running steps. M1 exchanges place with M3
Bars 5-8: taking R hands with opposite person, repeat bars 1-4 of part 1
Bars 9-12: W1 repeats bars 1-4 of part 2, exchanging places with M2 and W3
Bars 13-16: repeat bars 5-8
Bars 17-24: repeat bars 1-8 with M2 starting the sequence.
Bars 25-32:  repeat bars 9-16 with W2 starting the sequence
Bars 33-48: repeat bars 10-16 with M3, then W3 starting the sequence

Part 3 Siding

Bars 1-2: using forward and back a double footwork, exchange places with partner, passing L shoulder and turning a 1/2 CCW to end facing in on opposite side.
Bars 3-4: repeat bars 1-2 with opposite footwork passing R shoulders
Bars 5-8: repeat bars 1-4

Part 4: Slipping 

Couples 1 & 2
Bars 1-2: using 4 slip step Couple 1 take both hands and slide down to 2nd position, while C2 using slip steps dance up into 1st position on the outside.
Bars 3-4: repeat bars 1-2, with couple 2 sliding down and C1 sliding up the outside
Bars 5-8: repeat bars 1-4

Couple 3:
Bars 1-8 using skipping steps, cross over with partner passing R shoulder, dance up around sliding couples. Cross over at the top again, passing R shoulders again, then down the outside back to place

Bars 9-16: repeat bars 1-8, except with Couple 1 crossing over and down the outside, while C3 take hands and slide up, while couple 2, slides down the outside to start.

Part 5: Arming

Bars 1-4: Link R elbow with partner and turn all the way around with 8 steps
Bars 5-8: Link L elbow with partner and turn all the way around with 8 steps.

Part 6: Sheepskin Hey

Bars 1-8: all three men form single file, and dance up to weave through the women. M1 and M2, weave behind W1, in front of W2, and behind W3. M3 does something different, he weaves behind W1, in front of W2, but instead of going behind W3, he loops around W2, so that he ends up at the head of the line.
Bars 9-16: M3 and M1, dance behind W2, in front of W1, then loop around her. M2 skips dancing around 1, and loops around W2 instead. He's now in the lead, but heads down
Bars 17-24: M2 and M3 weave in front of W2 and in behind W3. M1 dances around W2 to be in the lead.
Bars 25-32: M leads line around W1, then down the back, and up their own side back to place
Bars 33-64: repeat bars 1-32, But with women chasing and weaving around the men.

Bow to partner on final chord

Other Notes on the web

• (1972) Camp Hess Kramer 
• Page 12 of Stockton Folk Dance Camp Syllabus (1948)
• Page 46 of Stockton Folk Dance Camp Syllabus (1957)
• Page 15 of Wolff et al (1968) 11th Folklore Village Christmas
• Page 73 of Santa Barbara Folk Dance Conference (1958)
• (1993) Let's Dance Magazine

Bill and Karen Faust's Fayetteville Video

Other Videos on the Web

Sheet Music

• Sharp, Cecil Country Dance Tunes. Set 7
• Barnes, Peter. English Country Dance Tunes
• EFDSS "Community Dance Manual" 5

Other Sources

• Sharp, Cecil J (1926) The Country Dance Book, Part 4. Novello & Company
• Lidster and  Tamurini (1965) Folk Dance Progressions
• Geisler (1999) Village Music Around the world: Dance Syllabi
• Herman (1953) Folk Dance Syllabus no 1.
• Van Winkle Keller and Genevieve Shimer (1990) English Country Dances
• The English Dancing Master

Also called: Picking of sticks

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Heart Like A Fire - Viudas de vivos e mortos (England/USA)

Viudas de vivos e Mortos

Heart like a fire

Spain/England/USA

These notes ©2016, Andrew Carnie.

Poem by RosalIa de Castro. Song by Amando Prada. Transcript of Gallego by Lourdes Iglesias from Galicia. The dance was choreographed by Stefan Freedma

Music: Amando Prada; Iste Vaise - Fuxan os Ventos
Meter: 2/4
Formation: Closed Circle, hands down in V position.
Introduction: Start with singing

Bar 1: facing LOD, step on R forward in LOD (1). Touch L next to R (2)
Bar 2: Turning to face center, step on L to L (1), Touch R next to L (2)
Bar 3: Step on R backward out of center (1), Touch L next to R (2)
Bar 4: Step L forward into the center (1). Touch R next to L (2)
Bar 5: Step R forward into center, arms come up to W position (1). Touch L next to R (2)
Bar 6: Step on L backwards out of center, arms lower to V position (1), Touch R next to L (2)
Bar 7-8: Step R (1), L (2), R (1), touch L (2)  into the center, arms circle up and towards body (like in An Dro)
Bar 9: repeat bar 6
Bar 10: repeat bar 5
Bars 11-12: repeat bars 7-8 with opposite footwork, and backing up away from center. Arms reverse the "9" (up, forward and down to V position), except on last count of bar 12, step on R to R.
Bars 13-14: Do a 4 step (L, R, L, R) 3/4 CCW turn in place, moving slightly to the L, end facing LOD
Bar 15: Step L (1), R (2) backing up in RLOD
Bar 16: Step back in LOD on L (1), brush R foot forward (2)

Repeat dance from the beginning

Tucson Video

We took this the first night we learned it, so it's a bit rough!

Sheet music:

• http://livingcircle.net/Dance/Music%20Notation/heartlikeafiremu.html

Lyrics

http://livingcircle.net/Resources/Heart_like_a_Fire_-_Am.pdf

Iste vaise e aquel vaise

e todos todos se van.
Galicia sin homes queda

que te - poidan traballar.

Tes en cambio orfos e orfas

tes campos de soledad,

tes maes que non teñien fillos

e fillos que non ten pai.

E tes cor - azóns que sofren

longas ausencias mortais,

viúdas de vivos e mortos

que viven con soledad.

Widows of the alive and dead.
One goes and the other one goes and all, all of them go.
Galida stays without men that can work the land.
Instead you have orphans, instead you have lonely fields, you have mothers that do not have children and children that do not have a father.
And you have hearts that suffer long fatal absences,
widows of the alive and dead that live in longing.

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Szatmári Karikázó - Palfi Version (Hungary)

Szatmári Karikázó (Palfi version)

Hungary

These notes ©2016, Andrew Carnie. Originally taught by Csaba Palfi. Women's circle dance from the Szatmar region

Music:

• Folkraft LP29
• https://youtu.be/3IdndBtxcvM

Meter: 4/4
Formation: Circle of women, hands down in V position
Introduction: 6 beats, start with main melody

Part 1:

Bar 1: Traveling Hatravagos Cifra Step: moving in LOD, step R (1), L (2), R (3), L (&), R (4)
Bar 2: repeat bar 1 with opposite footwork
Bars 3-6: repeat bars 1-2 two more times, shifting into a back basket hold
Bar 7: Hatravago Cifra step: Facing center, Leap on R to R (1), cross L over R (2), Step R in place (3), step on L next to R or slightly behind (&), step on R in place
Bar 8: repeat bar 7 but with opposite footwork and direction
Bar 9: repeat bar 7
Bar 10: Lippentős step: Hop on R (1), Cross L over R (2), Raise up on the balls of both feet (3), lower heels (4)
Bar 11: repeat bar 10 with opposite footwork and direction
Bar 12: repeat bar 10
Bar 13: Hop on R, kicking L forward (1), Step on L next to R (2), Hop on L, kicking R forward (3), touch R heel forward (4)
Bar 14: Drop hands, hop on L again, kicking R forward (1), Starting to turn clockwise in place solo, step on R behind you (2), continuing the turn step L (3), R (4), retake back basket hold.
Bar 15-18: take 8 rida steps (L to L, Cross R in front) to the L

Part 2:

Bar 1: Do one Lippentős step to the R (see bar 10 of part 1)
Bar 2: Do one Lippentős step to the L
Bar 3: Hop on R (1), Cross L over R (2), Step on R to R (3), Cross L over R (4)
Bars 4-6: Six rida steps traveling to R starting by step on R to R
Bars 7-12: repeat bars 1-6 of part 2 with opposite footwork and direction
Bars 13-17: repeat bars 13-17 of part 1, don't cross R on the last count, just pause
Bar 18: facing center step R  in place (1), Step L behind R (&), Step R in place (2), Step L in place (3), step R behind L (&), Step L in place (4) (i.e. 2 cifra steps)

repeat dance from the beginning

Other Notes on the web

• http://www.folkdance.com/LDNotations/SzatmariKarikazo1999LD.pdf
• http://www.dunav.org.il/dance_notes/szatmari_karikazo_dance_notes.pdf
• http://www.dunav.org.il/dance_notes/szatmari_karikazo%20page1_dance_notes.pdf (Page 1)
• http://www.dunav.org.il/dance_notes/szatmari_karikazo%20page2_dance_notes.pdf (Page 2)
• Page 41 of (1970) Stockton Folk Dance Camp
• Page 111 of (1972) Stockton Folk Dance Camp

Bill and Karen Faust's Fayetteville Video

Also spelled: Szatmari, Karikazo

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Tojčevo Kolo - Тојчево Коло (Serbia)

Tojčevo Kolo

Тојчево Коло

Serbia

These notes ©2016, Andrew Carnie. Originally taught by Ciga Despotovič.

Music:

• Ciga Despotovič: 16 Yugoslavian Dances
• Ciga and Ivon volume 1

Meter: 2/4
Formation: Open circle with hands down in V position
Introduction: None, start right away.

Part 1:

Bar 1: With feet together, twist heels to R (1), twist heels to L (2)
Bar 2: Repeat bar 1
Bar 3: Twist heels to R (1). Twist heels to L (&). Twist heels to R (2). Twist heels to L (&)
Bar 4: Step on R to R (1), Step on L behind R (2), Cross R over L. with a bent knee (&)
Bars 5-8: repeat bars 1-4 with opposite footwork and direction.

Part 2:

Bar 1: Repeat bar 4 of Part 1
Bar 2: Repeat bar 4 of Part 1 with opposite footwork and direction
Bar 3: Repeat bar 4 of Part 1
Bar 4: Close L next to R, straightening knees (1), bend knees (&), Straighten knees (2), bend knees (&)
Bars 5-8: repeat bars 1-4 with opposite footwork and direction.

Part 3:

Bar 1: Step on R to R, with a straight knee (1), close L next to R, with a bent knee (&), Step on R to R with a straight knee (2), Close L next to R, with a bent knee (&)
Bar 2: repeat bar 1 of part 3, except don't close L on the last count.
Bar 3: Čukče on R, lifting L knee (1), Step on L next to R (&), Čukče on L, lifting R knee (2). Step on R next to L (&)
Bar 4: repeat bar 4 of part 2
Bars 5-8: repeat bars 1-4 with opposite footwork and direction.
Bars 9-16: repeat bars 1-8

Part 4:

Bar 1: Switch hands to escort position, and turn to face slightly R of center. Step R, with a R knee, in LOD (1), close L with a bent knee (&), Step R, with a straight knee, in LOD (2), Close L with bent knee (&)
Bars 2-4: repeat bar 1, three more times.
Bars 5-7: turning to face L of center, continue step closes backing up in LOD
Bar 8: Step R (1), L (&), R (2) in place
Bars 9-16: repeat bars 1-8 with opposite footwork and direction

Repeat dance from the beginning

Other Notes on the web

• Page 37 of (1994) Camp Hess Kramer
• Page 64 of (1978) Stockton Folk Dance Camp
• Page 58 of (1979) Stockton Folk Dance Camp
• (1979) Santa Barbara Folk Dance Symposium

Bill and Karen Faust's Fayetteville Video

Other Videos on the web

Also spelled: Toicevo, Toichevo, Toičevo, Tojchevo, Tojcevo

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Sharm-a-Sheikh - שארם א-שייך (Israel)

Sharm-a-Sheikh 

שארם א-שייך

Israel

These notes ©2016, Andrew Carnie. Originally choreographed by Rivka Sturman in 1968. She said that the song was popular during the Israeli Six day war and became famous because it was played between news broadcasts. There is a different dance by this same name by Dani Dassa. Sharm-el-Sheik is a resort town on the Sinai peninsula in Egypt that is popular with Israeli tourists.

Music:

• https://youtu.be/w5NXzK6pzB8 (Ran Eliran) -- note that this original recording is too slow to dance to. You either have to speed it up or use a different recording. 
• https://youtu.be/sAKVLI2pGZI (Shoshana Damari)
• Hed-arzi BMN 581(New Favourites Israeli Folk Dances By Rivka Sturman), Ophira Gluska With Orchestra
• "Israeli dances" Folkways FW6937 (1937L)
• Changing Directions Vol 6. Highscope foundation

Composer Rafi Gabai
Lyrics: Amos Etinger
Singer: Ran Eliran
Meter: 12/8, but for the dancers it's easiest to think of this as a 4 beat bar, which is how I've notated the dance below. (Thanks to all my musical friends on facebook for a helpful discussion of the meter of this tune).
Formation: Circle, hands down in V position
Introduction: depends upon the recording, there are a few different versions, 16 beats is common. Start with the main melody.

Part 1

Bar 1: Moving in LOD, step R (1,2). Step L (3,4)
Bar 2: Step backwards in RLOD on R (1), Step on L next to R (2), Step forward in LOD on R (3), pause (4) This is a back yemenite
Bars 3-4: repeat bars 1-2 with opposite footwork
Bar 5: Step R (1,2) L (3) in LOD, Close R next to L with weight (4)
Bar 6: Step on L in LOD, turning to face center and swinging R around to front (1,2), touch foot forward (3,4)
Bars 7-8: Repeat bars 5-6
Bars 9-16: Repeat bars 1-8

Part 2

Bar 1:  Drop hands and turn CW to the R, stepping R (1), L (2), R (3), pause (4)
Bar 2:  Step on L to L (1,2), touch R next to L (3,4)
Bars 3-4: Repeat bars 1-2
Bar 5: Step on R (1,2),  L (3) in LOD, Step on R to R (4)
Bar 6: Step on L behind R (1) Step on R to R (2), Step on L in front of R (3), pause (4)
Bars 7-8: Repeat bars 5-6.
(depending upon the recording you might have to repeat bars 1-8.)

Other notes on the web

• https://dansesdisrael.fr/danses/s/sharm-a-sheikh/
• http://www.imber.com.au/ifd/dance_steps/sharm_a_sheich.pdf

Bill and Karen Faust's Fayetteville Video

Other Videos on the web

Lyrics

http://shironet.mako.co.il/artist?type=lyrics&lang=1&wrkid=6344&prfid=922&song_title=4658e

שארם א שייח

גדול הוא הלילה ולך מחייך

חזרנו עם בוקר אל שארם א-שייח

עברנו בלילה, בים ובהר

ובאנו עם בוקר אל תוך המיצר

את שארם א-שייח, חזרנו אלייך שנית

את בליבנו, ליבנו תמיד

הים והמלח יראו את השיר

חזרנו אליכם, טיראן וסנפיר

אותם השמיים מעל לבבך

מיצר, ים ומים - את שארם א-שייח

את שארם א-שייח, חזרנו אלייך שנית

את בליבנו, ליבנו תמיד

עולה לו הבוקר בחוף אלמוגים

עוברות שוב במים ספינות דייגים

יורד לו הערב, מביא עוד חלום

מביא על המים תקווה לשלום

את שארם א-שייח, חזרנו אלייך שנית

את בליבנו, ליבנו תמיד

הוי, שארם א-שייח!

http://hebrewsongs.com/song-sharmelsheikh.htm

gadol hu halaila
velach mechayech
chazarnu im boker
el sharm a sheikh

avarnu balaila
bayam uvahar
uvanu im boker
el toch hametzar

Chorus:
at sharm a sheikh
chazarnu elayich shenit
at bilibenu
libenu tamid

hayam vehamelach
yadu et hashir
chazarnu elechem
tiran usnapir

otam hashamayim
me al levavech
metzar yam hamayim
at sharm a sheikh

Chorus

oleh lo haboker
bechof almogim
ovrot shuv hamayim
sifinot dayagim

yored lo haerev
mevi od chalom
mevi al hamayim
tikva leshalom

Great is the night and it smiles at you
We returned in the morning to Sharam A Sheikh
We passed in the night, the sea and the mountain
Arriving in the morning at the straits

CHORUS :
You're Sharam A Sheikh,
we’ve returned to you once again
You are in our hearts,
always in our hearts

The sea and the salt will view the song
We’ve returned to you Tiran and Snapir
The same skies above your heart
Strait, sea and water- you are Sharam A Sheikh

CHORUS :
You're Sharam A Sheikh,
we’ve returned to you once again
You are in our hearts,
always in our hearts

The morning rises in the coral beach
Fishing boats pass through the water again
The evening sets, bringing another dream
Brings on the water a hope for peace

CHORUS :
You're Sharam A Sheikh,
we’ve returned to you once again
You are in our hearts,
always in our hearts

Hoy, Sharam A Sheikh

Other Sources

• Byrom, Franklin (2009) The Complete Folk dance Notebook. Self published.
• Isaacs, Stan (1969) Typewritten dance notes, University of Washington Folk Dance Festival.
• Weikert, Phyllis (1997) Teaching Folk Dance. Highscope Foundation.

Also Spelled: Sharm A Shech, El, Al, Sheich, Sheych

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To Ting (Denmark)

To Ting

Denmark

These notes ©2016, Andrew Carnie. The title translates as "two things". This dance has been in International Folk Dance circles since the early 1900s.

Music: Folkdancer 1018; Sonart 303
Meter: 3/4 and 2/4
Formation: Couples, holding inside hands
Introduction: There's a brief chord then start right away.

O = outside foot = M's L , W's R
I = Inside foot = M's R, W's L

Part 1:

Bar 1: Using a waltz step dance  forward in LOD and slightly away from partner. Start with outside foot.
Bar 2: Repeat bar 1, except with inside foot and turning to slightly face partner.
Bars 3-4: Repeat bars 1-2
Bars 5-8: Using 4 waltz steps do a turning waltz in ballroom position, moving forward in LOD
Bars 9-16: Repeat bars 1-8.

Part 2:

Bars 1-2: Take 4 walking steps forward in LOD, starting with outside foot.
Bars 3-4: M steps in front of partner, and gets into shoulder-waist position. Do 4 pivot steps (O, I, O, I), progressing forward in LOD
Bars 5-8: Open up and repeat bars 1-4

repeat dance from the beginning

Other Notes on the web

• Happy Feet (1959) Northland Recreation Laboratory
• http://www.folkdancing.com/Pages/skandia/14toting.htm
• Page 66 of Stockton Folk Dance Camp Syllabus (1950)
• Page 22 of Stockton Folk Dance Camp Syllabus (1951)
• Page 9 of Stockton Folk Dance Camp Syllabus (1952)
• Page 31 of Stockton Folk Dance Camp Syllabus (1953)
• Page 34 of Stockton Folk Dance Camp Syllabus (1962)
• Let's dance Magazine 1959
• http://www.phantomranch.net/folkdanc/dances/toting.htm

Bill and Karen Faust's Fayetteville Video

Other Videos on the web

Sheet Music

• Burchenal, Elizabeth and Ward Crampton (1908) Folk-dance Music: A collection of seventy six Characteristic Dances of the People of various nations. Boston, G. Schirmer.
• Lorenzen, Poul and Jeppe Jeppesen (1951) Dances of Denmark. Handbooks of European National Dances 9. Edited by Violet Alford Published in the US by Chanticleer Publishers (Later: Crown Publishers NY (A Chanticleer Edition)); Published in GB by Max Parrish, London

Other Sources

• Casey, Betty (1981) International Folk Dancing USA. Doubleday and Company
• Gilbert, Cecile (1974) International Folk Dance at a Glance. 2nd edition. Burgess Press
• Harris, Jane, Anne Pittman, Marlys Waller (1994) Dance A While: Handbook for Folk Square Contra and Social Dance. Allyn and Bacon.
• Herman, Michael (1947) Folk Dances for All. Barnes and Noble
• Lorenzen, Poul and Jeppe Jeppesen (1951) Dances of Denmark. Handbooks of European National Dances 9. Edited by Violet Alford Published in the US by Chanticleer Publishers (Later: Crown Publishers NY (A Chanticleer Edition)); Published in GB by Max Parrish, London
• Spiesman, Mildred (1970) Folk Dancing. Saunders Company
• Werner, Bob (1980) Scandinavian Folk Dances and Tunes. 3rd edition. Folklore Village Farm

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Swir Swir Mazur (Poland)

Swir Swir Mazur

Poland

These notes ©2016, Andrew Carnie. Originally taught by Morley Leyton. The title translates as "Chirp Chirp Mazur".

Music: Buccaneer BC1000 "Z Gorami, Z Dolinami"
Meter: 3/4
Formation: Couples facing LOD, M on the inside. M's R hand is around W's back and rests on her R hip. W's L hand is on M's R shoulder. Free hands are on the hips.
Introduction: 4 bars, no action. Start dance with main melody.

Mazur Step: Step forward (or in place) with a heavy knee bend on outside foot (1), Step on toe of inside foot next to O (2), step on ball of O either in place or forward depending upon the figure (3). The feel of the step is "down up up". Also done with the opposite footwork.

Part 1:

Bars 1-4: do 4 Mazur steps forward in LOD
Bars 5-8: Pivoting CW in place, so that the M dances forward and the W backs up. Rotate with 4 Mazur steps
Bars 9-15: repeat bars 1-7
Bar 16: M: Stamp inside foot twice (1,2), pause (3). [Leyton's notes say Step I (1), O (2), pause (3)], Women step I,O,I,. Turning to face partner, with M on the inside facing out, and W on the outside facing in. Everyone ends with weight on L foot. Hands are on hips

Part 2:

Bar 1: Hop on L, clicking R heel to L (1), Step on R to own R (2), close L next to R (3)
Bars 2-3: Repeat bar 1 two more times.
Bar 4: Jump on both feet at shoulder width, toes and knees pointed in. R hand out to side (1), Close feet together, straighten up and put R hand up (2), pause (3)
Bars 5-8: repeat bars 1-4 with opposite footwork and hand movements.
Bars 9-16: repeat bars 1-8

Part 3

Bar 1: Standing with R foot forward, with weight on L, sweep L hand down in front of body, palm down starting to trace a figure 8 with hand (1,2), complete figure 8, pulling L hand to L with palm up (3). Body leans forward
Bar 2: Throw R hand up and back, straightening up. Stamp R, no weight (1), pause (3,4)
Bars 3-8:  Repeat bars 1-2, three more times. Take weight on R foot on last count of Bar 8.
Bar 9: Turning CW around partner with R hand on partner's R hip (shoulder to shoulder) do the footwork of Bar 5 of Part 2. (Click step step to the L)
Bars 10-15: repeat bar 9, six more times
Bar 16: repeat bar 8 of Part 2

Interlude 1

Bars 1-2. With two Mazur steps women dance into the center and form a center ring facing in. Men dance to the outside and form a circle facing in. Hold hands down in V position.

Part 4

Bars 1-8: with 8 mazur steps, M circle CW, Women circle CCW
Bars 9-16: with 8 mazur steps, M circle CCW, Women circle CW

Part 5:

Bars 1-2: Using 2 mazur steps, Men move in raising Hands over Women's heads, drop them in front (without letting go), to end in a front basket
Bars 3-4: Do 2 mazur steps in place.
Bar 5: Men raise hands over W's heads and behind (with one Mazur step)
Bar 6: Women raised joined hands over M's heads and behind M's back (with one Mazur step)
Bars 7-8: repeat bars 3-4
Bar 9: W raise hands over M's head (with one mazur step)
Bar 10: M raise hands over M's head to end in front basket (with one mazur step)
Bars 11-16: repeat bars 3-8

Interlude 2

Bars 1-4:  Return to original hand hold with partner. With 4 mazur steps the man backs up and the W dances forward, rotating CCW in place. 

Part 6: 

Repeat bars 1-16 of Part 1

Part 7: 

Repeat bars 1-16 of Part 2

Part 8:

Repeat bars 1-16 of Part 3

Other Notes on the web

• Page 28 of (1968) Stockton Folk Dance Camp
• http://www.folkdance.com/LDNotations/SwirSwirMazur1969LD.pdf

Bill and Karen Faust's Fayetteville Video

Other Videos on the web

Sheet Music

• Geisler (1989e) The Europe Collection

Other Sources:

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Slovenian Waltz (Slovenia)

Slovenian Waltz

Slovenia

These notes ©2016, Andrew Carnie. Originally taught by Dick Crum.

Music:

• Continental 420-B Venetian Waltz

Meter: 3/4
Formation: Couples. Start in Varsouvienne position. M on the L in the center.
Introduction: None, start immediately

Use a waltz step throughout, unless otherwise noted. 

Part 1: Around the Man

Bars 1-2: In varsouvienne position, dance two waltz steps forward.
Bars 3-6: Retaining both hands Woman dances a CCW circle around the man, while M waltzes in place. M guides W around by lifting his hands over his head as she dances behind him.
Bars 7-8: To get back into standard varsouvienne position, the W does two waltz steps turning CCW in place on M's R. M dances in place
Bars 9-16: repeat bars 1-8

Part 2: W turns, Chase

Bars 1-8: Drop L hands, but retain R. W dances 8 clockwise turns while moving forward in LOD under M's arm. M follows slightly behind.
Bars 9-16: Drop R hands, W continues spinning CW with 8 turns and moving forward in LOD solo. Man follows behind her. On last bar he gets close to catch her and get into ballroom position.

Part 3:  Turning Waltz

Bars 1-16: In ballroom position, turn as a couple CW, moving forward in LOD, with 16 waltz steps. The steps should be done on the balls of the feet if possible and have a springy feel.

Part 4: Dips

Bar 1: Stay in ballroom position, but facing forward with outstretched hand pointing in LOD, using a waltz rhythm, fall forward on outside foot (M's L, W's R), bending at waist and lowering outstretched hand towards the floor (1). Step on inside foot next to outside (2), step on outside foot in place (3)
Bar 2: Still facing the same direction, step back on inside foot, straightening up and raising outstretched hands upwards (1). Step on O foot next to I (2), step on I foot in place (3)
Bars 3-4: Using two waltz steps, do a turning waltz forward in LOD, turning CW.
Bars 5-8: Repeat bars 1-4, except turn CCW during bars 7-8.
Bars 9-16: repeat bars 1-8

Part 5: Tucks/Sweetheart turns

Bars 1-2: Pull out from ballroom position to hold both hands. M Lifts his L, her R to turn her CCW in place into a "tuck" or "sweetheart position" (both facing the same direction,  M's L hand and W's R in front, W's L is crossed in front of her body, M's R is behind her. M's R, W's L are held on her R hip.). Look at each other in the tuck position.
Bars 3-4: Still holding both hands without letting go, M Raises L hand to turn her CW and "untuck" her. Then as the woman continues to turn CW, M raises his R hand over her head so that she ends up "tucked" on the other side (she's on his L) in sweetheart position, With M's R, W's L hand crossed in front.
Bars 5-8: repeat bars 1-4, alternating sides
Bars 9-16: repeat bars 1-8

Part 6: W turns, chase

Repeat part 2

Part 7: Turning Waltz

Repeat part 3

Part 8: Dips

Repeat part 4

Part 9: Around the Man

Repeat part 1

Part 10: W turns, Chase

Repeat part 2

Part 11: Turning Waltz

Repeat part 3

End turning the W under M's R and bow (or do a tuck and end with W sitting on M's R knee in sweetheart position)

Other notes on the web

• http://www.folkdance.com/LDNotations/SlovenianWaltz1957LD.pdf
• http://archives.mvfolkdancers.com/0_Other%20Items%20of%20Interest/0_Dance%20Instructions/slovenian%20waltz%203.pdf
• http://archives.mvfolkdancers.com/0_Other%20Items%20of%20Interest/0_Dance%20Instructions/slovenian%20waltz%202.pdf
• http://archives.mvfolkdancers.com/0_Other%20Items%20of%20Interest/0_Dance%20Instructions/slovenian%20waltz%201.pdf

Bill and Karen Faust's Fayetteville Video

Sheet Music

• Geisler (1989) Yugoslav Collection
• "Beneski Valcek" Slovenian Waltzes and Polkas, Vol 2. Mills Music Inc.

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Lămîiţa (Romania)

Lămîiţa 

Romania

These notes ©2016, Andrew Carnie. Originally taught by Mihai David. The title translates as "Little Lemon".  The dance is from the region of Muntenia.

Music: Mihai David, Romanian Tour 77
Meter: 2/4 (some notes say 4/4, but this doesn't make sense to me)
Formation: Front basket hold, R over L under. The dance is symmetrical, but Mihai said the leader is on the L
Introduction: none, start right away

Part 1

Bar 1: Facing center, but moving in RLOD (to the L), Cross R over L (1), Step on L to L (&), Step on R over L (2), step on L to L (&)
Bars 2-3: repeat bar 1, two more times
Bar 4: Cross R over L (1), Step on L to L (&), Step on R over L (2), swing L foot around to front (&)
Bars 5-8: repeat bars 1-4, with opposite footwork and direction

Part 2

Bar 1: Still facing center, but moving forward into the center, Cross over R (1), Step L behind R (&), Cross R (2), Swing L around to front (&)
Bar 2: Still moving into the center, repeat bar 1 with opposite footwork, moving slightly to the R
Bar 3: Cross R over R into the center (1), hop on R (2), Cross L over R into the center (2), hop on L (&)
Bar 4: Stamp R next to L, no weight (1), Stamp R next to L again (2)
Bars 5-8: repeat bars 1-4, except backing straight out of the center (don't cross feet over in bars 5-6, no zig zagging like there is in bars 1-4)

repeat dance from the beginning until the end of the music (5 times in total)

Other notes on the web

• Page 178 of (1979) Stockton Folk Dance Camp
• (1980) Let's Dance Magazine
• Carol Hirsch's Folk Dance notes
• Page 18 of (2003) California Statewide
• (1979) Santa Barbara Folk Dance Symposium

Tucson Video

Sheet Music

• Geisler, Richard (1989e) The Europe Collection. Village and Early Music Society.

Other Sources

• Typewritten unpublished dance notes
• David, Mihai (n.d.) Romanian Dances Vol 1, VHS tape
• Buskirk, Don (2015) Choral Folk Dances in 4 volumes. Self Published

Also Spelled: Lamiita, Lamiiţa, Lamiitsa, Lamitsa, Lămâiţa, Lamaita

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Tsamika Tria (Greece/USA)

Tsamika Tria

Greece/USA

These notes ©2016, Andrew Carnie. This is a modern choreography based on traditional tsamikos steps. The dance was choreographed by Ira Weisburd. Ira calls it "Tsamika Tria" (tria means "three") because you do the basic step three times before the turn.

Music: Michalis Terzis.
Meter: 3/4
Formation: Open circle, hands in W position, leads to the right
Introduction: Wait through the piano solo, do introductory foot tap through the base guitar. Start the basic step with lah lah lah singing.

Introductory Toe Tap

Bar 1: Turn R foot out to R (1,2), Turn R foot in to face center (3)
Bars 2-4: repeat bar 1, three more times.

Basic Step

Bar 1: Step R to R, leaving L in place (1),  gently shift weight to L leaving both feet in place (&), gently shift weight to R leaving both feet in place (2),  Cross L over R (3)
Bar 2: Step on R to R (1,2), hop or rise on R lifting L in front (3)
Bar 3: Step backwards on L, out of the center, leaving R heel in place, rocking R toe up (1,2), rock forward on R, pulling L up behind R calf (3)
Bar 4: Point L toe to L side (1,2), cross L over R (3)
Bar 5: Step on R to R (1,2) point L toe forward (3)
Bar 6: Drag L toe around in a CCW circle on the floor around to the back (1,2), lift (čukče) on R, bringing L up behind R calf (3)
Bar 7: repeat bar 1 but with opposite footwork and direction
Bar 8: repeat bar 2 but with opposite footwork
Bars 9-16: repeat bars 1-8
Bars 17-24: repeat bars 1-8

Interlude

drop hands with neighbors and hold above head at a comfortable height. In this step you trace a complete CW circle on the floor, starting by pulling your R shoulder back and stepping out of the circle.
Bar 1: Pulling R shoulder back, step on R out of the circle towards the back, snap fingers (1,2), Step on L towards the outside, snap fingers again (3)
Bars 2-3: repeat bar 1, completing the CW circle, end facing in where you started the circle in place.

Sequence

Introductory toe tap
Basic Step
Interlude
Basic Step
Interlude
Basic Step
Interlude
Basic step until the music fades out.

Videos on the web

 (Many of these videos are from Ira, the choreographer)

See Also:

• Tsámikos (12 count) - Greece
• Tsámikos (16 count) - Greece

Also spelled: Tsamiko, Tsamikos, τσαμικος, τσαμικα, τρια

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Set de Fortierville (Quebec, Canada)

Set de Fortierville

Quebec, Canada

These notes ©2016, Andrew Carnie. Taught by Yves Moreau and France Bourque-Moreau who learned it from Richard Turcotte. The dance is from the town of Fortierville in Beauce region in Quebec.

Music: Laridaine 7902 B1
Meter: 2/4
Formation: 4-8 couples in a circle. W on the right. Hands in W position, facing center.
Introduction: Depends upon the recording, but the one usually used in IFD circles has no introduction you start right away

Bars 1-2: Walk into the center stepping R (1), L (2), R (3), touch L next to R (4)
Bars 3-4: Back away from center stepping L (1), R (2), L (3), Touch R next to L (4)
Bars 5-6: Walk 4 steps into the center, turning W clockwise under M's R hand, ending with the women in the center facing out.
Bars 7-8: W stay in center and clap, while M back away with 4 steps RLRL
Bars 9-14: M walking solo in a CW circle around women for 12 steps
Bars 15-16: Take R hand in R hand, and L in L with partner, with R hand on top, M back out of center pulling W out to perimeter of circle, with 4 steps.
Bars 17-20: M backs up, W walks forward CW in a circle for 8 steps
Bars 21-24: Lift R hands over W's head, W turns a 1/2 CW to face LOD, ending in Varsouvienne position.
Bars 25-28: W dances forward, M pulls R shoulder back, to find new partner. Swing new partner.
Bars 29-32: Open up with M in the center, promenade in LOD.

Note that the number of bars here is approximate. In Quebecois dancing, the dancers simply do the figures until they are finished. They do not stick to the phrases of the music. 

Other notes on the web

• Page 189 of (2001) Stockton Folk Dance Camp Syllabus
• Page 110 of (1981) Stockton Folk Dance Camp Syllabus

Bill and Karen Faust's Fayetteville Video

Other Sources

• Moreau, Yves (1980) Yves Moreau Weekend, Miami Valley Folk Dancers
• Moreau, France (1986) Maine Folk Dance Camp Syllabus

Also Spelled: Forderville

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Se'e Yona - סעי יונה (Israel)

Se'e Yona

סעי יונה

Israel

These notes ©2016, Andrew Carnie. Moshiko HaLevy (1970). The title translates as "Fly dove". There is a different dance by Yakov Levi by the same name

Music: Dance with Moshiko Vol 3. MIH3 (1974)
Meter: 4/4
Israeli Dances entry: http://www.israelidances.com/dance_details.asp?DanceID=1603
Formation: Closed circle, hands in W position
Introduction: 3 bars no action, start after the shaking bells

Part 1

Bar 1: Step on R to R (1), Step on L in place (2). Cross R over L (3), Step on L to L (4)
Bar 2: Cross R over L (1), tap L toe behind R (2), swing L around in front (3,4)
Bar 3: Cross L over R (1), Step R to R (2) Cross L over R (3), pause (4)
Bar 4: Rock back on R out of center (1,2), Rock forward on L (3,4)
Bar 5: repeat bar 4
Bar 6: Rock forward on R into center (1,2), Rock back on L (3,4)
Bar 7: repeat bar 6
Bar 8: Rock forward on R (1), rock back on L (2), Step on R next to L with a bounce  (3), bounce on both feet (4)
Bars 9-16: repeat bars 1-8

Part 2

Bar 1: Lift R up low behind, bounce on L (1) Step on R back (2), Rock on L forward (3), Bounce on L (4)
Bar 2: repeat bar 1
Bar 3: Sway on R to R (1), Sway on L to L (2), Cross R over L, cross hands in front and snap (3), Step back in place on L (4)
Bar 4: Sway on R to R (1), Sway on L to L (2), Cross R over L, cross hands in front and snap (3),  Step on L in place, hands role towards body and push down (4)
Bar 5: Hands push forward and towards front, palms out (1) reverse the hand motion of Bar 5 count 1 (2)  and bar 4 count 4 (3) pause (4)
Bar 6: Snap fingers crossed in front (1), pause (2), Starting to trace a CW circle on the floor, Cross R over L (3), Close L next to R (4)
Bar 7: Continuing tracing the circle, cross R over L (1), Close L next to R (2), Cross R over L (3), Close L next to R (4)
Bar 8: Finishing circle, repeat bar 7 raising hands to W position on the last count

repeat dance from the beginning until the end of the music

Other notes on the web

• http://www.folkdance.com/LDNotations/SeeYona1976LD.pdf
• Page 85 of Stockton Folk Dance Camp Syllabus (1976)
• Page 3 of (1976) Camp Hess Kramer 

Bill and Karen Faust's Fayetteville Video

Other Videos on the web

Lyrics:

From Ira Gessel's MIT Song book (although the Moshiko dance has no singing)

S’ee yona
/ S’ee yona weshimini
bechinor na jeni. /
/ Ufischi zameri roni
beshir hithboneni. /
/ Umaheri we’al thifni
lederech soteni. /
/ Gechi seda wenisa’a
Wenithaden wenisba’a. /
/ Wenashira alei nevel
wezemer titheni /
wenikanes letoch jano
bethomor ta’ali
wenocheza besansinaw
ufiryo tocheli.

Go, dove, and listen to me,
with the harp of my playing.
And open your mouth and sing
a heavy song.
And hurry and don’t turn
to the path of your enemy.
Take food and let’s go.
We’ll eat delicacies and be satisfied.
And we’ll sing on the lyre
and our song will go forth,
and we’ll enter into a garden,
climb up a palm tree
and grab its fronds,
and we’ll eat its fruit.

Also Spelled:S'ee, Se'ee, S'ei, Se'i

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Vesyolaya Kadril - Весёлая кадриль (Russia)

Vesyolaya Kadril

Весёлая кадриль

Russia

These notes ©2016, Andrew Carnie. Originally taught by Hennie Konings and widely taught by Radboud Koop.

Music: Russian and Ukrainian Songs and Dances presented by Hennie Konings and Ensemble Ozorniye Naigrishi, Syncoop 5570 CD 304
Composer: Victor Temno
Lyrics: Oleg Levitskiy
Meter: 4/4
Formation: Circle of couples, M on the L, all facing center.
Introduction: Start with the singing.

I = Inside foot (M's R, W's L)
O = Outside foot (M's L, W's R)

Bar 1: Starting with outside foot take 3 steps into the center (1,2,3), stamp inside foot, turning towards each other to face out (4)
Bar 2: Repeat bar 1, with opposite footwork traveling out and turning to face back in.
Bars 3-4: repeat bars 1-2, end facing each other, M steps on L on last count instead of stamping.
Bars 5-6: Do-si-do partner, either with arms akimbo or with hands "washing the table" swaying from L to R.
Bar 7: Holding R hands with partner and using two pas-de-basque steps balance towards partner and away.
Bar 8: Exchange places with partner, M walks forward. W turns under M's R arm (California Twirl). End facing new partner.

repeat dance with new partner each time through the music.

Other Notes on the web

• (1996) Stockton Folk Dance Camp Syllabus
• (2010) Stockton Folk Dance Camp Syllabus

Other Videos on the web

Lyrics

from Radboud Koop's Stockton Folk Dance Camp notes (2010)

Когда-то россияне 
Ванюши, Тани, Мани 
Танцуя на гулянье 
Открыли новый стиль 
Штиблеты и сапожки 
Под русские гармошки 
Под бересту и ложки 
Прославили кадриль

Теперь почти забытая 
Гитарами забитая
Но, всё же непокорная 
Жива кадриль задорная

Tа-ри да-ри да-ри-та 
Та-ри да-ри да-ри-та 
Та-ри да-ри да-ри-та 
Та-ри да-ри да

На дедов мы похожи 
веселье любим тоже 
Кадриль забыть не можем 
улыбка в ней и стать 
Окончена работа
опять пришла суббота 
И нам с тобой охота 
кадриль потанцевать 

Кадриль моя сердечная 
Старинная, но вечная 
Фабричная, колхозная 
Смешная и серьёзная

Tа-ри да-ри да-ри-та...

В родном донецком крае 
Кадриль не забываем
Её мы продолжаем 
Повсюду танцевать
В Дзержинске и Славянске 
Снежном и Иловайске
На всей земле донецкой 
Кадриль звучит опять

Кадриль моя сердечная 
Старинная, но вечная 
Фабричная, колхозная 
Смешная и серьёзная

Tа-ри да-ри да-ри-та...

Кадриль моя сердечная 
Старинная, но вечная 
Фабричная, колхозная 
Смешная и серьёзная

Tа-ри да-ри да-ри-та... 

Kogda-to rossiyane 
Vanyushi, Tani, Mani 
Tantsuya na gulyanye 
Otkrili noviy stil 
Shtibleti i sapozhki 
Pod russkije garmoshki P
od berestu i lozhki 
Proslavili kadril

Teper pochti zabitaya 
Gitarami zabitaya

No, vsyo zhe nepokornaya 
Zhiva kadril zadornaya

Tari dari dari ta 
Tari dari dari ta 
Tari dari dari ta 
Tari dari da

Na dedov mi pokhozhi 
Veselye lyubim tozhe 
Kadril zabit ne mozhem 
Ulibka v ney i stat 
Okonchena rabota 
Opyat prishla subbota

I nam s toboy okhota 
Kadril potantsevat 

Kadril moya serdechnaya 
Starinnaya, no vechnaya 
Fabrichnaya, kolkhoznaya 
Smeshnaya i ser’yoznaya

Tari dari dari ta...
V rodnom donetskom kraje 
Kadril ne zabivaem
Eyo mi prodolzhaem 
Povsyudu tantsevat
V Dzerzhinske i Slavyanske 
Snezhnom i Ilovayske
Na vsey zemle donetskoy 
Kadril zvuchit opyat

Kadril moya serdechnaya 
Starinnaya, no vechnaya 
Fabrichnaya, kolkhoznaya 
Smeshnaya i ser’yoznaya

Tari dari dari ta...

Kadril mo ya serdechnaya 
Starinnaya, no vechnaya 
Fabrichnaya, kolkhoznaya 
Smeshnaya i ser’yoznaya

Tari dari dari ta... 

Once the Russians
The Vanyas, Tanyas, Manyas 
While dancing
Discovered a new style. 
Modern shoes and boots 
With the Russian concertina 
With whistles and spoons 
Made the quadrille famous

Nowadays almost forgotten 
Drowned out by guitars 
But not submissive
The quadrille lives on.

Tari dari dari ta 
Tari dari dari ta 
Tari dari dari ta 
Tari dari da

Just like our grandparents
We love a good time
We cannot forget the quadrille 
The laughter it brings remains 
After work is done
Returning on Saturday
We would like with you
To dance the quadrille 

Warm-hearted quadrille 
Old-fashioned but forever 
In cities and on kolkhozes 
Comical and serious

Tari dari dari ta...

In our beloved Donetsk area 
We do not forget the quadrille 
We continue the tradition
We dance it everywhere
In Dzerzhinsk and Slavyansk 
In Snezhniy and Ilovaysk 
All over the Donetsk region 
You can hear the quadrille

Warm-hearted quadrille 
Old-fashioned but forever 
In cities and on kolkhozes 
Comical and serious

Tari dari dari ta...

Warm-hearted quadrille 
Old-fashioned but forever 
In cities and on kolkhozes 
Comical and serious

Tari dari dari ta... 

Also Called: Veselaya Kadril, Quadrille, Moskovskaya Kadril, Zadornaya Kadril, Kadrilj, Веселая, Wesjolaja

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