Tuman Yarom - Туман яром (Russia/Ukraine)

Tuman Yarom

Туман яром 

Russia/Ukraine

These notes ©2017, Andrew Carnie. Choreographed by Hennie Konings based on traditional khorovod steps. Widely taught by Radboud Koop. The dance is in the Russian Khorovod tradition, but is done to music from Eastern Ukraine.

Music:
Meter: 2/4
Formation: Closed circle, holding hands down in V position. Start facing LOD (CCW).
Introduction: 12 bars no action, start with singing.

Bar 1: Step R (1), L (2) in LOD
Bar 2: Take a slow step R in LOD (1,2)
Bar 3: Take a slow step L in LOD (1,2)
Bars 4-12: repeat bars 1-3, three more times.
Bars 13-15: turn to face center and use the footwork of bars 1-3 to travel into the center. Arms come up parallel to the floor
Bars 16-18: repeat bars 13-15 but backing up and lowering arms back down. Drop hands towards the end of bar 18 and put them on your hips
Bars 19-21: repeat footwork of Bars 13-15, but making a CW turn in place, you don't have to turn all the way around.
Bar 22: Step on R to R (1), stamp L gently next to R (2) (completing turn during bars 22-24 if necessary).
Bar 23: Repeat bar 22 with opposite footwork and direction
Bar 24: Repeat bar 22
Bars 25-48: repeat bars 1-24 with opposite footwork and direction.

Repeat the entire dance.
Then repeat bars 1-24
When music slows and stops, pause, then repeat bars 13-24
End with a bow.

Video on the web

Lyrics

From Radbook Koop's Russian Folk Dances syllabus

уман яром при долине
да широкoй лист на калине 
Да ещё ширше на дубочку 
да понял голубь голубочку

Понял свою, не чужуя 
паняночку молодуя
Да паняночка муку сея 
да на пылочку набивая

Да калачики натирая
да на реченьку отсылая 
Да за речкою за речкою 
живёт Ваня – ковалёчек

Да ты скуй же мне топорочек 
да пойди, Ваня, во лесочек 
Да сруби, Ваня, тополёчек 
сделай Насте холодочек

Да чтоб Настя да не горела 
животом сердцем да не болела 
Да была б Настя веселая
Да была б Настя веселая 

Tuman yarom pri doline
Da shirokoy list na kaline
Da esho shirshe na dubochku 
Da ponyal golub’ golubochku

Ponyal svoyu, ne chuzhuya 
Panyanochku moloduya
Da panyanochka muku seya 
Da na pylochku nabivaya

Da kalachiki natiraya
Da na rechen’ku otsylaya
Da za rechkoyu za rechkoyu 
Zhivyot Vanya – kovalyochek

Da ty skuy zhe mne toporochek 
Da poydi, Vanya, vo lesochek 
Da srubi, Vanya, topolyochek 
Sdelay Naste kholodochek

Da chtob Nastya da ne gorela 
Zhivotom serdtsem da ne bolela 
Da byla b Nastya veselaya
Da byla b Nastya veselaya 

Valley mist at the steep shore 
Broad leave of the guelder rose 
The oak leaves are even broader 
A dove couple in love

You know, it’s not strange 
The young girl
The girl sieves flour
And raises the dust

She bakes kalachiki
And sends it to the river
At the river
Lives Vanya, the blacksmith

Forge me an axe
Go, Vanya, in the forest 
Chop down, Vanya, a poplar 
Provide Nastya a shadow

So that Nastya doesn’t get hot 
So that she has no heartache 
So that Natya will be happy 
So that Natya will be happy 

Other sources: 

• Koop, Radboud (2012) Russian Folk Dances. PDF syllabus. Page 28.

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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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Timonia - Тимоня (Russia)

Timonia (Joukowsky Version)

Тимоня

Russia

These notes ©2016, Andrew Carnie. Originally taught by Anatol Joukowsky. From the Ural Mountains. Timonya refers to a Cossack chief, also known as Timothy.  There is also a dance for trios by this name taught by Alexandru David and several stage choreographies. This is the version taught by Joukowsky. Thanks to Martha Awdziewicz for corrections to these notes.

Music:

• National 4525; 
• https://youtu.be/d1NS-H3_1Os

Meter:  2/4
Formation: Couples in a circle facing center, M leading (on the R), W behind him (on the L), hold nearer hands, down in V position
Introduction: 16 counts, no action

Part 1: Chorus Step

Bar 1: in LOD walk R (1), L (2)
Bar 2: repeat bar 1
Bar 3: Step on R in LOD (1), Scuff L through with no weight (2)
Bars 4-5: repeat bars 1-2 with opposite footwork, still moving LOD
Bar 6: stomp  L (1), R (&), L (2)
Bars 7-12: repeat bars 1-6

Part 2: In and out

Bars 1-6: repeat bars 1-6 of part 1, except moving into the center. Arms raise forward as you're going in
Bars 7-12: repeat bars 1-6 of part 1, except backing out away from center. Arms lower back to V position

Part 3: Chorus

repeat part 1: chorus

Part 4: Women Snake

Men stand in place throughout this step, with hands behind back, and R foot slightly forward, flex knees on count 2 of each bar and straighten on each count 1. 

Bars 1-12: using 24 walking steps starting with the R foot. Woman dances in front of her partner, behind the next man to his left, and then in front of around the next man to the L after that. Then she returns back to place, dancing behind the line of men.

Part 5: Chorus

repeat part 1: chorus

Part 6: Brush Step

Women:

Bars 1-4: Starting with the R foot take 8 walking steps into the center, turning at the end to face partner.

Bar 5: Stomp on R next to L (1), Brush L forward (2)

Bar 6: Brush L back across R instep (1). Brush L forward across R instep (2)

Bar 7: Step L (1), R (2) in place

Bar 8: Step L in place and present R heel forward

Bars 9-16: Stand still and watch M perform their action

Men: 

Bars 1-8: stand still and watch W perform their action

Bars 9-10: repeat the footwork of bars 5-6 of W's step above

Bars 11-12: repeat bars 9-10 with opposite footwork (step on L to start)

Bars 13-16: Take 8 walking steps up to meet partner, grab her R hand in L, ready to lead her back into the circle for the chorus

Part 7: Chorus

repeat part 1: chorus

Part 8: Prysiadka

Women

(this is the way Karen Faust does it):

Bars 1-3: Starting with the R foot, take 6 walking steps into the center on the R diagonal

Bars 4-6: Take 6 walking steps in RLOD (or take 5 walking steps and a stamp)

Bars 7-9: Take 6 walking steps back towards out side of circle (or take 5 walking steps and a stamp)

Bars 10-12: Take 6 walking step in LOD to get back to partner.

The way other notes say to do it:

Bars 1-3: 6 walking steps, starting R,  into the center on the R diagonal 

Bars 4-6: 5 walking steps, starting R, in RLOD. Followed by a Stamp of L foot, while turning 1/2 CCW to face LOD.

Bars 7-8: retrace distance travelled on bars 4-6, including stamp

Bars 9-12: Six walking steps starting R to get back to partner.

Men:

Bar 1: Squat down on both feet hands crossed in front of crotch 

Bar 2: Jump up onto R foot, with L heel extended, R arm in air, L arm out to side

Bar 3: pause

Bars 4-6: repeat bars 1-3, with opposite footwork

Bars 7-12: repeat bars 1-6

Part 9: Chorus

repeat part 1: chorus

Part 10: Women Snake again

repeat part 4 again

Part 11: Chorus

repeat part 1: chorus

Part 12: Brush Step again

repeat part 6 again

Part 13: Chorus

repeat part 1: chorus

Part 14: Prysiadka again

repeat part 8 again

Part 15: Chorus

repeat part 1: chorus

Part 16: Ending

Bar 1: Moving forward in LOD, run R (1), L (&), R (2), stamp L next to R (&)

Bar 2: repeat bar 1 with opposite footwork but still moving in LOD

Bars 3-4: repeat bars 1-2

Bar 5: repeat bar 1

Bar 6: Stomp L (1) R (&) L (2) in place 

Bars 7-12: repeat bars 1-6

Other Notes on the web

• http://www.folkdance.com/LDNotations/Timonia1970LD.pdf
• Page 107 of (1970) Stockton Folk Dance Camp

Bill and Karen Faust's Fayetteville Video

Also spelled: Timonya, Timoniya

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