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:

Read More

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.

Read More

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

Read More

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

Read More

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

Read More

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

Read More

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

Read More