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34th Annual Door County Folk Festival

Get Your Foot in the Door!

Wednesday – Sunday, July 10 – 14, 2013

Sister Bay, Ephraim, and Baileys Harbor, Wisconsin

Website: www.dcff.net E-mail: [email protected] Facebook Group: www.facebook.com/groups/dcffmail

Facebook Fan Page: www.facebook.com/dcff.fan.page

Dance Syllabus

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34th Annual Door County Folk Festival (DCFF), Wisconsin, 2013

Phone: (847)-846-8139 [email protected]

Wednesday Start End Where Event Who

Morning 10:00am 12:00pm SBVH Northern Door YMCA Youth Dance Program Paul Collins

10:00am 12:00pm SBVH Northern Door YMCA Youth Activity Program Miriam & Dick Miller

12:00pm 2:00pm SBVH Northern Door YMCA Youth Dance Program Paul Collins

12:00pm 2:00pm SBVH Northern Door YMCA Youth Activity Program Miriam & Dick Miller

Afternoon 12:00pm BHTH Staff Arrives Staff & Volunteers

3:00pm BHTH Setup Begins Staff & Volunteers

Evening 6:00pm BHTH Registration Begins Staff & Volunteers

8:00pm 1:00am BHTH Opening Night Party with Recorded Music Festival Committee

1:00am 2:30am BHTH Late Night Party Paul Collins & Rick King

Thursday Start End Where Event Who

Morning 9:45am BHTH Setup & Registration Continues Staff & Volunteers

10:00am 11:45am BHTH Fascinating Rhythms of Balkan Dance Workshop Rick King, Carol Johnson, Mary Garvin

Rick:

Bufsko/Puscheno (Macedonian), Tring Smajles (Albanian)

Carol:

Arnautsko (Bulgarian), Valle Kosovare (Albanian)

Mary:

Petrunino (Bulgarian)

9:30am 10:00am SCA Setup For Mini-Concert Staff

Shelley Orbach

Northern Door YMCA Youth Program Dancers

Gerhrd Bernhard

Ethnic Dance Chicago

Afternoon 11:45am 1:15pm Lunch Break

12:00pm 1:00pm BHTH Dance & Stress Relief Mercedes Dzindzeleta

1:15pm 3:00pm BHTH Advanced-Level Romanian Dance Workshop: Special Guest Instructor: Mihai David

Mihai:

Sirba Dracilor (Muntenia), Sirba din Calus (Oltenia), Ardelean (Transylvania),

Joc Tiganeasc de Doi (Moldova)

3:00pm 3:15pm Break

3:15pm 5:00pm BHTH Advanced-Level Romanian Dance Workshop: Special Guest Instructor: Mihai David

Mihai:

Hategana (Transylvania), Salajean (Transylvania), Hora Tiganilor (Moldova),

Trei Pazeste de la Goicea Mare/Ana-i da si Dana-i da (Oltenia)

Evening 8:00pm until BHTH Ethnic Dance Party - with Recorded Music Festival Committee

9:00pm BHTH Silent Auction Begins Mercedes Dzindzeleta & Company

11:00pm until AC Tap Late Night After Party - MAYBE Hwy 57, between Sister Bay & Baileys Harbor

Friday Start End Where Event Who

Morning 7:45am SBVH Setup & Registration Continues Staff & Volunteers

8:00am 9:45am SBVH Contra/Square Dance Workshop Roger Diggle & Paul Collins - Music by Last Gaspé

9:45am 10:00am Break

9:45am EVH Setup & Registration Continues Staff & Volunteers

10:00am 11:45am SBVH Back to Our Roots South Slavic (Kolo & Drmes) Workshop Paul Collins, George Davis, Mary Garvin, Forrest Johnson

Paul:

Veliko Kolo (Serbian/Banat), Dorcolka (Serbia), Cukaricko Kokonjeste

(Serbia), Milica Kolo (), Erdeljanka (Banat)

George:

Srpkinja (Serbian/Banat), Rumunjsko Kolo (Serbian), Keleruj Kolo (Croatian),

Rokoko Kolo (Vojvodinan)

Mary:

Ajd Za Milim & Drhtavac (Croatian/Slavonia), Pargarusa (Croatian/Slavonia),

Makazice & Bela Rada (Serbian)

Forrest:

Seljancica Kolo (Serbia), Rukavica (Croatian/Slavonia), Jeftanovicevo Kolo

(Bosnian/Vojvodina), Zaplet (Serbian/Croatian)

10:00am 11:45am EVH Fascinating Rhythms of Balkan Dance Workshop Steve Salemson, Michael Kuharski, Patti Cohen

Steve:

Sedi Donka (Bulgarian)

Michael:

Svornato Horo (Bulgarian), Ratevka (Macedonian)

Patti:

Karatzova (Greek), Sihtir (Greek/Thracian)

10:00am 11:45am FBC Singing Workshop Impromptu Festival Chorale by Shelley Orbach

TBD


12:00pm 1:00pm SBVH< Lunchtime Discussion Group A New Generation of Folk Dancer - led by Daniel Wells

12:00pm 1:00pm FBC Dance & Stress Relief Mercedes Dzindzeleta

12:00pm 12:30pm BHTH Setup For Concert Staff

DCFF Home

2013 Door County Folk Festival Schedule

NOTE: Schedule Subject to Change

Get Your Foot in the Door!

Wednesday - Sunday, July 10-14, 2013 - Baileys Harbor, Ephraim and Sister Bay, Wisconsin

Dcff Mini-Concert @ Scandia Retirement Community Shelley Orbach10:00am 11:00am SCA

10:00am 11:45am SBWP Youth Activities Dick & Miriam Miller


12:30pm 2:30pm BHTH DCFF Mini-Concert At Baileys Harbor Town Hall Shelley Orbach

Shelley Orbach

Northern Door YMCA Youth Program Dancers

Last Gaspe

Braca Tamburica Orchestra

Gerhard Bernhard

Ethnic Dance Chicago

1:15pm 3:00pm SBVH Beginning/Intermediate-Level Ethnic Dance Workshop Eddie Cordray, Daniel Wells, Ellen Rice

Eddie:

For a Birthday (Hungarian)

Daniel W:

Alunelul de la Cerna (Romanian), Glavinishko Chetvorno Horo (Bulgarian)

Ellen:

Sitno Zensko Horo (Bulgarian), Staro Pomashko (Bulgarian), U Rekee

(Russian)

1:15pm 3:00pm EVH Intermediate/Advanced-Level Ethnic Dance Workshop Dit Olshan, Dan Garvin, Nancy Jo Lame

Dit:

Vidinsko Horo (Bulgarian)

Dan G:

Selsko Shopsko Horo (Bulgarian)

Nancy Jo:

Lyavo Horo (Bulgarian)

1:15pm 3:00pm SBWP Youth Activities Dick & Miriam Miller

1:15pm 3:00pm FBC TBD TBD

TBD

3:00pm 3:15pm Break

3:15pm 5:00pm SBVH Intermediate-Level Romanian Dance Workshop Special Guest Instructor: Mihai David

Mihai:

Hora din Moldova (Moldova), Hot Cheeze (Gypsy), Hora Ploii (Oltenia), Braul

lui Iosca (Banat), La Mahala (Bucharest)

3:15pm 5:00pm EVH Israeli Dance Workshop Penny Brichta & Phil Moss

Penny & Phil:

Katonti (Israeli), Shav El Admati (Israeli), Mishamayim (Israeli), El Ha'Or

(Israeli), Derech (Israeli)

3:15pm 5:00pm SBWP Musicians & Singers Informal Jam Session Shelley Orbach

Musicians, singers & observers are welcome to meet @ the Gazebo in Sister

Bay Waterfront Park for an informal jam session

Mara Kins, Janet Higgs, Ken Pagenkopf & Team

Voyager Inn Motel in Sister Bay

Bring food and beverages to share and bring your appetite for good eating and a

good time. This group picnic includes grilling, eating, drinking, singing, dancing,

playing music, and access to the Motel's swimming pool and hot tub.

Reservations & Food/Beverage Contribution Required!

8:30pm 1:00am BHTH "Friday Night Ethnic Folk Dance Party

Live Music by Braca Tamburica Orchestra - Recorded Music Requests by the

Festival Committee

8:30pm 11:00pm EVH Contra & Square Dance Party Roger Diggle & Paul Collins - Music by Last Gaspé

1:00am 2:30am BHTH Late Night Party Paul Collins & Rick King

Saturday Start End Where Event Who

Morning 7:45am BHTH Setup & Registration Continues Staff & Volunteers

8:00am 9:45am BHTH Contra/Square Dance Workshop Roger Diggle & Paul Collins - Music by Last Gaspé

9:45am 10:00am Break

9:45am EVH Setup & Registration Continues Staff & Volunteers

10:00am 11:45am BHTH Back to Our Roots South Slavic (Kolo & Drmes) Workshop Paul Collins, George Davis, Mary Garvin, Forrest Johnson

Paul:

Veliko Kolo (Serbian/Banat), Dorcolka (Serbia), Cukaricko Kokonjeste

(Serbia), Milica Kolo (), Erdeljanka (Banat)

George:

Srpkinja (Serbian/Banat), Rumunjsko Kolo (Serbian), Keleruj Kolo (Croatian),

Rokoko Kolo (Vojvodinan)

Mary:

Ajd Za Milim & Drhtavac (Croatian/Slavonia), Pargarusa (Croatian/Slavonia),

Makazice & Bela Rada (Serbian)

Forrest:

Seljancica Kolo (Serbia), Rukavica (Croatian/Slavonia), Jeftanovicevo Kolo

(Bosnian/Vojvodina), Zaplet (Serbian/Croatian)

10:00am 11:45am EVH Fascinating Rhythms of Balkan Dance Workshop Steve Salemson, Michael Kuharski, Patti Cohen

Steve:

Sedi Donka (Bulgarian)

Michael:

Svornato Horo (Bulgarian), Ratevka (Macedonian)

Patti:

Karatzova (Greek), Sihtir (Greek/Thracian)

10:00am 11:45am FBC Singing Workshop Impromptu Festival Chorale by Shelley Orbach

TBD

10:00am 11:45am SBWP Youth Activities Dick & Miriam Miller


VIM Pot-Luck Picnic @ Voyager Inn - BYO Evening 5:45pm 8:00pm


12:00pm 1:00pm FBC Dance & Stress Relief Mercedes Dzindzeleta

1:15pm 3:00pm BHTH Beginning/Intermediate-Level Ethnic Dance Workshop Eddie Cordray, Daniel Wells, Ellen Rice

Eddie:

For a Birthday (Hungarian)

Daniel W:

Alunelul de la Cerna (Romanian), Glavinishko Chetvorno Horo (Bulgarian)

Ellen:

Sitno Zensko Horo (Bulgarian), Staro Pomashko (Bulgarian), U Rekee

(Russian)

1:15pm 3:00pm EVH Intermediate/Advanced-Level Ethnic Dance Workshop Dit Olshan, Dan Garvin, Nancy Jo Lame

Dit:

Vidinsko Horo (Bulgarian)

Dan G:

Selsko Shopsko Horo (Bulgarian)

Nancy Jo:

Lyavo Horo (Bulgarian)

1:15pm 3:00pm SBWP Youth Activities Dick & Miriam Miller

1:15pm 3:00pm FBC Singing Workshop Braca Tamburica Orchestra

TBD

3:00pm 3:15pm Break

3:15pm 5:00pm BHTH Intermediate-Level Romanian Dance Workshop Special Guest Instructor: Mihai David

Mihai:

Hora din Moldova (Moldova), Hot Cheeze (Gypsy), Hora Ploii (Oltenia), Braul

lui Iosca (Banat) , La Mahala (Bucharest)

3:15pm 5:00pm EVH Israeli Dance Workshop Penny Brichta & Phil Moss

Penny & Phil:

Katonti (Israeli), Shav El Admati (Israeli), Mishamayim (Israeli), El Ha'Or

(Israeli), Derech (Israeli)

3:15pm 5:00pm SBWP Musicians & Singers Informal Jam Session Shelley Orbach

Musicians, singers & observers are welcome to meet @ the Gazebo in Sister

Bay Waterfront Park for an informal jam session

5:00pm SBVH Cleanup Staff & Volunteers

5:00pm EVH Cleanup Staff & Volunteers

5:00pm FBC Cleanup Staff & Volunteers

6:00pm Fish Boil Dinner - Seating 1



7:00pm Sunset BHP Dancing, Music & Singing in the Park and Pier Baileys Harbor Park & Waterfront

8:30pm 12:00am BHTH Ethnic Folk Dance Party

Live Music by Braca Tamburica Orchestra - Recorded Music Requests by the

Festival Committee

11:00pm BHTH Silent Auction Ends Mercedes Dzindzeleta & Company

12:30am 2:00am BHTH Larry Hoey Memorial Folk Dance Olympics

2:00am until BHTH Late Night Party Paul Collins & Rick King

Sunday Start End Where Event Who

11:00am 11:15pm Break

11:15am 12:30pm BHTH Review Workshop 1 Karen Tutkowski Organizes Dance Review Schedule

TBD

Afternoon 12:30pm 1:30pm Lunch Break

1:30pm 3:15pm BHTH Review Workshop 2 Karen Tutkowski Organizes Dance Review Schedule

TBD

3:15pm 3:30pm Break

3:30pm 5:00pm BHTH Review Workshop 3 Karen Tutkowski Organizes Dance Review Schedule

Evening TBD

6:00pm Survivors' Dinner(s) Random Groups Meet and Organize at BHTH

8:30pm 2:30am Survivors' Dance Party Participants Run the Program

Monday Start End Where Event Who

9:00am Cleanup Staff & Volunteers

Dancing to Live Music versus Recorded Music - What Are the Big Issues? - led

by Forrest Johnson 12:00pm 1:00pm BHTH< Lunchtime Discussion Group

Kim Caisse & Team - Baileys Harbor ParkEvening BHP

Roger Diggle & Paul Collins - Music by Last GaspéMorning 9:00am 11:00am BHTH Contra/Square Dance Workshop

2013 Door County Folk Festival Schedule

LEGEND

SBVH = Sister Bay Village Hall - (Hwy 42, Bay Side, about 4 blocks N of Hwy 57 end)

EVH = Ephraim Village Hall - (Just S of intersection of Hwys 42 & Q)

BHTH = Baileys Harbor Town Hall - (Intersection of HWYs 57 and F, 9 mi S of SBVH, W side of 57)

BHP = Baileys Harbor Park - (Intersection of HWYs 57 and F, 9 mi S of SBVH, W side of 57, Adjacent to BHTH)

SBWP = Sister Bay Waterfront Park - (Hwy 42, Bay Side, about 3 blocks N of Hwy 57, Adjacent to SBVH)

SBSC = Sister Bay Sports Complex - Mill Road & Woodcrest Road (from HWY 42)

TBD = To be determined

FBC = First Baptist Church of Sister Bay - (Hwy 42, Bay Side, 1 mi S of SBVH)

GAMS = Gibraltar Area Middle School Gymnasium in Fish Creek - (Hwy 42 in Fish Creek, 5 miles S of EVH)

VIM = The Voyager Inn Motel (Sister Bay) - (Hwy 57, 1 mi S of SBVH, W side of 57)

SCA = Scandia Retirement Community (Sister Bay) - (Hwy 57, .5 mi S of SBVH, W side of 57)


Table of Contents

2013 Door County Folk Festival Syllabus

Presented by Penny Brichta & Phil Moss 1 Presented by Mary Garvin 50

Derech 2 Ajd Za Milim, Ajd Za Dragim 51

El Ha'Or 3 Bela Rada 52

Katonti 4 Drhtavac 53

Mishamayim 5 Makazice 54

Shav El Admati 6 Pagarusa 55 Petrunino 57

Presented by Patti Cohen 7

Karatzova 8 Presented by Carol Johnson 59 Sihtir 9 Arnautsko Horo 60

Valle Kosovare 61

Presented by Paul Collins 11

Cukaricko Kokonjeste 12 Presented by Forrest Johnson 62

Dorcolka 14 Jeftanovicevo Kolo 63 Erdeljanka 15 Rukavica 65

Milica Kolo 17 Seljancica Kolo 66

Veliko Kolo 19 Zaplet 67

Presented by Eddie Cordray 21 Presented by Rick King 69 For a Birthday 22 Bufsko (Puscheno) 70

Tring Smajles 72

Mihai David 23

Ardelean 24 Presented by Michael Kuharski 73

Braul lui Iosca 26 Ratevka 74

Hategana 28 Svornato Horo 75

Hora din Moldova 31 Hora Ploii 32 Presented by Nancy Jo Lame 76

Hora Tiganilor 34 Lyavo Horo 77 Hot Cheeze 35

Joc Tiganesc de doi

36 Presented by Dit Olshan 79

La Mahala 37 Vidinsko Horo 80

Salajan 39

Sirba din Calus 40 Presented by Ellen Rice 82

Sirba Dracilor 41 Sitno Zensko Holo 83

Trei Pazeste de la Goicea Mare 42 Staro Pomashko 84

U rekee 85

Presented by George Davis 43 Kuleruj 44 Presented by Steve Salemson 86

Rokoko Kolo 45 Sedi Donka 87

Rumunjsko Kolo 46

Srpkinja 47 Presented by Daniel Wells 89

Alunelul de al Cerna 90

Presented by Dan Garvin 48 Glavnishko Chetvorno 91

Selsko Shopsko Horo 49


Penny Brichta (Wilmette, IL)

Penny has been teaching the beginner’s session at the popular Northwestern Israeli Dance group for over 20 years. Contrary to popular belief, she was over 19 when she started co-leading the group. Since spending her junior year of college living in Israel and dancing far more often than studying, Penny has been hooked on dance. She is responsible for introducing many of the modern Israeli dances to the Midwest International Dance communities. While Israeli remains her favorite, Penny has also earned certification as a Jazzercise aerobic dance instructor.

Phil Moss (Wilmette, IL)

Phil became an active Israeli dancer during his college years and started teaching as a summer staff member of the Olin-Sang-Ruby Union Institute (OSRUI) in Oconomowoc, WI. Known locally, nationally and internationally, Phil has been leading Israeli Dancing in Chicago since 1974. For most of that time his weekly Thursday night group met at Northwestern University. More recently it is at Temple Judea Mizpah in Skokie Illinois. In addition to being an excellent teacher, Phil has led/participated in numerous workshops, camps and performing groups including the Camp Blue Star Fred Berk Israeli Folk Dance Workshop, the Nitzanim Israeli Folk Dance Troupe, Blue Star Reunion Workshops, and the world-famous Chagigah, A Weekend of Israeli Dance, that was held for 20 years at OSRUI. Phil is a tireless promoter of Israeli dancing, having brought the joy of this form to literally generations of kids, teens, parents and seniors. He is active on a national and international level in the leadership of Israeli Dancing from an organizational and promotional perspective. This is Phil's first appearance on staff at DCFF where he is very pleased to support his colleague from Thursday nights, and DCFF staff mainstay, Penny Brichta. Phil truly can be viewed as a charter member of the who's who in Israeli dancing. We are very excited to have him with us to share his love of Israeli dancing.

DCFF 2013 134th Annual Door County Folk Festival (DCFF), Wisconsin, 2013

DERECH (Road - Path)

Dance: Yaron Ben-Simchon

Singer: Avihu Shabat

Music: Nitzan Kaykov

Lyrics: Avihu Shabat

Meter: 4/4

Formation: Couple facing CCW. Same footwork for M & W.

PART I – Face CCW. M is in inner circle, W to his Rt., hands joined in varsouvienne position.

1-2 Fwd R,L.

3-4 M: fwd R,L,R turning W. W: turns ½ to Rt. with R,L,R under joined hands to face partner on line of

circle. M is facing CCW, W is facing CW. Hands are joined and crossed between them.

5-6 Separating: M to L twd center: step L to L, R across L. W to L moving out of circle.

7&8 Yem. L.

9-12 Rpt. 5-8 pivoting to R on last step to face partner. M’s back is twd center and partner’s have L shoulder’s adj. 13-14 Join L hands. Step L fwd ending side by side with M facing out and W facing in, step back on R. 15&16 Yem. L bwd and pivot (M: to L, W: to Rt.) to face CCW and join in orig. position. 17-32 Rpt. 1-16

TRANSITION – Face to face with M’s back twd center. 1-4 Step R to R, full turn to left on line of circle with L,R. 5-8 Yem. L.

PART II – Face to face with M’s back twd center. 1-4 R to R, L behind R, R to R and pivot to Rt ½ turn. M is facing center and W is facing out. 5-8 L to L, R behind L, L to L and pivot ½ turn to left. M’s back is twd center, W is facing center and they are

separated. 9-13 Yem. R 13-16 Turn to L returning to partner with LRL. 17-20 Yem. R bwd passing R shoulders. 21-22 Step L across R, hop on L passing back to back with partner. 23-24 Step-hop R bwd passing L shoulders. 25-32 Yem L, Yem. R. 33-48 Rpt. 1-16 49-52 Yem. L bwd and join hands. 53-60 Yem. R and Yem. L extending the joined hands. 61-63 M: Yem. R making ¼ turn to L to face CCW.

W: Yem. R turning to L under joined hands and face CCW. 64 Fall onto L foot raising Rt. with bent knee and resuming orig. position for start of dance.

REPEAT Dance

REPEAT Part II Instructions notated by Honey Goldfein

HG053013-KL(rokdimvid)

2 DCFF 201334th Annual Door County Folk Festival (DCFF), Wisconsin, 2013

EL HA’OR

(To the Light)

Dance: Dudu Barzilay

Singer: Yosi Azulay

Formation: Circle facing centre to start

Counts Part I

1 - 2 Sway R, sway L with hands moving side to side

3 & 4 Full turn to R in three steps R-L-R

5 & 6 Cross L over R-R to R-cross L behind R

7 - 8 Bring R in an arc behind L stepping on R, step L to L, cross R over L

9 - 16 Repeat 1 - 16 with opposite footwork and direction

17 - 18 R yemenite bwd, pivoting 1/2 turn to R to face out; raising arms up and to side

19 - 20 L, R, L bwd

21 - 24 Repeat 17 - 20 and end facing centre

25 - 26 Quick R over L, L to L, R to R, L over R, R to R, L to L

27 - 28 Step R, close L to R with hands crossed at chest level snapping fingers

Part II

1 & 2 Wide yemenite R

3 & 4 Yemenite L bwd

5 & 6 Full turn to center with R-L-R

7 - 8 Cross L over R, cross R over L

9 & L bwd, R in place

10 L fwd, hold

11 & R in place, step L bwd, touch R to R

12 & Step R bwd, touch L to L

13 & 14 Cross L behind R, R to R-cross L over R

15-18 Face CCW and move fwd with 2 step-tog-steps R-L-R, L-R-L. End facing center

19-32 Rpt. 1-14

Part III

1 & 2 R-L-R, L-R-L

3 & 4 Sway R, sway L

5 - 8 Repeat 1 - 4

9 & 10 Cross R over L, L to L, R to R, cross L over R, R to R, L to L

11 & 12 Step R, close L to R

Sequence:

Part I, Part I, Part II, Part III, Part I, Part II, Part III

Notes © Laurie Markus

HG111803-KL(HAG03)


KATONTI

Dance: Oren Ashkenazi

Music/Singer: Yonatan Razel

Lyrics: Traditional

Meter: 3/4 (each count = 1 measure of ¾)

Formation: Circle facing CCW.

PART I

1-2 Waltz fwd with R & L and face center.

3 Turn to Rt. on line of circle with waltz step R and face CCW

4 Rock fwd with L, R in place, L back.

5 “balance” to R.

6 Turn to L twd center with waltz step L and face center.

7 Waltz fwd with R.

8 L bwd and face CCW, R to R, L across

9-12 Rpt. 1-4

13 Step R, brush L, step L.

14 Rpt. 13

15-16 Face center and Rpt. 5-6 on line of circle.

17-32 Rpt. Part I

PART II – Face center.

1 Turn to Rt. twd center with waltz step Rt. and face CW

2 Turn to L out of circle with waltz step L and face center

3-4 Waltz fwd with R, back with L.

5 Step R across L raising R arm in arc to Rt., back on L, R to R

6 Rpt. 5 with opp. footwork and hand.

7 ½ turn fwd twd center with waltz step R and face out of circle.

8 Yem. L bwd.

9-16 Rpt. Part II facing out.

PART III – face center.

1-2 “balance” to R & L

3 R to R raising Rt. arm, drag L to close to Rt.

4 ½ turn to R with waltz step R.

5-8 Rpt. Part III with opp. footwork.

Rpt. Dance.

Rpt. Part I, meas. 1-7

Instructions notated by Honey Goldfein

HG011713-KL()


MISHAMAYIM (From the Sky))

Dance: Shmulik Gov-Ari

Music: Adi Le’on

Lyrics: Rami Lev

Singer: Haim Yisrael

Meter: 4/4

Formation: Circle facing center.

PART I 1-4 Mayim step to L (begin R over L) and face CW

5-8 R-tog-R fwd, L-tog-L fwd.

9-16 Rpt. 1-8

17-18 R to R twd center, L behind R.

19&20 R-tog-R to right twd center making ½ turn to Rt. and face CCW.

21-24 Rpt. 17-20 with opp. footwork continuing to center, but making only ¼ turn and face center.

25-26 Step R fwd raising arms, back on L lowering arms and face CCW.

27-30 Open mayim step to Rt. (R to R, L across, R to R, L behind.) moving out of circle and face center.

31-32 R bwd, L fwd in place.

33-64 Repeat Part I 65-68 Full turn to Rt. on line of circle with R,L,R, step L across R.

PART II – Face center. 1-4 Tcherk. R raising and lowering arms. 5-6 Full turn to Rt. twd center with R,L and face center. 7&8 R-tog-R fwd. 9-10 Small leap onto L to L, R across L. 11&12 Yem. L 13-14 R fwd, back on L and face diag. to R. 15-16 Step R diag. to R out of circle, L across R. 17-18 Turn to Rt. out of circle with R,L 19&20 R-tog-R to Rt. completing turn and face out of circle. 21-22 Turn to L with L,R. 23&24 L-tog-L to Left. 25-28 Tcherk. R. 29-32 3 small jumps in place turning to Rt. to face center, land on L. 33-64 Rpt. Part II PART III 1-4 R-tog-R, L-tog-L fwd to center. 5-8 Sway R,L,turn to Rt. with R,L to face out of circle. 9-16 Rpt. 1-8 moving out of circle and face center.

17-20 Open mayim to Rt. side (R to R, L across, R to R, L behind.) moving out of circle and face center.

There is a small hop on the left foot in advance of ct. 17 & ct. 19 21-22 Full turn to Rt. on line of circle with R,L. 23&24 Yem. R.

25-32 Rpt. 17-24 with opp. footwork and direction.

REPEAT Dance

ENDING

1-32 Rpt. Part II, cts. 1-32 33-40 Rpt. Part II, cst. 1-8

Instructions notated by Honey Goldfein

HG053013-KL(rokdimvid)


SHAV EL ADMATI (Returning to my Land)

Dance: Gabi Moti

Music: Avihu Medina

Meter: 4/4

Formation: Circle

PART I - Face CCW w/hands joined in regular hold.

1-4 4 bouncy steps fwd beg. with L.

5-6 Touch L fwd bouncing on R, touch L bwd bouncing on R.

7-8 Touch L fwd bending knees, chug-hop on R.

9-32 Rpt. 1-8 three more times and end by turning to L to face center.

PART II - Face center. 1 Touch L heel fwd (1/8), hop on R (1/8). 2-4 Two bouncy steps fwd with L,R, and close L to R without weight. 5-8 Rpt. 1-4 continuing twd center. 9-12 Two step-tog-steps bwd twd the line of the circle with L & R) 13-16 Yem. L, Yem. R. PART III - Face center. 1 L across R bending body fwd (1/8), R to R (1/8) 2 L across R. 3-4 R to R and straighten body, touch L heel fwd and bend elbows. 5-8 Rpt. 1-4 9-12 Full turn to R in place with 4 bouncy steps beg. with L. 13-16 Yem. L, Yem. R. 17-32 Rpt. 1-16 Instructions translated by Honey Goldfein

HG120897-KL(YM150)


Patti Cohen (Winnipeg, MB, Canada) Patti is a teacher at MIFDA in Winnipeg. Patti danced for many years in Chicago and is a former member of International Dancers. She was also very active in the folk dance group at the University of Illinois at Urbana-Champaign. She used to run a folk dance group for children at her school who performed for the annual Multicultural event and for other schools. Patti used to teach dances to the Romanian dance group in Winnipeg for the annual Folklorama Festival each August. She has also taught at SNOPA. Patti has recently become immersed in Greek dance, attending seminars in Prespes, Greece, Klironomia in Toronto and Greek dancing in Jerusalem. She is thrilled to have learned with some of the finest Greek dance teachers brought in from Greece to Toronto as well as Winnipeg, where she dances with the Kefi Dancers Adult group. A Kindergarten teacher for many years, she presently teaches Reading Recovery in the Winnipeg Public School System. Patti is thrilled to be returning to the Door County Folk Festival.


Karatzova

Macedonia in Greece

A woman’s dance from Central Macedonia in Northern Greece, the town of Aridea in the

prefecture of Pella. Learned from Yannis Constantinou, Greek Dance Seminar, Prespe,

Greece 2006 and 2008.

Formation: Line, leader on right. Begin with arms down in V position, arms will come up

at Meas. 9 into W position and come down back to V position at Measure 16 in both slow

and fast sections of the dance.

Styling: Very smooth and regal feeling. Very little to no bounce, head is generally at the

same level. Feet are kept low to the ground. Any leg raises are just to or a bit above the

ankle. Leader can raise free arm with a bit of an easy up/down movement or rest it around

own waist. Triplets are very small and close to the ground in slow part.

Part 1 – slow – repeat pattern 7 times.

1. In LOD, step R

2. step L,R,L (very small triplet, in place with L ft in front)

3. Step R

4. step L,R,L (very small, triplet in place with L ft in front)

5. Step R

6. step L,R,L (very small triplet, in place with L ft in front)

7. Step R to R, turning body to face centre, raise arms up to W position. Raise left

leg, leg straight, heel touches floor and raises up off of floor

8. Standing on R leg, bend knee (8) and straighten up (and).

9. Step L behind R turning body to face RLOD, R ft can come up to ankle

10. Step R fwd of body, L ft can come to back of R ankle

11. Step L behind R, straightening R leg and lifting it slightly off floor

12. Bend R knee to cross at ankle (12), straighten R leg to step RLOD (and)

13. Step R in RLOD

14. Touch L next to R

15. Step L fwd, turning body to LOD; Step R next to L,

16. Step L facing LOD with a small R,L in place.

Repeat 7 more times

Transition on 8th

repetition of the dance

Begin as above to ct. 14. substitue the following triplets for 15/16

15. R, L, R

16. L, R., L turning to LOD


Sihtir

Thracian from the area of Evros in Greece

As learned from Kyriakos Moisidis at Kefi Conference, 2009, Winnipeg, Canada.

Formation: line, leader on the right. Line faces the centre most of the time. The dance

can snake around the floor in various directions.

Arms: Arms begin up in a W. They swing down and up during counts in a W

Rhythm: q, q, s

Tempo: fast

A dance in 12.

1. q facing centre, step R in LOD, arms up

2. q step L behind R in LOD,

3. s step R in LOD;

4. q Step L in LOD,

5. q Step R in LOD,

6. s Step L in LOD begin to swing arms down on count (6 and)

7. q facing centre, slide R to R of LOD, but also moving fwd, moving to the right of

line, swinging arms up

8. q L closes to R, continue moving to right and in LOD, arms should be up

9. s R to R ,

10. q L behind R

11. q R in LOD

12. s L (should still be behind R)

As presented by Patti Cohen at Door County Folk Festival, 2013.

Dance notes by Patti Cohen. My apologies for any errors.


Part II - Faster

1. Step R

2. Step L

3. R,L,R

4. L, R, L

5-8 Repeat 1-4

9. Step R to R, raise arms to W position

10. Touch L next to R

11. Step L behind R

12. Step R to R

13. Step L behind R

14. Lift R leg and bend across L, turning body to RLOD

15. R, L, R in RLOD

16. L, R, L turning to LOD, taking arms down to V position

2nd Variation – Leader calls the change and continue with this pattern to the end of the

music.

1-8 Repeat Steps as above, arms down in V position

9. Step R to R, facing centre, bringing arms up to W position

10. Step L behind R

11. Step R to R

12. Step L behind R

13. Step R to R

14. Step L behind R

15. Step R to R

16. Step L behind R, turning to face LOD, bring arms down at end of measure

Repeat sequence until end of music

For part II, I suggest 5 repetitions of the first fast pattern followed by 4 repetitions of the fast

for 9 in all.

Presented by Patti Cohen at Door County Folk Festival, 2013.

Dance notes by Patti Cohen. My apologies for any inaccuracies.


Paul Collins (Chicago, IL)

Paul Collins has danced since the age of eight and has been an ethnic folk dance leader & square/contra dance caller since high school. Paul has been a guest caller at dances from the North Country to the Deep South and has even called squares and taught folk dancing for the hearing impaired at Gallaudet University in Washington. DC. Paul led the University of Chicago Folk Dance Club for many years and introduced squares and contras into the group's repertoire. After directing the U of C Folk Dancers' Annual Fall "International Folk Festival" for twelve years, Paul joined Gerhard Bernhard in producing the DCFF and two years later became co-director. In 1989, Paul and Bill Sasso started the Mid-North Folk Dance Club that has today evolved into Ethnic Dance Chicago (www.ethnicdance.net)and Ethnic Dance Connection (www.ethnicdance.org). Through "Connections", Paul presents dance programs for kids in primary and secondary schools, tutoring programs and scouting organizations. Paul does annual weeks in residency at the Spring Hill Middle School (Wisconsin Dells, WI), and the Chaney Monge School (Crest Hill, IL) helping the middle school classes prepare ethnic dance presentations for their school's International Festivals and Multi-Cultural Fairs. In the world outside of dance, Paul is an independent consultant in interpersonal communications strategies, is a thought leader in facilitating group interaction and collaboration on the web, was a co-founder and director of the Midwest Facilitators' Network, and is active in the Chicago Chapter of the International Association of Facilitators.


Čukaričko Kokonješte (Serbian) Page 1 of 2

Notes by Paul Collins Original Materials From John Filcić and Dick Crum

Translation: Kokonješte Kolo from the village of Čukarka,

Source: John Filcić

Music Source: Balkan 536, Folk Dancer MH-1002

Positions: Broken-circle formation, leader at right end; hands held down.

Footwork: Single step, triple step or “kolo pas-de-basque”, single step, running step

Meter:

2/4

Pronunciation: Choo-kah-REECH-koh Koh-kon-NYESH-the

Background:

The Kokonješte Kolos are native to the regions of Old Serbia, every town or village having a version of its own, and its name being taken from that locale. This Kokonješte dance and song is from the village of Čukarka in South Serbia. Kokonješte or Kokonješće is one of the "classic" dances of Yugoslavia. It was a favorite of turn-of-the-century ballrooms as well as village churchyards; by 1900 it had attained sufficient popularity among Serbs living in the Austro-Hungarian Empire (Vojvodina) that by the 1920's it had been transplanted to the U.S. and Canada by immigrants from that area. Its name is a Romanian word meaning "in the style of a young nobleman", giving credence to the idea that the dance was introduced via the upper-class ballroom. Also, many famous musicians of the time were of Romanian origin, and these musicians definitely had a large impact on the dance music of Serbia at the time.

PATTERN

Part 1 – Sevens & Threes

Measure Count Movement

1 1 Step on R ft to R (facing and moving to R)

& Step L ft across R ft (facing and moving to R)

2 Step on R ft to R (facing and moving to R)


2 1 Step on R ft to R (facing and moving to R)


2 Step on R ft to R (facing and moving to R)

& Hold Seven Steps (each step has equal weight)

Pattern: RL-RL-RL-R(Hold)

3 1 Step on L ft next to L (relatively in place)

& Step R ft next to L ft (relatively in place)

2 Step on L ft next to L (relatively in place)

& Hold

4 1 Step R ft next to L ft (relatively in place)

& Step on L ft next to L (relatively in place)

2 Step R ft next to L ft (relatively in place)

& Hold

Two kolo pas-de-basques (feet do not cross – each step has equal weight) Pattern: LRL-RLR


Čukaričko Kokonješte (Serbian) Page 2 of 2

Notes by Paul Collins Original Materials From John Filcić and Dick Crum

5-8 Repeat Measures 1-4 to L, reversing footwork Pattern: LR-LR-LR-L(Hold), RLR-LRL

9-16 Repeat Measures 1-8

Part 2 – Twos & Threes


1 1& Run on R ft to R (facing and moving to R)

2& Run L ft across R ft (facing and moving to R)

2 1 Step on R ft slightly to R (relatively in place)

& Step on L ft next to R (relatively in place)

2 Step on R ft slightly to R (relatively in place)

& Hold

3 1 Step on L ft slightly to L (relatively in place)

& Step on R ft next to L (relatively in place)

2 Step on L ft slightly to L (relatively in place)

& Hold

4 1 Step on R ft slightly to R (relatively in place)

& Step on L ft next to R (relatively in place)

2 Step on R ft slightly to R (relatively in place)

& Hold

5-8 Repeat Measures 1-4 to L, reversing footwork


Two low running steps, then three kolo pas-de-basques – (feet do not cross in the "kolo pas-de-basque" – each step has equal weight), then repeat with reverse direction and footwork. Pattern: RL, RLR-LRL-RLR, LR, LRL-RLR-LRL


Erdeljanka (Banat, Vojvodina)

Page 1 of 2

Notes by Paul Collins Materials From John Filcić, Steve Kotansky and Dick Crum

Translation: Transylvanian-like

Source: John Filcić, Steve Kotansky

Music Source: Folk Dancer MH-1003

Positions:

Filcić: Couples, long-ways; the men are in one line facing the women in another line. Partners hold hands across, but below the hips. Kotansky: Couples, face to face, scattered around the dance floor. Both hands joined low and straight across with ptr.

Footwork: “Malo Kolo” step, hop-step-step, ??

Meter:

2/4 or 4/4

Pronunciation: Ehr’-dell-YAHN-kah

Background:

Filcić: This couple dance comes from the Banat region, part of which is in Yugoslavia, and part in Romania, and is done both by the Serbians and Romanians in that region. In being a crossways line dance Romanian influence is seen, but the steps described here are more typical of the kolo. The dance is comprised of patterns and variations based on the kolo steps. Kotansky: This dance is from the Banat region of Serbia and takes its name from the Romanian dance Ardeleana. The second step of the dance begins to approach the syncopated nature of many of the Ardeleana and invartita type of dances popular in the Romanian Banat and Transylvania (in Hungary, called Erdely). Source: Dobrivoje Putnilc, Desanka Djordevid, seminars in former Jugoslavia and Hungary.

PATTERN

Part 1 – Basic Malo Kolo Step


1 1 Hop on L ft moving to R (facing and moving to R)

& Step on R ft to R

2 Step on L ft to R

& Hold

2 1 Step on R ft to R

& Hold

2 Hop on R ft

& Hold Pattern: Hop-Step-Step, Step-Hop or HSS, SH

3-4 Repeat, reversing footwork and direction


Erdeljanka (Banat, Vojvodina)

Page 2 of 2

Notes by Paul Collins Materials From John Filcić, Steve Kotansky and Dick Crum

Part 2 – Hop-Step-Step


1 1 Kotansky – from 1997 Stockton Sullaybus:

Moving to a closed, rounded shoulder-blade to shoulder-blade hold w/partner: Hop on L ft moving CCW to R & Step R to around to R

2 2 Step L around to R

& Hold

3-7 Repeat measures 1-2 six more times

8 1&2& Bounce-Bounce

Repeat Measures 1-8, reversing footwork and direction

Pattern: HSS, HSS, HSS, HSS, HSS, HSS, HSS, Bounce-Bounce

Filcić – from 1953 Stockton Sullaybus: Hop on L ft moving CW to L [awkward, but…]

& Step R to around to L

3 1 Step L around to L

& Hold

2 Step on L ft next to L (relatively in place)

& Hold

3-7 Repeat measures 1-2 six more times

8 1&2& Bounce-Bounce

Repeat Measures 1-8, reversing footwork and direction

Pattern: HSS, HSS, HSS, HSS, HSS, HSS, HSS, Bounce-Bounce

NOTE 1: Filcić goes on to describe several other variations to the dance. However, it is

interesting that the two instructors describe the HSS turn in opposite directions. Filcić is not specific on which foot to start, but the HSS but he describes the turn as CW while Kotansky says CCW starting with a hop on the L. NOTE 2: It probably would not have mattered (to the dancers who did this) which way one turned or which foot one used first as it may have been a matter of style, preference and/or convenience. I’ve not seen many Serbs do this dance for years and when I did, they turned CCW and only did the two variations described here.

NOTE 3: Note the name Erdeljanka (Hungarian Erdelyi means Transylvania) and the similarity of this tune to the Hungarian song Kanásztánc (swineherd’s dance) from Karád (a.k.a. Karádi Kanásztánc).


Eddie Cordray (Dayton, OH)

Eddie has been involved in sound for dance event almost as long as he’s been dancing. Starting in the early 1970’s his parents ran a weekend dance camp “Planina” at least four times a year for over a decade. It was at this primitive and remote dance camp the he got involved in sound production and made friends with Kelvin Buneman. For several years Eddie was the assistant “sound guy.” Some of the events and venues that he assisted with were the annual California Kolo Festival during the years when it was held at UCB’s Hearst Gym, Stanford’s Roble Gym, and at San Jose State; the California Federation’s Statewide festival held at the Fresno convention center, the January festival held at San Jose’s convention center and Cubberley’s Auditorium. After Kelvin “retired” in the 1980’s Eddie continued on his own borrowing Kelvin’s equipment for several years for some of the smaller events notably, a Scandinavian weekend workshop at the Oakland Veteran’s Center and Mendocino Balkan Camp 1987-1989. After moving to Dayton, OH in 1990 and acquiring his own sound system over several years, he now provides sound for the occasional dance event in the Dayton area. The first dance that Eddie ever taught was Rustemul, back in 1976. He was Alix Cordray's teaching assistant on her first USA teaching tour in 1977 and again at Stockton Folk Dance Camp in 1986, teaching Norwegian dances.


FOR A BIRTHDAY

Contemporary folk dance in Hungarian "Ugros" style.

Arranged and introduced by Andor Czompo.

Music by Sebo Ensemble.

Records: Pepita LPX 17482, side B, band 6 or Rounder 5005

Formations: Individual dancers. Hands are on hips.

Ct. 1-2 Touch R heel FW - Step on the R ft in place

3-4 Repeat ct. 1-2 with L ft

5&6 Leap-step-step (QQS) to the R side

7&8 Repeat ct. 5&6 to the L side

9-16 Repeat ct. 1-8

17 Lift R knee FW and hit R thigh with R hand

18 Step on the R ft in place and clap hands together

19 Lift L knee FW and hit L thigh with L hand

20 Step on the L ft in place and clap hands together

21-24 Repeat ct. 17-20 (do a double or triple claps on ct. 22)

25-28 Same as ct. 5-8

29 Close R ft to the L ft

30 Open heels and bend knees

31 Close heels with accent and straighten knees

32 Pause

Repeat the dance from the beginning.

This is only a cue sheet:

Do not reproduce without permission from Andor Czompo.

Copyright 1983 Andor Czompo

Presented by Leslie Hyll or Eddie Cordray (Dayton, Ohio) at the 2013 Door County Folk

Festival (Wisconsin)

Andor Czompo Workshop

Nov. 11-12, 1989

Miami Valley Folk Dancers

MVFD Syllabus Collection – Copyright Miami Valley Folk Dancers 2004


Mihai David (Anaheim, CA)

Mihai David was born in 1946 in Bucureşti (Bucharest), Romania, and began dancing to his uncle's balalaika music. At age eight, Mihai attended the Pioneers Youth Palace where youth interested in dance were schooled. Two years later, he was selected to attend the School of Choreography in Bucharest and continued there for eight years, studying classical ballet, character dance, modern dance, and folk dance. While at the school, he danced with the UTM (The Young Communists) ensemble, directed by Theodor Vasilescu (the UTM considered to be the best amateur ensemble in Romania). Even before his graduation at the age of 17, he was dancing with the Romanian State Folk Ballet Ciocârlia, became one of their lead dancers, and continued touring with the troupe throughout Europe for two years. Mihai resigned from Ciocârlia and joined another professional group, The Music Hall Ensemble, with whom his brother, Alexandru David, was a lead dancer. Two weeks later, Mihai traveled to Paris (leaving his brother behind because Alexandru had associations in the West and the Romanian government was afraid that he would defect). Mihai later toured East Berlin, Germany, and Italy. It was in Italy, in June of 1966, the day before the ensemble's last performance, that he defected to the West. Mihai immigrated to the United States in January of 1967, took various odd jobs to support himself, danced with the Boston Ballet Company, and had his own exhibition group within the Detroit, Michigan, Romanian community. He then moved to California and danced adagio in Las Vegas, Nevada. He was drafted into the U.S. Army from Nevada. While in the service, he danced with the Augusta Ballet Company in Georgia. In 1969, Mihai dropped into The Intersection, a folk dance coffeehouse, where Dick Oakes got him invited to teach Romanian dances and his folk dance teaching career was launched. In 1970, he opened and operated his Gypsy Camp Folk Dance Café in Hollywood, California until its closing in 1976. Mihai taught Romanian dance at the California Kolo Festival in San Francisco in 1972 and the Stockton Folk Dance Camp and Santa Barbara Folk Dance Conference in 1973. He was co-director of the Hawaii and Santa Barbara Folk Dance Symposiums and the Catalina International Dance Festival. Mihai has devoted himself to teaching Romanian folk dance and has introduced many of the most popular Romanian dances being done in the United States, Canada, Australia, and the Orient. His teaching tours have taken him throughout the western hemisphere, the Orient, and Australia. Mihai has conducted several tours throughout the Balkans and the Middle-East. When he is not dancing, he operates his own construction company in southern California. In 2000, Mihai and brother Alexandru were invited to teach in Brazil. On March 13, 2004, The San Antonio College Folk Dance Festival honored Mihai as an individual who has made outstanding contributions in the idiom of international folk dancing. In her introduction of Mihai, Vonnie Brown said, "You have been a very fine ambassador for Romania and the impact you have had on international folk dancing has been very good, indeed. You brought a beauty and excitement to the dance that will never be forgotten. From all of us -- thank you!" Mihai has a daughter, Aubrey, who also is a dancer, actress, and singer. Mihai and his brother Alexandru have produced several recordings of Romanian and Russian dance music that are available at your local folk dance recording outlet or from Mihai himself.


Ardelean (Romanian, Transylvanian)

Page 1 of 2

Original Notes by Paul Collins with the assistance of Mihai David Edited and updated by Paul Collins – DCFF 2012

Translation: Transylvania

Dance Source: Mihai David

Music Source: London LP-SW-99456 (Music from Romania), Mihai David Tape (Romania, Romania)

Positions: “T” Position

Footwork: All patterns begin with a step on the R ft

Meter: 2/4, 1&-2&

Pronunciation: are-dell-eh-yahn

Background: Learned from Mihai David at a special workshop in the late 1960s in Ann Arbor, MI

Steps: Bouncing Step, Long and Short Traveling Steps

PATTERNS

Bounce Step (2-Measures)Measure Count Movement

1 1 Step R ft to R & Hold 2& Bring L ft next to R and bounce twice on heels

2 1 Step L ft to L & Hold 2& Bring R ft next to L and bounce twice on heels Cues: (1) Right-Bounce-Bounce, (2) Left-Bounce-Bounce

Short Traveling Step (4-Measures)

Measure Count Movement 1 1 Step R ft moving to R & Hop on R ft 2 Step on L ft moving fwd and slightly to L & Step R ft across L moving to L

2 1 Step L ft moving to L & Stamp R across L ft 2 Step L ft moving to L & Stamp R across L ft

3 1 Step on L ft stepping slightly back & Hop on L ft moving to the R 2 Step R ft to R & Step L ft across R ft

4 1 Step R ft to R moving to R (run) & Step L ft to R moving to R (run) 2 Step R ft to R Moving to R (run) & Small Jump on both feet Cues: (1) Right-Hop-Step-Step, (2) Left-Stamp-Left-Stamp, (3) Left-Hop-Step-Step, (4)

Run-Run-Run-Jump


Ardelean (Romanian, Transylvanian)

Page 2 of 2

Original Notes by Paul Collins with the assistance of Mihai David Edited and updated by Paul Collins – DCFF 2012

Long Traveling Step (6-Measures) Measure Count Movement

1 1 Step R ft moving to R & Hop on R ft 2 Step on L ft moving fwd and slightly to L & Step R ft across L moving to L


3 1 Step L ft moving to L & Stamp R across L ft 2 Step L ft moving to L & Step R ft behind L ft (grapevine)


5 1 Step on L ft stepping slightly back & Hop on L ft moving to the R 2 Step R ft to R & Step L ft across R ft

6 1 Step R ft to R moving to R (run) & Step L ft to R moving to R (run) 2 Step R ft to R Moving to R (run) & Small Jump on both feet Cues: (1) Right-Hop-Step-Step, (2) Left-Stamp-Left-Stamp, (3) Left-Stamp-Left-Behind,

(4) Left-Stamp-Left-Stamp, (5) Left-Hop-Step-Step, (6) Run-Run-Run-Jump

SEQUENCE OF STEPS

Measure Movement 1-2 1 Bounce Step (R & L) 4-6 1 Short Traveling Step

7-12 1 Long Traveling Step 13-16 1 Short Traveling Step

17-32 Repeat Entire Dance Sequence

33-48 Repeat Entire Dance Sequence

49-50 1 Bounce Step (R & L)

51 1/2 Bounce Step (R only)


BRÂUL LUI IOŞCA

Romanian

PRONUNCIATION: BREWL looee YOHSH-kah

The -ul ending, pronounced "-oo" (colloquial) or "-ool" (more formal usage) is a form of the Romanian definite article, the equivalent of English "the;" hence brîu = "belt," brîul = "the belt."

TRANSLATION: The belt dance of Joseph (Joseph's dance)

SOURCE: Dick Oakes learned this dance from Mihai David who learned it while he was with the Romanian Folk Ballet. A brâu is a belt, but the word is used to describe a class of dances.

BACKGROUND: The brâu was originally named for the way the dancers were linked together by holding each other's belts ("brâu," literally "belt" in Romanian). Today, however, dances in this class also are seen with low handholds or shldr holds. They are typically characterized by their powerful dynamism.

MUSIC: The Lark Romanian Dances (45rpm) MD-3701

FORMATION: Lines of mixed M and W with hands on shldrs of neighbors, free hand may be held out to side as if on another shldr.

METER/RHYTHM: 2/4

STEPS/STYLE: There is a light feeling to all parts of the dance. Fig I and Fig II are danced with the wt mostly on the ball of the ft.

MEAS MOVEMENT DESCRIPTION

INTRODUCTION

None.

I. WALKING R AND L

1 Facing slightly R and moving R in LOD, step R (ct 1); step L across in front of R (ct 2);

2 Step R (ct 1); close L to R without wt, turning to face slightly L (ct 2);

3-4 Repeat action of meas 1-2 to L in RLOD with opp ftwk.

5-8 Repeat action of meas 1-4.

II. RUNNING TWO-STEPS AND CROSS-OVER

1 Facing ctr and bending slightly at waist, step R fwd (ct 1); step L next to R (ct &); step R fwd (ct 2); pause (ct &);

2 Repeat action of meas 1 fwd with opp ftwk.

3

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Still facing ctr, step R far across in front of L, bending L knee (ct 1); step L bwd (ct 2).

4 Step R bwd (ct 1); step L next to R (ct &); step R bwd (ct 2); pause (ct &).

5-8 Repeat action of meas 1-4 fwd with opp ftwk


III. LEAPS AND THREES-WITH-STAMPS

1 Facing to L, leap R across in front of L (ct 1); leap L back to place, turning to face R (ct 2);

2 Facing R and moving in LOD, step R (ct 1); step L (ct &); step R (ct 2); stamp L lightly next to R without wt (ct &);

3 Continuing in LOD, step L (ct 1); step R (ct &); step L (ct 2); stamp R lightly next to L without wt (ct &);

4 Continuing in LOD, step R (ct 1); step L (ct &); step R (ct 2); pause (ct &).

5-8 Repeat action of meas 1-4 to L in RLOD with opp ftwk.


Repeat entire dance from beg.

Copyright © 2012 by Dick Oakes

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Joc Ţiganesc de Doi (Romania)

Pronunciation: ZHOHK tsee-gahn-ESK day DOY Source: Joc Ţiganesc de Doi, literally "Romani dance for two", comes from the Bucharest region. It was learned by Mihai David during years 1963-1965 while dancing with the Romanian State Folk Dance Ensemble. Music: "The Lark" FLDR Side 2, Band 3 Meter: 4/4 Formation: Open Circle Style: Definite bounce in the knee with each step. Meas Count Pattern

Figure 1 - in & out of center, face center, hands held below shoulder level, elbows bent 1 1 Step R across in front of L 2 Touch L to left side 3 Step L, crossing in front of R 4 Touch R to right side 2 REPEAT Measure 1 3 1 L heel & Touch R toe, crossing behind L 2 L heel & Touch R toe diag. backward right 3 L heel 4 Touch flat R forward, knee straight 5-6 REPEAT Measures 1-2, backing out of circle, crossing behind rather than in front 7-8 REPEAT Measures 3-4 Figure 2 - Travel LOD, arms come down 1 1 Step R & Stamp L, no weight 2 R heel & Stamp L, no weight 4 Step R & Stamp L, no weight 2 REVERSE Measure 1, Figure 2 3 REPEAT Measure 1, Figure 2 4 1&2& REPEAT Measure 1, Figure 2, counts 1&2&, 3 Step R to right 4 Close L to R, stamping with weight 5-8 REPEAT Measures 1-4, Figure 2 To finish dance, REPEAT Figures 1 & 2. Presented by Mihai David


Salajan Romania

Presented by Alexandru and Mihai David.

Source: Salajan comes from Salaj, Bihor. Alexandru learned the dance from Ion Petcu,

former soloist of the Romanian Rhapsody Ensemble, now chairman of folk dance

teaching at the Popular School of Arts in Bucharest.

Formation: Couples, semi-circle or line

Men face outside, women face inside

Handhold: Shoulder/ribcage

Music: Gypsy Camp, Vol IV, side 2, band 6, 2/4 syncopated

Measure: Description:

Figure 1:

(Written for man. Woman does opposite footwork - more emphasis on plie.)

1 Lift on L (ct1), step R to R (ct&), close L to R (ct2), step R to R plie (ct&)

2 Hold (ct1), step L in place (ct &) , step R in place plie (ct2)

3-4 Reverse measures 1-2

5-16 Repeat measures 1-4 figure 1

Figure 2:

Woman:

1 Hop on R (ct1), step L to L (ct&), close R to L (ct2), step L to L plie (ct&)

2 Hold (ct1), close R to L (ct&), step L to L (ct2), step R in place (ct&)

3 Step L (ct1), step R to R (ct &), close L to R (ct2), step R to R plie (ct&)

4 Hold (ct1), close L to R (ct&), step R to R (ct2), step L in place (ct&)


Man:

1 Hold on L (ct1), step R to R (ct&), close L to R (ct2), step R plie (ct&)

2 Brush L (ct1), step L (ct&), step R plie (ct2), brush L (ct&)

3-4 Reverse measures 1-2 figure 2


Figure 3:

Woman: jump, knee bend in place, down, up, down, up, down

1 Jump down (ct1), up on balls of ft (ct2), plie (ct&)

2 Hold (ct1), up on balls of ft (ct&), plie (ct2)


Man:

1 Circle R leg out to side close to L (ct1), circle L leg out to side close to R (ct & of 2)

2 Heels apart (ct1), close together (ct&), heels apart (ct2), close together (ct&)

3 Jump apart (ct1), click in air (ct&), land together (ct2), touch R ball of foot to R

(ct&)

4 Jump clicking in air (ct1), land together (ct&), touch R ball of foot to R (ct2)


Dance notes by Maria Reisch


SIRBA DRACILOR Muntenia, Romania This dance was learned by Alexandru David in 1987 from Ion Petcu, dance instructor at the Popular School of Arts in Bucharest. Music: Village Dances of Romania Vol. 5 CD Formation: Open circle Meter: 2/4 Pattern

Meas No introduction. Dance: 1. Step L across your R (ct. 1) travelling diagonally LOD, Step L (ct. 2), repeat Ct. 1 with L foot (Ct. 1) and touch with R foot in place (Ct. 2). Repeat measure one in reverse with opposite footwork. Repeat the entire measure from beginning, three more times. 2. First part: Travelling to right side, again diagonally inside with L across your R (Ct. 1), Step R same direction behind your L (Ct. &). Repeat Ct 1 and Ct. & three more times. Second part: Walk straight out of center with R (Ct. 1), step back with L (Ct 2) continue with RLR touch with L on (Cts 1&2&) Repeat measure 2, three more times. 3. Travelling towards center with L diagonally to Left (Ct. 1), step R behind L (Ct. &), step L forward (Ct.2). Repeat Cts. 1 & 2 to right with opposite footwork and opposite direction. Repeat all 4 Cts. this time travelling straight forward. Repeat second part of measure 2 starting back with L foot instead of R. Repeat entire measure three. Repeat entire dance from beginning.


Trei Pazeste de la Goicea Mare (Romanian)

Dance from Oltenia, Romania. Learned in Romania from Theodor Vasilescu by Sunni Bloland. Pronunciation: tray pah-ZESH-tay day la GOY-chuh MAH-ray Formation: Short lines of men & women. Hold: Hands down at sides in "V" position. Music: NOROC 1074 (7-inch 33rpm vinyl recording) Taught to the music Ana-i da si Dana-i da (at DCFF 2013) Meas Count Pattern I. INTRODUCTION 1 1 Facing & moving diag right, step on R. 2 Step on L. 2 1&2 In place, one two-step R L R. 3-4 REPEAT meas 1-2 to left, reversing ftwork. II. THE DANCE 5 1 Touch R heel diag fwd right. 2 Draw R ft back to L lower calf. 6 REPEAT meas 5. 7 Extend R heel diag fwd. 8 1&2 Hold this position. & Quickly draw the heel back in preparation to move fwd and simultaneously lift on L ft. 9 1 Moving diag fwd to right, take wt on R heel. & Close L to R. 2& REPEAT cts 1& of meas 9. 10 1& REPEAT cts 1& of meas 9. 2 Step heavily on R. 11-12 REPEAT meas 9-10 but moving diag fwd to L and reversing ftwork. 13 1 Hop lightly on L as R ft arcs in the air from back to front. & Move bkwd diag L click R to L. 2 Step on L. & Click R heel to L ft. 14 1 Continue with one more step L. & Click R to L. 2 Step L in place. & Stamp R. 15 1 Moving directly fwd step on R. & Stamp L. 2 Step L. & Stamp R. 16 1 Moving fwd, step R. 2 Chug-hop ("chop") backwards, turning slightly to left on the hop. 17 1 Facing slightly to L and moving away from ctr, step L. & Click R. 2 Step L. & Click R. 18 1 Continuing out from the center, step L. & Click R. 2 Step on L. 19-32 REPEAT meas 5-18 ("The Dance"). 1-18 REPEAT meas 1-18 ("Intro" and "The Dance") Presented by Sunni Bloland at Nineteenth Annual San Francisco Kolo Festival 1970


George Davis (Chicago, IL) George, editor of the short-lived journal, Folktravesties, has been dancing since the days of the Great Society in the bright lights of Chicago. Learning dances from all of the legends: Crum, Palfi, David, Hebert, Moreau, Koenig, Filcich, Page, Czompo, Wixman, Ozkok, Drury, Mr. J. and Greene, he has managed to be known to none of them. A veteran of numerous performances at street fairs, old people's homes, testimonial dinners (before the belly dancers), and benefits for various handicapped groups; he has danced for international, Turkish, Israeli, Romanian, Latvian and Hungarian folklore groups. Dance research has taken George to exotic locales such as Milan's Lounge, the Rafters, Vi & Coy's and Tulipanos Lada. George is also a co-founder of the Franz Josef Verein, a central European cultural appreciation group.


KELERUJ

Vojvodina

Keleruj (KEH-leh-rooy) was learned by Dick Crum in Yugoslavia

MUSIC: Folkraft 1539, Kolo Festival 808, or Kolo Festival LP-1 “S’one Strane Dunava”

FORMATION: Couples in shoulder-waist position at random about the floor.

MUSIC 2/4 MOVEMENT DESCRIPTION

INTRODUCTION - None

PART I (Steps described for M; W uses opposite footwork)

1 Step R to R (ct 1); Hop R in place (ct 2); Close L to R, taking weight (ct 2&).

2 In place, step R (ct 1), step L (ct 2), step R (ct 2&).

3-4 Repeat action of Measures 1-2 with opposite footwork

5-16 Repeat action of Measures 1-4 three more times

Variation for M - In Measure 1, ct 2&, instead of “close L to R”, M may place L ft in back

of R ft and also embellish with ankle twists)

PART II (M and W use same footwork during Part II)

1 With R hips adjacent, revolving CW, step R fwd (accented) (ct 1); Hop on R, L extended

and slightly lifted (ct 2); step L in place (ct 2&).

2-8 Repeat action of Measure 1, Part II, seven more times.

9-16 Repeat action of Measures 1-8 using the same position and footwork, but reversing

direction (continue facing CW, but move CCW)

Variation for Measure 8 & 16: Stamp R, L instead of described step to facilitate change

of direction

Repeat entire dance from the beginning until music ends.

Presented by George Davis - DCFF 2013


ROKOKO KOLO

Subotice – Vojvodina

Rokoko Kolo (ROH-koh-koh KOH-loh) is danced by the Bunjevac people in the neighborhood of Subotice

(Subotica), a city in the northern part of Vojvodina in northern Serbia. (See Figure 1) Rokoko is a

Croatian dance with Hungarian influences. On their boots, the men wear spurs that jingle during the

dance.

MUSIC: Folk Dancer (45 rpm) MH 1015-A

FORMATION: Closed or open circle of mixed M and W with little fingers linked with neighbors and held

at shoulder level in “W” position. (Other versions have hands held low in “V” position or

Men with hands on shoulders).

STEPS/STYLE: HOP: This is actually a low hop (or “lift”) where the ball of the foot does not leave the

floor. Steps are small and crisp.


INTRODUCTION - None

THE DANCE

1 Step R swd (ct 1); step L next to R (ct&); step R swd (ct 2); step L next to R (ct&);

2 Step R swd (ct 1); step L next to R (ct&); step R swd (ct 2); low hop R, extending L over

in front of R (ct &);

3 M: Step L to R of R ft (ct 1); low hop L, clicking heels together (ct &); step R next to L (ct

2); low hop R, clicking heels together;

4-7 Step L next to R (ct 1); low hop L, clicking heels together (ct &); and so forth for a total of

ten step-hops.

(3-7) W: Dance same steps as M except that they do not click heels and low hops are not as

strong as M;

8 Stamp L,R,L in place, taking weight on each stamp (cts 1,&,2).



Figure 1 - Vojvodina


RUMUNJSKO KOLO

Serbia

Rumunjsko Kolo (Ru-MUN-skoh KOH-loh), which means “Romanian Dance”, was brought to the US by

Serbian refugees. There are several regional variations in the travel step. A Midwest version is

presented here.

MUSIC: Folk Dancer MH 1010

FORMATION: Open circle, hands held low, leader on the R.


INTRODUCTION - None

PART I (Travel)

1 Facing L, move backwards (CCW) R, L, R, Hop R turning to face CCW.

2 Moving forwards step L, R, L, hop L, turning to face CW.

3-4 Repeat Measures 1-2, turning to face center after Measure 4.

PART II (Rocking Step)

1 Cross R ft over L ft displacing L ft; Step in place on L ft.

2 Step on R ft, hop R.

3 Cross L ft over R ft displacing R ft; Step in place on R ft.

4 Step on L ft, hop L .

5 Cross R ft over L ft displacing L ft; Step in place on L ft.

6 Step on R ft, hop R.

7-8 Stamp L ft in front of R three times.

9-16 Repeat Measures 1-8, beginning with crossing L over R.




SRPKINJA

Vojvodina

Srpkinja (SRRP-kee-nyah) is a city dance created in the late 1800’s in Serbia, a product of the

nationalistic feelings of the times. It was an attempt to introduce the native Serbian folk element into the

urban ballrooms of the day, alongside the western quadrilles, mazurkas, and other imported dances. It

was very popular and even seeped down into the rural areas, where it may be seen even today in a lively

peasant form. The old form is done in a quadrille or set of four couples. The peasant form presented here

is a big circle of couples.

MUSIC: Folk Dancer MH 1008

FORMATION: Couples in a ring, lady to the LEFT of the man, hands are held at shoulder height in the

formal version, held low in the peasant version.


INTRODUCTION - None

PART I (Vizit – done twice)

1-2 Moving to R, take 3 steps, R,L,R, then close L to R foot without weight.

3-4 Moving to L, take 3 steps, L,R,L, then close R to L foot without weight.

5-6 Moving toward center take 3 steps, R,L,R, close L to R without weight.

7-8 Moving backwards take 3 steps, L,R,L, close R to L without weight.

PART II (Balans – done twice)

1-2 Balance R & L. Step to R on R, close L to R; step to L on L, close R to L.

3-4 Take 3 steps to R, R,L,R; close L to R without weight

5-6 Balance L & R. Step to L on L, close R to L; step to R on R, close L to R.

7-8 Take 3 steps to L, L,R,L; close R to L without weight

PART III (Reverans I Koket – done twice)

1-4 Woman steps in front of Man, curtsies, then backs into position on Man’s Right.

5-8 Man steps in front of Woman, bows, then backs into position on Woman’s Right.

9-10 Rejoin hands and take side steps, R,L,R and point L foot forward.

11-12 Take side steps, L,R,L and point R foot forward


Repeat entire dance from the beginning until music ends



Dan Garvin (Vadnais Heights, MN) Dan has taught at the Door County Folk Festival, Chicagoland Spring Fling and other dance groups and festivals around the country. He is a leader at Tapestry - the Twin-Cities locally supported and organized Ethnic Dance Center and one of the organizers of SNOPA! - a Twin-Cities Winter Dance Weekend. He was on the dance committee of the folk dance group at Columbia University at Earle Hall in New York City. He danced in Madison Folk Dance Ensemble when he attended the University of Wisconsin in Madison. Despite being from St Paul [area], he is a member of Tri Bratovchedki, a Balkan singing group from Madison, Wisconsin.


Mary Garvin (Saint Paul, MN)

Mary has taught at the Door County Folk Festival, Chicagoland Spring Fling, Mountain Playshop and other dance groups and festivals around the country. She is a leader at Tapestry Folkdance Center in the Twin-Cities and is one of the organizers of SNOPA! - a Twin-Cities Winter Dance Weekend. She was on the Earl Hall Folk Dance Circle committee at Columbia University in New York City. She was a member of modern & folk dance repertory companies at the University of Oregon, was a college dance Instructor and was a performer in the George Tomov Yugoslav Dance Ensemble. A proud feather in her cap is having been asked by Bulgarians to teach them Bulgarian dances. Mary has become addicted to Argentine tango in the last several years but stays loyal to her international dance roots.


Ajd' Za Milim, Ajd' Za Dragim

(Croatian/Slavonian)

Page 1 of 1

Original Notes by Paul Collins Original Materials From Dennis Boxell, Ethel Raim, Martin Koenig

Translation: When you love someone… (see translation below)

Source: Dennis Boxell

Music Source: Kolo Festival LP-7221 – 1970s

Positions: Circle or line, hands joined and held down front chain position.

Footwork: Walking

Meter:

2/4

Pronunciation: n/a

Background:

This dance was introduced by Dennis Boxell to the International Folk Dance Community in the 1970s and is from the village of Gundinci in Eastern Slavonia, Croatia. Songs and dances from this village were also noted by Ethel Raim and Martin Koenig. Dennis Boxell included many of these songs and dances on the Festival LP he introduced in the 1970s. Ajd’ za milim is the dance that precedes Drhtavac and (unfortunately) repeats only a few times. Full text of the verses are as follows:

// Ajd za milim, ajd za dragim, same noge skaču // [each verse repeats twice]

// Za nemilim, za nedragim, jedva se prilaču //

// Cura laže, cura laže, da ju boli glava //

// Da istera, da istera, lolu iz kućara //

// Mene moja, mene moja, mama nagovara //

// Da na mignem, da na mignem, okom na bećara // When you love someone, your legs move quickly after him. But when you do not, they will hardly move at all…

PATTERN

Basic Step (Walking Step)


1 1& Step on R ft to R (facing and moving to R)

2& Step L ft across R ft (facing and moving to R)

2 1& Step on R ft to R

2& Close L ft to R ft (no weight)

3 1& Step on L ft to L

2& Step R ft across L ft (facing and moving to L)

4 1& Step on L ft to L

5-8

2& Close R ft to L ft (no weight) Same footwork, but moving into the center and back Repeat to end of Song

Cues: Walk-Walk (to R), (2) Step-Close, (3) Walk-Walk (to L), (4) Step-Close Walk-Walk (Fwd), (2) Step-Close, (3) Walk-Walk (Bkwd), (4) Step-Close


Bela Rada

(Serbia)

This dance was presented in America by Dick Crum.

Recording: Folk Dancer (45 rpm) MH 45-3023

Formation: Circle or open circle of mixed M and W with hands joined in V pos

Meter: 2/4.

Meas Pattern

Part I

1 Facing ctr, step R to R (ct 1); step L behind R (ct &); step R to R (ct 2); step L

behind R (ct &).

2 Step-hop on R in place, bringing L around behind R (cts 1, &)

Step-hop n L in place, bringing R around behind L (cts 2, &).

3 Step-hop on R, extending L ft fwd a few inches (cts 1, &)

Step on L in place, extending R ft fwd a few inches (ct 2)

Step R in place, extending L ft fwd a few inches (ct &).

4 Step-hop on L in place, bringing R around behind L (cts 1, &)

Step-hop on R extending L ft fwd a few inches (cts 2, &).

5 Step in place, extending R ft fwd a few inches (ct 1)

Step R in place, extending L ft fwd a few inches (ct &)

Bring feet together and lower heels with a heavy accent (ct 2).

Presented at DCFF 2013 by Mary Garvin


Drhtavac

(Slavonia – East Croatia)

From the village of Gundinci in Slavonia. The name is derived from the verb “drhtati” (to shake,

tremble).

Recording: “Kad Zaigra, Pusta Slavonija!” Side A, Band 1.

Formation: Closed circle of dancers, no partners, hands joined with second neighbor on

each side in an inside basket.

Meter: 2/4

Meas Pattern

1 Facing center, feet together, bounce once on both heels in place (ct 1).

Do two quick bounces on both heels (cts 2, &)

2 Repeat measure 1.

3 Bounce on R heel only, extending L to L near floor (cts 1); stepping on L about

10” apart from R, so two quick bounces on both heels (cts 2, &)

4 Bounce on L heel only (ct 1); closing L to L, do two quick bounces on both heels

(cts 2, &)

Note: Drhtavac is a 3 measure dance sequence. In the above description

measure 1 is only used to begin the dance. The actual dance sequence consists

of measures 2, 3, 4.



Makazice

(Serbia)

This dance was presented in America by Dick Crum.

Recording: Folk Dancer (45 rpm) MH 45-3023

Formation: Circle or open circle of mixed M and W with hands joined in V pos

Meter: 2/4.

Meas Pattern

Part I

1 Facing ctr, step R to R (ct 1); step L behind R (ct &); step R to R (ct 2); step L

behind R (ct &).

2 Step R to R (ct 1); step L behind R (ct &); step R to R (ct 2); small hop or bounce

on R (ct &).

3-4 Repeat action of meas 1-2 to the L with opp ftwk.

Part II

1 Step R fwd (ct 1); cross L over R (wt in both feet).

2 Chug back, keeping wt on both feet (ct 1); uncross and space feet apart (ct &);

bring feet together, lowering heels.

3-4 Repeat meas 1-2.



Pagaruša

(Slavonia – East Croatia)

This dance was presented in America by Dennis Boxell.

Recording: “Kad Zaigra, Pusta Slavonija!” Side 1, Band 2.

Formation: Closed circle of dancers, no partners, hands joined with second neighbor on

each side in an inside basket.

Meter: 2/4

Meas Ct. Pattern

Part I

1 1 Step (fall) onto L in place (bending knees).

& Close R to L while rising to balls of both feet (knees straight).

2 With feet parallel and together, land forcefully on both heels (knees straight).

& Repeat ct. 2 (bounce).

2 1 Step (fall) onto R in place (bending knees).

& Step to L while rising to balls of both feet (knees straight).

2 With feet parallel and separated 8-10 inches, land forcefully on both heels (knees

straight).

& Repeat ct. 2 (bounce).

3-8 Repeat measures 1 & 2 three times.

Part II

1 Repeat measure 1 of Part I.

2 1 Step (fall) onto both feet in place (straight knees).

& Rise onto balls of both feet in place (straight knees).

2 Land forcefully on both heels as in Part A (knees straight).

& Repeat ct 2 (bounce).

3 Repeat measure 2.

4 Repeat measure 2 of Part I.

Repeat entire dance from beginning until the end of the music.



Record: KF-?221

(SLAVONIA CROATIA

It ... 4 A I I .. •-t

A E ~r

J rJ J n J .rJ J .nFacin~center, Bounce on R heel Bounce on L heelstep s de ward only, extending only (ct 1).L on Lft (ct 1). Lft sideward L

near floor (ct 1). Sam e as

Clos1n~ Rft to Ut, Two quick bounces Closin~ Rft to Ut, measure 2.

two qu ck bounces on both hee ls, two qu ck bounceson both heels feet Sli\htly apart on both heels(cts 2, 2&). (cts 2, &). (cts 2, 2&).

\ ,.-

~ CIRCLE DANCE

--.--_.---

Note- The above is a 2 measure dance sequence- ~However, to begin the dance a step sidewardL is done in place. of a L heel bounce.

£ ~?

fl. 4- .. ITf •.. L

- .u E S1 £ ~?

J .n .J r1 .J .r"j J rJ-_. --_.

Boun ce on L heel Feet together, Bounce on R heelonly (ct 1). bounce on both only, extending

heels in place Lft side ward L

Closina Rft to Lft,(ct 1). J:lear floor (ct 1).

Same astwo qUIck bounces Two quick bounces measure 2. Two quick bounceson both heels on both heels on both heels,(cts 2, 2&). (cts 2, 2&). - feet slightly apart

(cts 2, 2&)•

.j

(

'EJ PARGARU~A RQPlLA PARGARA.'£1 NE STALO JOJ ZITA IZ HAMBARA.

.'EJ PARGAR NA PARGAR,NEK SE PARGAR PARA.MENE MAM~ RODILA.

- ZA TEBE BECARA.

D~nnis Boxell Weekend, Marcn 2l~22, 19~1Miami Valley Folk Dancers Page 25


Petrunino Horo

(Bulgaria)

Source: Barbara Dintcheff, Buffalo, NY. Spring 1972.

Recording: XOPO #2 (Petrunino Pile Shareno) or Balkan Arts: Bulgarski Narodni Pesni i Hora

Rhythm: 12/16 meter ♪·♪ ♪ ♪ ♪· (dance count: 1 2 3 4 5)

Formation: Mixed line with belt hold

Meas. Pattern

I. BASIC

1 Facing slightly LOD, lift R crossing in front of L ankle (ct 1); with small running steps, step R (ct

2); step L (ct 3); step R (ct 4); step L (ct 5).

2 “Fall” on R extending L low in front of right (ct 1); traveling RLOD step L to L (ct 2); step R

behind L (ct 3); step L to L (ct 4); step R behind L (ct 5).

3 Facing center hop on R (ct 1); step on L (ct &); hop on L (ct 2); step on R (ct 3); hop on R (ct 4);

step on L (ct 5).

II. TOE-HEEL – PRSTI PETA

1 Repeat meas. 1, Part 1

2 Leap on R at same time touching floor w/L toe next to R (ct 1); tough L heel to floor next to R (ct

2); hold (ct 3); travelling RLOD step L to L (ct 4); step R behind L (ct 5).

3 Repeat meas. 2, Part II with opp. ftwk and direction.

III. SWING STEP – OKRENI

1 Repeat meas. 1 Part I.

2 Swinging R ft in low arc from R to L over counts 1 – 4, hop on L (ct 1); hop on L (ct 2); hold (ct

3); hop on L (ct 4); step R in front of L ending facing L diag. (ct 5).

3 Repeat meas. 2, Part III with opp. ftwk and direction.

IV. TWIST STEP


2 Leap onto R to face L diag., L ft behind R ankle (ct 1); hop on R (ct 2); hold (ct 3); hop on R (ct

4); stamp with L ft [no weight] (ct 5). (Use the hops on cts 2 and 4 to turn to face R diag.)

3 Repeat meas 2, Part IV with opp. ftwk and direction.


Petrunino Horo (page 2)

V. SLAP STEP – UDARI


2 Leap on R (ct 1); slap L ft on floor to front (ct 2) hold (ct 3); traveling RLOD step L on L (ct 4);

step R behind L (ct 5).

3 Repeat meas. 2, Part V with opp. ftwk and direction

NOTE: The leader calls the steps. There is no set sequence.

Description by Mary Garvin



Carol Johnson (Big Bend, WI)

Carol and her husband Forrest have been folk dance leaders and teachers of the Tuesday Night recreational folk dance group in Milwaukee (now back at Hart Park in Wauwautosa) for many years and through many changes of location. They originally met at the University of Minnesota in Minneapolis, fell in love and lived happily ever after... Then they moved to the Milwaukee area! Before living in Big Bend, they made brief stops in Ann Arbor, Michigan, the Grand Canyon, Shenandoah National Park (where Forrest worked as a Park Ranger no less) and back in Minneapolis. Recently, they have been recruited to teach a folk dance class at University of Wisconsin-Milwaukee. Carol spent 33 years on the "hospital scene" as a Medical Technologist (working with bodily fluids!) before retiring. She has also sweated (talk about bodily fluids!) for over 20 years as a dance aerobics instructor and has recently turned that (the aerobics part) into a business.


Forrest Johnson (Big Bend, WI)

Forrest and his wife Carol have been folk dance leaders and teachers of the Tuesday Night recreational folk dance group in Milwaukee (now back at Hart Park in Wauwautosa) for many years and through many changes of location. They originally met at the University of Minnesota in Minneapolis, fell in love and lived happily ever after... Then they moved to the Milwaukee area! Before living in Big Bend, they made brief stops in Ann Arbor, Michigan, the Grand Canyon, Shenandoah National Park (where Forrest worked as a Park Ranger no less) and back in Minneapolis. Recently, they have been recruited to teach a folk dance class at University of Wisconsin-Milwaukee. Forrest has done a great job of arranging and coordinating the folkdance parties at DCFF. He compiles and edits Milwaukee's Folkdance Flyer and takes a lot of abuse from Tut. Since his "formal" retirement from the Milwaukee Public Schools, Forrest has actually been employed on a part-time basis at the Milwaukee Public Schools' Potters Forest doing the many duties of a forest ranger.


Rick King (Southfield, MI) Rick first danced at the Detroit Folkdance Club in 1973 for about 2 months but didn't dance regularly until 1978 at Alex Cushnier's group at Wayne State University. In 1979 joined the Detroit Folk Dance Club. In 1984, he took a hiatus from dancing and became active again in 1989, dancing 2-3 nights per week. In 1990, he began teaching folk dance classes in Huntington Woods and Southfield, MI and promoting folk dancing in the area, organizing dance workshops featuring local Chaldean and Lebanese ethnic groups. In 1995 he started a monthly dance group on Suns that later moved to alternate Sats in Ferndale. That year he also took a "folk dance" trip to Europe, Bulgaria and the Koprivshtitsa festival. In 1996, Rick became leader of what had formerly been the Wayne State group and moved it to the Ferndale location, dancing two Fris a month, while continuing the monthly Sat group. Eventually the two groups merged into Fris, meeting weekly. At the same time, Rick became the leader for the weekly Monday teaching nights. Rick's music collection goes beyond the basic folk dance "repertoire" recordings and contains more current versions, especially from the Balkans and the Middle East. His loves doing simpler dances to alternative music that has an "ethnic" feel. Rick is also an avid bird watcher.


Dance notes © Rick King

Bufsko

A popular dance with Macedonians in the Detroit and Windsor area. Rhythm: SQQSQ The meter for this can vary. It is often approximately 17/16 (10/16+7/16), with pulses parceled out like 4-3-3 + 4-3 to form the dancer beats. Or, l6/16 (9/16+7/16), with dancer's beats 4-2-3 + 4+3. You can also find 15/16: 3-2-3 + 4-3 Formation: line, arms in “W” position, leader on the right. Begin with weight on L

Meas. Dancer

beat Facing Action

S facing center lift on L

Q bounce on L

Q step on R to R to begin traveling in LOD

S traveling LOD, step on L behind R

1

Q turning to R of ctr step forward on R

S step forward on L

Q small bounce on L

Q step forward on R

S step on L across in front of R

2

Q turn to face center step on R in place

S facing center lift on R

Q bounce on R

Q moving slightly back, step back on L

S step back on R (or cross in front of L)

3

Q step on L in place

There are innumerable variations. A few of them are: Turns: single or double CW turns during meas. 1 & 2. “Bloop-bloops”, in meas. 3:

S facing center moving slightly back, two quick steps: L and R


Q Pause

3

S step back on R (or cross in front of L)


Dance notes © Rick King

S facing center moving slightly back, two quick steps: L and R

Q step on L in place

A variation on this is to make a counterclockwise turn during the complete measure. Arm raise during meas. 3:

S facing center lift on R

Q bounce on R


S (leader can turn to face down the line)

With straight leg, touch R behind, while simultaneously raising straight arms up and forward a little.

3

Q hold

Leader pairs off with second dancer, meas. 2&3:

S begin a CCW turn to L step toward center on L

Q continuing turn small bounce on L

Q continuing turn step forward on R

S continuing turn step forward on L, dropping hands

2

Q continuing turn step forward on R

S continuing turn two quick steps: L and R

Q continuing turn step forward on L, joining R hand with second dancer's R hand

Q hold

S completing turn, facing R of center

step forward on R

3

Q step behind R on L

At the end, both dancers are facing R of center, The first two dancers can continue dancing in this way as long as desired. The leader can return to the lead by doing the basic dance with larger steps to move ahead of the second dancer, dropping hands and making a clockwise turn during meas. 1&2, then rejoining hands and continuing with basic. As Ricky Holden remarked: “This dance is worthy of study at every level”.


6/16/2013 Dance notes © Rick King

Tring smajles

Albanian. The recording is by Nikollë Nikprelaj. Meter: 12/8 Rhythm: SSQSSQS, or 2-2-1-2-2-1-2, counted 1,2,&,3,4,&,5 Formation: line. Face R of center with arms in W position and weight on L. Meas. 1 Lift on L(ct.1); step forward in LOD on R(ct.2); bounce on R(ct.&); step L(ct.3);

step R(ct.4); bounce on R(ct.&); step L(ct.5)

2 Repeat cts.1,2,&,3,4 of meas. 1; step L across in front of R(ct.&); step R in place(ct.5)

3 Turning to face center, lift on R(ct.1); step L in place(ct.2); turning slightly L of center, bounce on L(ct.&); step R in front of L(ct.3); step L to L(ct.4); step R across in front of L(ct.&); step L in place, turning to face R of center(ct.5)


Michael Kuharski (Madison, WI)

Michael K, the perpetrator of Istanbul Bar, started folk dancing in Madison in 1969 & has been leading & teaching in that community ever since. He speaks Serbo-Croatian, Bulgarian, some Macedonian, a little Romanian, less Albanian, & a smattering of “MwaukeeTalk”. He has made 12 trips to the Balkans and regular journeys to Milwaukee to study the folklore, language and culture of the people (particularly Kosovo Albanians, Macedonians, Bulgarians, & Wauwatosans) as well as to collect dances, music, instruments, costumes, friends, red scarves, & anecdotes. Michael is Artistic Director of Ensemble Narodno, the main man behind Folk Ball, a June Camp organizer, & adds energy almost anywhere. He teaches weekly at Madison Folkdance Unlimited, annually at Door County Folk Festival, and elsewhere upon invitation. Michael plays accordion, lugs a tupan around, & transcribes folk songs by the score. Beware of his edited versions of favorite folkdance recordings and try to catch him sitting down!


RatevkaRatevkaRatevkaRatevka ( Eastern Macedonia )

Pronunciation: RAH - tef - kah Background: from the village of Ratevo, near the town of Berovo. Recordings: Folkraft LP-25 cut B-2 (village-style kaval & tupan) Folkdancer MH 45-3040 (nice long piece for dancing) Jugoton LSY-61392 cut 2-4 (Pece's version - short) RTM'93 Folklorni Biseri ot Pirinska Mak.(tape) A-8 "Ranilo mome" Nevofoon 15006 Voklsdansen Uit Macedonie cut 2-13 Meter: 7/16 = 3 + 2 + 2 = SLOW-quick-quick = Sqq Formation: Lines Hold: Belt hold. Left over Right. MEAS CT PATTERN Facing slightly & moving right, quick "grace-note" hop on L 1 S Step forward (LOD) on R. qq Step forward (LOD) on L. 2 S Step forward (LOD) on R. q Step forward (LOD) on L. q Step forward (LOD) on R. 3 S Step forward (LOD) on L, bending knee emphatically. q Turning to face center, step sideward right on R. q Cross & step on L in back of R. 4 S Step sideward right on R. q Cross & step on L in front of R. q Step back on R in place. 5 S Step on L in place. q Hop on L, swinging R around in back. q Cross & step on R in back of L. 6 S Step sideward left on L. qq Hop on L, swinging R around in back. 7 S Cross & step on R in back of L. q Cross & step on L in back of R. q Close & step on R beside L. 8 S Step forward on L. qq Hop on L, swinging R foot across in front. Presented by Michael Kuharski 2013 Door County Folk Festival


SVORNATO HOROSVORNATO HOROSVORNATO HOROSVORNATO HORO (Rhodopes region, Bulgaria)

Pronounced: SFOHR-nah-toh

Background: "Svornato" means "the direction-changing one". The dance is

unusual for Rhodopes both in rhythm and in being accompanied by the region's

large, resonant bagpipe, the kaba gajda. Most Rhodopes dances are done to songs, as this one sometimes is. Michael Kuharski learned these figures from Petur Petrov. The Bulgarian calls are not claimed to be ethnic practice.

Recordings: There are lots of Svornato recordings. Some have a mushy beat,

some include oddball phrases, some are too short. I finally made my own by custom-editing the "Svornato-Pajdushko" medley on Ethel Raim's "Village Music of Bulgaria" album (Nonesuch H-72034).

Formation: Open circle, mixed line, leader at right end.

Hold: Hands held down.

Rhythm: 2+2+2+3 = quick-quick-quick-SLOW = q-q-q-S = 1 measure.

Phrasing: Both music & dance are uniformly in phrases of four measures.

Styling & Mechanics: Carriage is erect & posture firm, weight carried back a

bit so that steps are taken on the whole foot. Knees are slightly bent throughout with knee-flex contributing more of the softly bouncing style & heel-bounce rather less. There is always a foot on the ground.

FIGURE I. ZIGZAG "NAPRED-NAZAD"

meas ct action 1 q Step R diag fwd right. q Step L across in front of R. q Step R diag fwd right. S Close L beside R without weight. 2 q Step L diag fwd left. q Step R across in front of L. q Step L diag fwd left. S Close R beside L without weight. 3-4 [Repeat meas 1-2] 5 q Step R diag bkwd right. q Step L across in back of R. q Step R diag bkwd right. S Close L beside R without weight. 6 q Step L diag bkwd left. q Step R across in back of L. q Step L diag bkwd left. S Close R beside L without weight. 7-8 [Repeat meas 5-6]

FIGURE II. CIRCLE RIGHT "NAOKOLO" [slow run & bounces]

meas ct action 1 Facing & moving right (LOD): q Step R fwd around the circle. q Step L fwd around the circle. q Step R fwd around the circle. S Step L fwd around the circle. 2 Facing center: q Close R beside L, down-bouncing on both feet. q Down-bounce on both feet together. q Down-bounce on both feet together. S Down-bounce on both feet together. 3-8 [Repeat meas 1-2 three more times] [page 1 of 2]


SVORNATO HORO [page 2 of 2]

FIGURE III. CROSS RIGHT "KRSTI" (all done facing center)

meas ct action 1 q Bounce on L in place while touching R sideward right. q Bounce on L in place while touching R forward. q Step R in place. S Step L across in front of R. 2 q Step back onto R ("back to place"). q Step L in place. q Step R in place. S Close L to R without taking weight. 3-4 [Repeat meas 1-2 with opposite footwork] 5-8 [Repeat meas 1-4 ]

FIGURE IV. CIRCLE LEFT "NAOKOLO" (slow run & bounces)

[reverse footwork & lateral directions of CIRCLE RIGHT]

FIGURE V. CROSS LEFT "KRSTI" (all done facing center)

[reverse footwork & lateral directions of CROSS RIGHT]

FIGURE VI. FORWARD "NAPRED" (all done facing center)

meas ct action 1 q Bounce on L while lifting R forward. q Step R forward. q Bounce on R while lifting L forward. S Step L forward. 2 q Bounce on L in place, lifting R forward. q Bounce on L in place, lifting R forward. q Step R in place. S Step L across in front of R. 3 q Step back onto R ("back to place"). q Bounce on R in place, lifting L forward. q Step L in place. S Step R across in front of L. 4 q Step L backward. q Step R backward. q Step L backward. S Step R backward, stopping backward travel. 5-8 [Repeat meas 1-4 with opposite footwork] - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Suggested Sequence for Michael's recording:

After the brief gajda warm-up come 5 not-quite-dance-speed phrases. I like to wait out the first one (4 measures), then use the remaining 4 slow ones to do two round trips of low-intensity not-quite-dancing ZIGZAG Figure (in,out,in,out). Another easy way to use these phrases is to simply Circle Right (Fig II) starting on any odd measure. In any case... When full dance-tempo music begins, do the regular step-cycle of I, II, III, IV, V, VI, and once more all round I, II, III, IV, V, VI. This matches each step with a specific musical phrase, which is nice for learning & remembering. Village dancers would surely follow the leader's step changes, however, and you may choose to do the dance this way as well. Description enhanced & dance presented by Michael Kuharski Door County Folk Festival - 2013


Nancy Jo Lame (Columbia, MD)

Nancy Jo started folkdancing in Racine, Wisconsin over 30 years ago and was best known at the time for being "Ron and Kathy Fico's kid". She currently lives and dances in Columbia, Maryland, where she is one of the primary instructors in the Columbia International Folkdancers group. For the last 5 years she has also been involved in Columbia's effort to review, organize and improve their very large digital music collection. Nancy Jo is currently working as a tax preparer and Enrolled Agent in Columbia.


Lyavo Horo

9/8(a) - QQQS - from the Strandzha Mountain In South East Thrace

Presented by lIIana Bozhanova and Lyuben Dossev - 2000

This is a mixed dance and is danced towards the left in a circle with hands held down.

Figure 1- 8 measures

Measure 1 - facing center and moving to the left

1. Step on the left to the left

2. Hold

3. Close the right foot to the left

4. Step on the left to the left.

Measure 2

1. Step on the right foot across the left

2. Hold


4. Step on the right behind the left.

Measure 3


2. Step on the right behind the left


4. Step on the right behind the left

Measure 4

1. Bounce on the right (chukche)

2. Step on the left across the right

3. Bounce on the left (chukche)

4. Step on the right across the left

Measure 5

1. Bounce on the right

2. Step on the left behind the right

3. Step on the right in place

4. Step on the left in place

Measure 6

1. Bounce on the left foot


3. Step on the left in place

4. Stamp the right foot in place

Measure 7

1. Step on the right foot to the right

2. Hold

3. Step on the left foot across the right foot

4. Step on the right foot behind the left

Measure 8

1. Step on the left foot diagonally backward while bending the right knee

2. Hold


4. Stamp the left foot in oplace.

Pattern

Introduction - slow melody followed by 8 measures

Figure 1 - 8 measures 78 DCFF 201334th Annual Door County Folk Festival (DCFF), Wisconsin, 2013

Dit Olshan (Skokie, IL)

Dit has been teaching International Folk Dance in the Chicago area for about 30 years, at one time, leading three separate groups a week.. Currently she leads a Wednesday Nite group at the Skokie Park District. Formerly, as a math teacher in Chicago, Dit implemented an extra curricular program in international dance at the district level, conducting district teacher workshops while teaching classes at her own school. She has traveled, studying dance, in Yugoslavia, Romania, Bulgaria and Scotland. She has given international dance workshops regularly on a semi-annual basis in Israel to the Israeli Teachers Association and various local groups during the 1990's. Other workshops given include San Diego, New Orleans, Springfield, IL and Racine, WI. Dit has been a regular member of the teaching staff of Lake Geneva Camp for the past 25 years. She has served on the Midwest June Camp committee for several years, chairing it for three of those years. Presently, Dit is a docent at Lincoln Park Zoo, volunteers as a tax preparer for the Center for Economic Progress, and is always in love with a dog (currently Teva), whom she is known to have shown up with at Paul Collins' dance group.


Ellen Rice (Dayton, OH)

Ellen is new to DCFF, but not to folk dance. She danced in Boston from the mid-‘60s to the late ‘70s, starting at the Taylors’ but soon moving on to the Balkan “grind group,” which was instrumental in helping MIT get its Tuesday night folkdance group going. (She also played tamburitsa with the Cambridge Folk Orchestra, learned and translated lots of songs, and traveled in Yugoslavia and Bulgaria.) Some of Ellen’s friends, like Bob Leibman and Martha Forsyth, have been able to turn their dance and ethnomusicological passions into at least a partial living, but she was never brave enough to try it herself. (A French major, she has had job titles ranging from Nuclear Licensing Analyst to Proposal Manager.) In Boston, Ellen was lucky enough to learn dances directly from masters such as Dick Crum, Yves Moreau, Atanas Kolarovski, Bora Öskök, and Andor Czompo – which tends to make her annoyingly style-conscious. She enjoys the dances of almost all nationalities, but her first love is Macedonian and Bulgarian multifigure dances (usually men’s). When Ellen moved to D.C., she danced with Larry Weiner’s group until a baby took her out of dance for most of 1985–2003. She moved to Dayton without realizing that it had a folkdance group, but now splits her spare time among her 1928 house and overgrown yard, neighborhood/community volunteering, and, yes, folk dance, music, and song!


EFRice, 6/13

SITNO ŽENSKO HORO

Sitno Žensko (or Zhensko), from an undetermined village in Bulgaria (both Thracian and Northern/Danubian origins have been suggested), is known to have been performed since at least the mid-1930s. Dennis Boxell learned this version from a Bulgarian dance troupe in England in 1961, and introduced it to the U.S. shortly thereafter. I learned it from Dick Crum a few years later. Yves Moreau has been teaching it for at least 30 years.

The dance should be done in short lines (closer to 5 people than 10!), preferably in a belt hold (right arm under). It was originally a women’s dance, as the title indicates (“small[-stepped] women’s dance”). The feel is quite light (Yves calls it “breezy”). Rather unusually, the meter is 2/4; the steps sometimes use the “ands,” though, especially in Figures 3 and 4. (I have separated each measure’s two full counts by a simple semicolon in the instructions.)

The music and dance are both regular; everything is done in 4- or 8-measure chunks and then repeated once as part of the sequence. On most recordings, though, the only introduction is Yves’ naming the dance, so be ready!

Figure 1: Traveling (facing slightly R, moving in LOD)

Measure 1 – starting with weight on L ft, hop on L ft and step on R ft (this is a skipping step; there should be a

light prancing feel); hop on R and step on L. (The time for the little hop that makes it skipping is stolen

from the previous count, so the step falls on the count. The same is true of the reel step in Figure 2.)

Measure 2 – hop on L and step on R; close L to R and continue in LOD with R (2&)

Measures 3 & 4 – repeat measures 1 and 2 with reversed footwork

Measures 5 to 8 – repeat measures 1-4

Figure 2: Heel & toe and reels (facing “center”, more or less)

Measure 1 – turning to face slightly L, hop on L while tapping floor with R heel near L toe; hop on L again, tapping R toe near L heel (taps are beside foot, not in front or back of it)

Measure 2 – hop (again) on L while tapping floor with R heel near L toe; hop once more on L, turning to face ctr, while stepping directly behind L with R (reel step, with the hop preceding the count slightly)

Measure 3 – continue reeling: hop on R while stepping directly behind R with L; hop on L while stepping directly behind L with R

Measures 4-6 – repeat measures 1-3, but turning to face slightly R and reversing the footwork

Measure 7 – two flat-foot steps to center, R then L (1&); one more flat-foot with R

Measure 8 – repeat measure 7 with reversed footwork


Figure 3: Back & forth (facing “center”)

Measure 1 – bending forward a little from the waist, and turning head (only) L, step R in front of L, keeping R knee straight and foot flat, and then step sideways with L with L knee bent but foot flat(tish) (that’s two

steps per count – keep them small!); repeat R and L steps

Measure 2 – repeat R and L steps; do one more R (seventh step) and turn to face R, bringing the L foot around to the front

Measures 3 & 4 – repeat measures 1 and 2, reversing the footwork and head


Figure 4: In and out (facing “center”)

Measure 1 – two flat-foot steps to center, R then L (1&); one more with R

Measure 2 – repeat measure 1 with reversed footwork

Measure 3 – hop on L while kicking R foot fwd in front of L shin, leading with R heel and bending R knee slightly; step back on R while keeping a little weight on L and twisting L heel inwards (“twizzle” step)

Measure 4 – step back on L while doing the twizzle thing with the R; bring R to L and chug backwards on both



EFRice, 5/13

STARO POMASHKOSTARO POMASHKOSTARO POMASHKOSTARO POMASHKO

I believe that Yves Moreau first introduced this dance at a workshop in Columbus in 2007, which is where I

learned it. It is done in the Pomak (Muslim) villages around the town of Dospat, in the Western Rhodopes of

Bulgaria. The song Yves used is Kachi se na hisarja. (Come up onto the fortress and look out over the plains….

The fog patches are the sighs of my love for you.)

The dance is done in an open circle, moving mostly right. The style for this area of Bulgaria is easy and light.

Arms are up in W position. The rhythm is 7/8, slow-quick-quick. There are two figures, one for the song and

one for the instrumental break. (There are also eight measures of introduction to wait out.)

Be warned that the basic pattern is unusual in that it has a center-facing lift that you’d expect to move back

after – but no, you go forward and lift again! The third measure of the “break” (travel) pattern includes the

step used in the dance Dospatsko (surprise!), much easier to do than describe.

Basic figure (song)

Measure 1 – facing diagonally right, moving in LOD

1) Step on R ft , 2) step on L ft , 3) pause

Measure 2

1) Step on R, 2) step on L, 3) step on R

Measure 3 (turning to face ctr)

1) Step on L, starting to turn to face ctr and extending R leg; on 2) and 3) bounce lightly on L as leg comes

around in front and body faces ctr. Toe stays fairly low.

Measure 4 – facing center

1) Step slightly fwd on R, 2) lift slightly on R while bringing L leg behind R knee, 3) pause

Measure 5

1) Step slightly fwd on L, 2) raise R knee in front, 3) pause

Measure 6

1) Lift on L and bring R leg around to behind L knee, 2) drop L heel flat, 3) pause

Measure 7

1) Step back on R, 2) slight lift on R, 3) step back on L

Measure 8

1) Step R in place, 2) step L in place, 3) small step fwd with R

Measures 9-11

(Repeat measures 5-7)

Measure 12

1) Step back onto R, 2) close L to it and shift weight, 3) pause.

Travel figure (instrumental)

Measure 1 – facing diagonally right, moving in LOD

1) Step on R, 2) step on L, 3) step on R

Measure 2

1) Step on L, 2) step on R , 3) step on L

Measure 3 – facing ctr

1) Step R with R ft, 2) lift on R while bringing L foot out, around, and to back, 3) step on L behind R

Measure 4

1) Step R with R ft and lift slightly, 2) close L ft to R and shift weight, 3) pause


U rekee(Russia)

This lyrical circle dance is an example of De Russian School of folk dance. The music is composed as an instrumental piece. Traditional circle dances are always accompanied by a dance song. Mid 20th century, Soviet choreographers introduced the circle dances that were danced to instrumental music. The dance is choreographed by Hennie Konings and introduced by him in 2002 in a Russian/Ukrainian folkdance trip in the Ukraine. The name translates as "by the river."

Pronunciation: OO reh-KEE

CD: Russian Dances by Hennie Konings, Stockton 2006, 4/4 meter

Formation: Closed circle, hands joined in V-pos.

Steps: Pripandanya R: Small step on R to R side with knee slightly bent (ct 1); step on ball of L ft across behind R with L knee extended (ct 2).

MEAS PATTERN

4 meas INTRODUCTION. No action.

1 3 steps fwd to ctr R-L-R (cts 1,&,2); 3 steps fwd L-R-L (cts 3,&,4). During meas 1 hands are slowly raised to W-pos.

2 Repeat meas 1 bkwd, lowering hands to sides.

3 Step sdwd on R in LOD (ct 1); step on L next to R (ct &); step sdwd on R in LOD (ct 2); step on L next to R, both knees slightly bent (ct &); repeat cts 1-2 with opp ftwk and direction (cts 3,4).

4 Step on R in place and close L to R while making a slow bow.

5-8 Facing LOD, 8 two-steps, beg R.

9-10 Facing ctr, 8 Pripandanya steps sdwd to R, beg R, except that the final step L becomes a touch with L heel.

11-12 Repeat meas 9-10 with opp ftwk and direction. During meas 12 hands are released and put on waist.

13 4 Pripandanya steps in place (end with touch L) while making a full tum CW.

14 4 Pripandanya steps in place (end with touch R) while making a full tum CCW.

15 Release hands from waist and lower to side (cts 1-2); place R hand on heart (cts 3-4).

16 Raise R hand above head (cts 1-2); bow (cts 3-4).

Presented by Leslie Hyll (Dayton, Ohio) at the 2013 Door County Folk Festival (Wisconsin)


Steve Salemson (Madison, WI)

Steve was first exposed to folk dancing in 1962, when he spent a year living on a kibbutz in Israel. It wasn't until he moved back to New York City in 1974 that he discovered Balkan dancing and really got hooked. Soon he was dancing between 4-6 nights a week, and attending workshops taught by Yves Moreau, Dick Crum, David Vinski, Atanas Kolarovski, Pece Atanasovski, George Tomov, Moshiko Halevy, Mihai David, Bora Özkök, and others. In 1977 Steve joined Tomov's Yugoslav Folk Dance Ensemble, dancing with the group for eight years, including trips to former Yugoslavia in 1979 and 1981 to perform at the Ilindenski DenoviFestival in Bitola, Macedonia. Steve's first love is Macedonian music and dance, and he speaks some Macedonian and plays thekaval. In 1999, while working as Associate Director of the University of Wisconsin Press, Steve published Christina Kramer'sMakedonski jazik, a Macedonian textbook for beginning and intermediate students, and subsequently published Ronelle Alexander's authoritative two-volume Intensive Bulgarian: A Textbook and Reference Grammar and then her Bosnian-Croatian-Serbian: A Grammar with Sociolinguistic Commentary. Steve is happily retired and lives in Madison, where he spends his time doing crossword puzzles, making music, attending concerts, biking, and, of course, folk dancing at least twice a week.


S E D I D O N K A

Bulgaria Pronunciation: SEH-dee DOHN-kah

Background: Sedi Donka originates in the area of Thrace, around the towns of

Pazardžik and Plovdiv in south-central Bulgaria. The name of the dance

derives from the first line of the song “Sedi Donka na dyukyanche”

(Donka is sitting in her shop), and many variations of the dance exist in

this region. The version done in most groups in the U.S., and given here,

was that originally taught by Dick Crum.

Formation: Short lines (5-6 dancers) in a belt-hold (“na lesa”), with right arm

under; can also be done with arms down in a V-position.

Meter/Rhythm: 7/16 and 11/16. The music is written in a combination of two measures

in 7/16 followed by one measure in 11/16 meter. The rhythm is SLOW-

quick-quick, SLOW-quick-quick, quick-quick-SLOW-quick-quick (3+2+2,

3+2+2, 2+2+3+2+2), for a total of 11 accented beats, which will be

counted as 1-2-3, 1-2-3, 1-2-3-4-5.

Music: Du-Tam label (45 RPM) 1001B (faster version)

Xopo label - Hora & Racenica Dances of Bulgaria -Vol. 4 (slower version)

Measure Movement Description

No introduction

I - MOVING RIGHT AND LEFT WITH BOUNCES

1 Angling slightly to R in LOD, step on R (ct 1); hop on R (ct 2); step L

across in front of R (ct 3);

2 Repeat action of Meas.1;

3 Facing ctr, step R to R (ct 1); step L in back of R (ct 2); step R to R (ct

3); closing L to R, bounce twice on both feet with weight predominantly

on R (cts 4,5).

4-6 Repeat action of measures 1-3 to the L with opposite footwork.

7-12 Repeat action of measures 1-6.

(You will now have done this figure four times: R-L-R-L)

II - MOVING FWD AND BACK WITH HEEL TAPS

1 Step R fwd (ct 1); hop on R (ct 2); step L fwd (ct 3);


2 Repeat action of meas. 1

3 Step R fwd (ct 1); small step L fwd (ct 2); tap R heel lightly next to L (ct

3); small leap onto R in place (ct 4); tap L heel lightly next to R (ct 5).

4-6 Repeat action of measures 1-3 moving bkwd with opposite footwork.

7-12 Repeat action of measures 1-6.

(You will now have done this figure four times: Fwd-Bkwd-Fwd-Bkwd)

Repeat the entire dance from the beginning until the music ends.

VARIATIONS OCCURRING IN FIGURE I

To make the dance more interesting, the leader has the option of

calling for variations in the 3rd measure of Figure I. These will always

come on counts 3, 4, and 5, and may include:

Stamps: Facing ctr, step R to R (ct 1); step L in back of R (ct 2); step R

to R (ct 3); hop on R while bringing L up and back in a reverse bicycle(ct

4); lightly stamp L heel next to R foot, no wt (ct 5).

Scissors: Facing ctr, step R to R (ct 1); step L in back of R (ct 2); leap

onto R, extending L fwd (ct 3); leap onto L, extending R fwd (ct 4);

leap onto R, extending L fwd (ct 5).

Pas de Basque: Facing ctr, step R to R (ct 1); step L in back of R (ct

2); step R to R (ct 3); step fwd on L in front of R (ct 4); step back on R

(ct 5).

Toe-heel: Facing ctr, step R to R (ct 1); step L in back of R (ct 2); step

R to R (ct 3); touch L toe next to R foot (ct 4); tap L heel next to R

foot (ct 5).

High Knees: Facing ctr, step R to R (ct 1); step L in back of R (ct 2);

small leap onto R while bringing L knee up so thigh is parallel to the

floor (ct 3); reverse action of ct. 3 (ct 4); repeat action of ct. 3 (ct 5).

Slaps: Facing ctr, step R to R (ct 1); step L in back of R (ct 2); step on

R (ct 3); hop on R while extending and raising L leg (ct 4); slap L leg

slightly L of center (ct 5).

Note: the above describes the variations while moving to the R; the footwork is reversed

when moving to the L.

Presented by Steve Salemson - DCFF 2013


Daniel Wells (Cedar Falls, IA) Daniel was a work scholar for DCFF many moons ago in another galaxy and another life during his undergraduate days. After graduation he went on to a professional career in dance. He danced with notable ballet companies like Ballet of the Dolls, the National Ballet of Canada and the Royal Winnipeg Ballet. He did not forget his ethnic roots in dance though and also danced with Ethnic Dance Theater in Minneapolis and with Les Sortilège in Montreal. Daniel currently teaches at the University of Northern Iowa and directs the International Dance Theatre. As part of the research for his PhD, Daniel has been traveling to Bulgaria, Macedonia, and Croatia gathering data about the music and dance of those countries.


ALUNELUL de la Cerna

(Romania) Alunelul is a dance from south-central Romania. Its title means "Little Hazelnut." Many dances from this area of Romania are characterized by rapid, light footwork and small stamps. This particular version comes from the village of Cerna in the region of Dobrogea. Formation: Lines or Broken Circle Position: Hands held down in V formation Styling: Steps are small and precise. As music increases in tempo, steps may become

smaller.

MUSIC 2/4 PATTERN

Measures

Introduction: 8 counts Start by swing arms forward and then swinging arms through first section.

1-2 Moving Diagonally forward in LOD Step R (ct1), L (ct2),

Shifting quarter turn, back up in LOD Step back R(ct3), bck L (ct&), bck R(ct4)

3-4 Repeat measures 1-2 using opposite footwork travelling RLOD

5-6 Repeat measures 1-2 7 Facing center step side L (ct1) swinging arms forward, Step R next to L (ct2) 8 Step side L (ct1), Romanian Low Hop on L while swing R leg in front. 9 Step R in front of L (ct1), Step L in place (ct&), Step R next to L (ct2), Step L in

front of R (ct&)

10 Step R in place (ct1), Step L next to R (ct&), Step side R (ct2), Stamp L next to R (ct&)

11 Step side L (ct1), Stamp R next to L (ct&), Step side R (ct2), Stamp L next to R (ct&)

12 Moving diag bckwrd to L, Step L (ct1), click R to L taking weight and replacing the foot causing the L foot to shoot out. (ct&), Repeat

13 Repeat first part of 12 one more time then step L and pause. Repeat dance from the beginning. Note the use of 13 bars of music means the dance does not line up with the phrasing of

the music.


GLAVNIŠKO ČETVORNO

(Bulgaria)

Glavniško četvorno (GLAHV-neesh-koh CHET-vornoh) is a group dance from the village of Glavnica in the southeastern part of Bulgaria, the Pazardčik region of Western Thrace. The dance is in mixed meter, with 16 measures of 2/4 alternating with 12 measures of 7/16. This dance was researched and taught by Yves Moreau. Music: Bulgar Dance 002; Yves Moreau tape or CD The 7/16 meter is broken into 1-2, 3-4, 5-6-7 (1-2, 1-2, 1-2-3) or QQS. This

rhythm is found throughout Bulgaria, often as the popular "račenica" dance. Formation: Short lines with basket or belt hold, L arm over neighbor's R. Steps: Grapevine, hop, walk, leap

MUSIC Mixed Meter - 2/4, 7/16 PATTERN

Meter/Measures:

2/4 I. Grapevine to Side 1-2 One grapevine pattern to R: Step R to R side (ct 1), step L behind R (ct

2), step R to R side (ct 1), step L in front of R (ct 2). 3-4 Repeat measure 1-2, but hop on R on measure 4, ct 2, raising L knee

with L leg in front of R shin: Step R to R side (ct 1), step L behind R (ct 2), step R to R side (ct 1), hop on R raising L knee with L leg in front of R shin (ct 2).

5-8 Repeat measure 1-4 with opposite footwork, beginning on L and moving to L. 9-16 Repeat measure 1-8, moving to R and then to L again. 7/16 II. Forward and Back 1 Beginning with weight on L, hop twice on L while touching R heel in front

of L twice (cts 1-2, 3-4 or Q,Q), step heavily forward onto R (cts 5-6-7 or S). 2 Repeat measure 1 with opposite footwork, starting by hopping on the R. 3 Repeat measure 1, beginning by hopping on the L. On cts 5-6-7 (S), raise L knee in front. 4 Moving back, small leap on L (cts 1-2 or Q), step on R (cts 3-4 or Q), step on L (cts 5-6-7 or S). 5 Continuing to move back, repeat measure 4 with opposite footwork, R-L-R. 6 Continuing to move back, repeat measure 4, L-R-L. 7-12 Repeat measure 1-6, moving forward and then back again.


34th

Annual Door County Folk Festival - July 10 – 14, 2013

CO-DIRECTORS

Gerhard Bernhard (Sister Bay, WI)


TEACHING STAFF

Penny Brichta (Wilmette, IL)

Patti Cohen (Winnipeg, MB, Canada)



Mihai David (Anaheim, CA)

George Davis (Chicago, IL)

Roger Diggle (Madison, WI)

Dan Garvin (Vadnais Hts, MN)

Mary Garvin (Saint Paul, MN)



Rick King (Southfield, MI)

Michael Kuharski (Madison, WI)

Nancy Jo Lame (Columbia, MD)

Phil Moss (Wilmette, IL)

Dit Olshan (Skokie, IL)

Shelley Orbach (Skokie, IL)

Ellen Rice (Dayton, OH)

Steve Salemson (Madison, WI)

Daniel Wells (Cedar Falls, IA)

SUPPORT STAFF

Joan Amsterdam (Northbrook, IL)


George Davis (Chicago, IL)

Mercedes Dzindzeleta (Racine, WI)

John Jacobs (Madison, WI)

Paul Jacobs (Madison, WI)



Nina Lusterman (Evanston, IL)

Dick & Miriam Miller (Middleton, WI)


Karen Tutkowski (Milwaukee, WI)

WORK SCHOLARS

Chris Alfeld (Team Leader) (Madison, WI)

Sarah Bennett (Team Leader) (Madison, WI)

Kristina Arellano (Coordinator) (Fond Du Lac, WI)

Marsha Swenson (Coordinator) (Madison, WI)

Mary Kay Basso (Milwaukee, WI)

Patricia Eby (Fond du Lac, WI)

Kris Hamon (Dunlap, IL)

June Jacobs (Madison, WI)

Judi Lindquist (West Bend, WI)

Sofia Puerto (Madison, WI)

Arne Van Art (De Soto, WI)

Laurie Watson (Winona, MN)

MUSICIANS & SINGERS

Braca Tamburica Rich Krilich (Elmhurst, IL) John Gornick (Chicago, IL)

Rudy Grasha Jr. (Valparaiso, IN)

Frank Mosca Jr. (Schererville, IN) Wally Pravica (Des Plaines, IL)

The Last Gaspé Amy McFarland (Madison, WI)

Kevin Clark (Fitchburg, WI)

John Kraniak (Madison, WI)

Maria Terres (Shorewood, WI)


PICNIC & FISH BOIL PLANNING & LOGISTICS

Kim Caisse (Coordinator) (Hannibal, MO)

Janet Higgs (Coordinator) (Indianapolis, IN)

Mara Kins (Coordinator) (Chicago, IL)

Ken Pagenkopf (Coordinator) (Shorewood, WI)

Fran Gilbert (Skokie, IL)

Sue Scheffler Ellis (Evanston, IL)

SPECIAL THANKS

Sue Anschutz (Sturgeon Bay, WI)

Grace Bernhard (Sister Bay, WI)

Pastor Mark Billingham (Sister Bay, WI)

Tonya Crowell (Fish Creek, WI)

A.J. Frank (Sturgeon Bay, WI)

Dave and Penny Geitner (Baileys Harbor, WI)

Kurt & Nancy Grube (Sister Bay, WI)

Rich & Jeannie Hoffman (Sister Bay, WI)

Gloria Klotter (Sister Bay, WI)

Daryl Larson (Ephraim, WI)

Mike & Karen McAndrews (Sister Bay, WI)

Faith & Bob Murray (Baileys Harbor, WI)

Lloyd Michalsen (Sister Bay, WI)

Carol Mullaney (Sister Bay, WI)

Gina Totaro (Sturgeon Bay, WI)

Susan Yoshihara (Chicago, IL)

Susan Shallow (Ephraim, WI)

Doug Smith (Baileys Harbor, WI)

Janal Suppanz (Sister Bay, WI)

WISH YOU WERE HERE

Leslie Hyll (Dayton, OH)

Jim Kiehne (Minneapolis, MN)

Jon Waite (Milwaukee, WI)

IN REMEMBRANCE

Phyllis Cohen (White Bear Lake, MN)

Cheryl Hoffman (Sturgeon Bay, WI)

Fred Loewinsohn (Chicago, IL)

Leonard Plodzien (Seattle, WA)


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