Malagueña a los Canarios (Tucson Version)

Canary Islands

These notes ©2017, Andrew Carnie.  Taught in the US by Vyts Beliajus, who learned it from Antony Ivancich in 1964. Ivancich in turn learned it from Marta Padilla, who was the director of the Canary Island Dance group in Madrid. The name of the dance suggests that it was introduced to the Canary Island by immigrants from the Malaga region of mainland Spain. The notes here are for the version we do in Tucson, which is not exactly identical to Vyt's description -- his notes are linked below. 

Music:

• Record: Malaguena A Lo Canarias 345B
• https://youtu.be/x8LxfthMYi8 (not the recording used by Beliajus)

Meter: 3/4
Formation: Couples, in a circle, or forming two lines. M on L, W on R, holding nearer hands in a high W position.
Introduction: None, start right away

Footwork: Throughout use a flat-footed waltz step (glide rather than bob). Everyone starts on the Right foot (not outside feet!)

Bars 1-10: Entrance: Using 10 waltz steps circle around the room until you form a circle or two parallel lines.
Bar 11: Take one waltz step backing up in place (singing starts 1/2 way through this bar)
Bar 12: Woman makes one complete CW turn under joined hands (turning away from partner)
Bar 13: M grab's woman's other hand, keeping it low (retaining nearer hands, which are high) keeping it low, with  them above her head. She does a further 1/2 turn CW, while man makes a 1/4 turn CW to end in "sweet heart position" with W on the left. (M's R hand, W's L are in front of couple on top, with W's R hand across her body and M's L behind her back"
Bars 14-15: As a couple pivot in place CW, with M backing up and W dancing forward.
Bars 16-17: Retaining both hands, woman makes one complete CCW turn to end in a sweetheart position on the R side of the M. To get there,  the M alternately raises R then L hands, dropping his L (joined with her R) in front of W's body.
Bars 18-19: As a couple pivot in place CCW, with M backing up and W dancing forward.
Bars 20-21: M raises L hand and keeps R hand low, he turns a 1/4 turn CCW. W turns a full CW turn. Couple ends with both facing CW. M's L arm bent at elbow across his chest, R arm under behind W's back. W's R arm stretched out to hold M's L, and L arm behind her back.
Bars 22-23: Couple pivots in place CW, both dancing forward.
Bars 24-25:  Man raises L, then raises R, and makes a 1/2 turn CW, while W makes a complete CCW turn to end in the reverse of the position in bars 20-23
Bars 26-28: Couple pivots in place CCW, both dancing forward (three bars instead of 2)
Bars 29-32: Drop both hands and switch to holding L in L. W starts to dance around M CCW. M puts joined hands on the small of his back, and bends over, essentially backing out under W's L arm. Woman continues the circle all the way until she is behind the M again, and to his R.  Retain L hand on M's back, and take R and R, with W behind man.
Bar 33: Drop L hands and M pulls R hand down and up, turning W CCW all the way around to end in a Varsouvienne hold W woman in front.
Bar 34-35: W hands high, in Varsouvienne waltz Woman to the L diagonal, the R diagonal and the "Waving the cape in front of you"
Bar 36-38: Keeping both hand held above M's head. Woman dances around M CCW all the way around (3 bars)
Bar 39: Retaining hands, W makes a complete CCW turn in front of man.
Bars 40-43: Holding L in L, W dances in a circle around M CCW all the way around. M's hand is above his head.
Bars 44-47, Using the same hands as Bars 29-33 (M puts L hand on back and Bends over while W circle him once and a half. But end with hands crossed behind the back in a back basket (M's right slips up to end on W's waist, under L arm. W's R hand takes M's R in the small of her back)
Bars 48-51: Pivot CCW as a couple, W dancing forward M dancing backwards, turn once and a 1/2 around
Bars 52-53: Still in back basket, Balance backwards, then forwards.
Bars 54-55: M balance backwards and forwards, dropping L hands with partner. Woman turns out CW, then makes a complete CW turn under joined hands. Woman switches hands at the last minute at the end of the turn so that you're holding M's R and W's L.
Bars 56-67: Holding nearer hands circle around room in LOD (or exit from stage), M on the inside.

Tucson Video

Other notes on the web

• http://archives.mvfolkdancers.com/0_Other%20Items%20of%20Interest/0_Dance%20Instructions/malaguena%20a%20lo%20canario.pdf (Vyts Beliajus)

Other videos on the web

Not exactly the same choreography, but very close

Other sources

• Beliajus, Vyts (1987) Main Folk Dance Camp Syllabus.

Also called: Malaguenas de los Canarios, Malaguena, Malaguenas de Tenerife

Jambolski Trite Pâti
Ямболски Трите Пьти

Bulgaria

These notes ©2017, Andrew Carnie. There a couple of dances out there with some variation on this name, which means "Trite Pâti from Jambol district", This dance is also known as Trite Pâti ot Jambol. This particular version of Trite Pâti is a choreography of steps assembled from those observed by Yves Moreau in 1970 and from figures he learned from Ivan Šišmanov.

Music: Yves Moreau Workshop Cassette, Door County Folk Festival DCFF 2003 CD 1
Meter: 2/4
Formation: Short lines, start with hands down in V position, leads to the R
Introduction: 4 bars, no action

Part 1: Bavno

Bar 1: Facing center, step in on R. Arms start to swing forward (1), Close L next to R, with no weight, arms swing up into W position (2)
Bar 2: Step backwards out of the center on L (1), Close R next to L, no weight (2), Arms swing forward and down to back
Bar 3: Step on R to R, Arms swing forward (1), Close L next to R. Arms swing back (2)
Bar 4: Repeat Bar 3, with opposite footwork and direction
Bars 5-16: Repeat bars 1-4, three more times

Part 2: Pleti

Bar 1: Hop on L, Arms swing forward (1), Step on R next to L (&), Cross L over R, arms swing back (2), Step on R in place (&)
Bar 2: Repeat bar 1, with opposite footwork
Bar 3-8: Repeat bars 1-2, three more times

Part 3: Tupaj

Bar 1: Facing center and leaning back a bit, Hop on L (arms swing forward) (1), Stomp forward on R into the center (&), Close L behind R with weight, (arms swing back) (2), Stop forward on R into the center (&)
Bar 2: Close L behind R (arms swing forward) (1), stomp forward on R into the center (&), cross L over R. Arms swing back (2), rock back on R in place (&)
Bar 3: Hop on R, arms swing forward (1), Step L backwards (&), Hop on L, arms swing back (2), Step on R backwards (&)
Bar 4: Hop on R, arms swing forward (1), Step L backwards (&), Step on R in place, arms swing back (2), Step on L next to R (&)
Bars 5-16: Repeat bars 1-4, three more times

Part 4: Nabi

Bar 1: Moving into the center again, Hop on L, arms swing forward (1), Scuff or stamp (no weight) R forward (&). Step on R into the center, arms swing back (2), Scuff or stamp L forward (&)
Bar 2: Step forward on L into the center; arms swing forward (1) Scuff or stamp R forward (&), Step forward on R, arms swing back (2), Scuff or stamp L forward
Bar 3: Hop on R, turning body to face RLOD. Arms swing forward (1), Fall on L foot towards the outside (&), knock L foot out from under you by stepping on ball of R foot next to L, arms swing back (2), Fall on L (&)
Bar 4: Knock L foot out from under you by stepping on ball of R foot next to L, arms swing back (1);  Fall on L foot in place (&) Knock L foot out from under you by stepping on ball of R foot next to L, arms swing back (2), Fall on L  foot, in place
Bars 5-16: Repeat bars 1-4, three more times

Sequence

Part 1, 2, 3
Part 1, 2, 4,
Part 1, 2, 3
Part 1, 2, 4
Part 1

Tucson Video

Other sources

• Moreau, Yves (n.d.) Bulgarian Folkdances Volume 4 (Video). BMA Productions FB006
• Moreau, Yves (n.d.) Type written dance notes.

Also Spelled: Triti, Puti, pati, pŭti, Yambolski,

Brâul din Feneş

Romania

These notes ©2018, Andrew Carnie. Originally taught by Sunni Bloland, who learned it from Puiu Vasilescu. The Dance is from Caraş Severin in Banat.

Music: Noroc ELP 13
Meter:7/8 counted as SQQ
Formation: Short lines, hands down in V position
Introduction: 16 bars, no action, Start with singing

Part 1

Bar 1: Facing center, Step on L to L (S), Hop on L, swinging R around to back (Q), Step on R behind. L (Q)
Bar 2: Step L to L (S), Cross R over L (Q), Rock back in place on L (Q)
Bars 3-4: repeat bars 1-2, with opposite footwork and direction
Bar 5: Repeat bar 2
Bar 6: Repeat bar 2 with opposite footwork
Bar 7: Leap onto L, lifting R Knee low with R foot near L calf, R knee points to RLOD (S), Hop on L and point R knee towards LOD (QQ)
Bar 8: Hop on L, pointing R knee towards RLOD (S), Step on R across L (Q), Rock back in place on L (Q)
Bars 9-16: repeat bars 1-8 of part 1 with opposite footwork

Part 2

Bar 1:Facing slightly R of center and traveling in LOD, Step on L in LOD (S), Hop on L, hooking R foot in front of L (Q), Step on R in LOD (Q)
Bar 2: Repeat bar 1
Bar 3:Facing center, step L to L (S), Cross R over L (Q), Rock back in place on L (Q)
Bar 4: Step on R to R (S), Slap R foot flatfooted in front (QQ)
Bar 5: Repeat bar 4, with opposite footwork
Bar 6: Repeat bar 4
Bar 7: Step on L in place (S), Čukče (vîrf-toc) on L, while lifting R up low next to ankle (Q), step on R in place (Q)
Bar 8: Stamp L in place (S), pause (QQ)
Bars 9-16: repeat bars 1-8 of part 2

repeat dance from the beginning

Tucson Video 

Other instructions on the web

Other Sources

 Also spelled: Briul, Brîul, Fenes, Braul

Bir Mumdur

Turkey

These notes ©2018, Andrew Carnie. Originally taught by Bora Özkök, he learned the steps from his mother, who learned them from her father. Bora adapted those steps to this tune. The title translates as "One Candle".

Music:

• Bora Özkök, Halay 302
• Bora Özkök and the Sultans. Turkiyem '82
• https://youtu.be/H3dsxnWscEY
• Ibrahim Tatlises 1982 Yasamak bu digil: https://youtu.be/3F2WJL3GLUQ
• https://youtu.be/5UKhAAe5IyU

Meter: 2/4
Formation: Short lines, Fingers interdigitated, forearms parallel to floor. Stand very close to one another with L shoulder in front of neighbor's R shoulder
Introduction:  Start with the Zurna (in Bora's recording)

Note: The following description is based on the video of Bora teaching the dance in Tucson in the late 1980s. It does not exactly match the type-written dance notes of the time

Part 1

Bar 1: Facing center stomp on R to R (1), Cross L in front of R (2), Steps are bouncy.
Bar 2-4: Repeat bar 1, three more times
Bar 5: Step on R next to L (1), Lift L knee up, bending body backwards, while doing a little chug on the R foot. Say "ugh!" (2)
Bar 6: Step on L forward into the center (1), drag/chug onto R forward, while lifting L knee, body leans backwards (2)
Bar 7: Repeat bar 6
Bar 8: Stomp on L foot (1), raise R up in a backwards bicycle (2)
Bar 9: Stomp on R, lifting L  (1), Step backwards on L, Kicking R forward low (2)
Bar 10:  Step on R near L instep (1), Step backwards on L, Kicking R forward low (2)
Bar 11: Step back on R near L instep (1), Lift L up (2)
Bar 12: Stamp L slightly forward (1), Step on L in place (2)
Bars 13-24: Repeat Bars 1-12

Part 2

Bars 1-4: Repeat bars 1-4 of part 1
Bars 5-8: Repeat bars 1-4 of part 1

Sequence:

Part 1 (i.e., 2 sequences of 12 bars)
Part 2
Part 1 X 2 (i.e., 4 sequences of 12 bars)
Part 2
Part 1 X 2 (i.e., 4 sequences of 12 bars)

Tucson Video

Bora teaching the dance at a workshop in Tucson in the late 1980s

Other notes on the web

• http://www.socalfolkdance.com/dances/B/Bir_Mumdur.pdf
• http://www.socalfolkdance.com/dances/B/Bir_Mumdur_A_Turkish.pdf
• http://www.socalfolkdance.com/dances/B/Bir_Mumdur_B_Turkish.pdf

Lyrics

Other Sources

• Özkök, Bora (1987) Maine Folk Dance Camp syllabus (PDF)

Samodiva

Самодива 

Bulgaria

These notes ©2018, Andrew Carnie. Taught by Lee Otterholt, originally taught (choreographed?)  by Ventzi Sotirov. Samodivas are woodland nymphs. The song is by the popular Bulgarian singer Rayna.

Music:

• Otterholt Texas Camp 2018
• Rayna - https://youtu.be/r9aMC-JwQ98 (Album: Glasne Plamak)

Meter: 7/8, counted as SQQ
Formation: Open circle, hands in W position, leads to R
Introduction: Start with singing.

Part 1

Bar 1: Cross L over R (S), Lift R knee up in front with a bounce (Q), Bounce (Q)
Bar 2: Step R to R (S), Step on L crossing behind R (QQ)
Bar 3: Step R to R (S), Step L crossing behind R (Q), Step R to R (Q)
Bars 4-6: Repeat bars 1-3
Bars 6-9: Repeat bars 1-3
Bars 10-11: repeat bars 1-2
Bar 12: Step R to R (S), Step L crossing behind R (Q), Lift R leg (Q)
Bars 13-23: Repeat bars 1-11, with opposite footwork and direction
Bar 24: Step L to L (S), Step R crossing behind L (Q), Step L to L (Q)

Note: step starts with L foot free and ends with R foot free

Part 2

Bar 1: Step on R in LOD (S), Čukče on R, while bringing L foot up and through to LOD (Q), Step on L in LOD (Q)
Bar 2: Repeat bar 1
Bar 3: Facing center, čukče on L and pump R foot forward and down (S), čukče on L (Q), Step on R to R (Q)
Bar 4: Cross L over R (S), Rock back in place on R (Q), Step on L next to R (Q)
Bar 5: Step on R in place (S). Čukče on L and swing L around to back (Q), Step on L behind R (Q)
Bar 6: Čukče on L and pump R foot forward and down (S), Čukče on L, swinging R around to back (Q), Step on R behind L (Q)
Bar 7: Step on L to L (S), Step on R quickly behind R (&) Step on L to L (Q), Step on R behind L (Q)
Bar 8: Swing L foot around to the back and step on it behind R (S), Step on R to R (Q), Step on L in LOD (Q)
Bars 9-32: repeat bars 1-8, three more times (4 in all)

Part 3

Bar 1: Facing and moving into the center: Step R (S), L (Q), R (S)
Bar 2: Repeat bar 1, with opposite footwork
Bars 3-4: Repeat bars 1-2;
Bar 5: Step on R into the center (S), lift L up behind R calf (QQ)
Bar 6: Step L backwards out of center (S), Čukče on L, swinging R around to back (Q), Step on R behind L (Q)
Bar 7: Repeat bar 6
Bar 8: Repeat bar 6

Note that part 3 starts with R foot free and ends with L foot free, ready to start part 1 again

Sequence:

Part 1, Part 2, Part 3
Part 1, Part 2, then do bars 1-8 of Part 2 again

Other notes on the web

Other videos on the web

Samodiva (Bulgaria)-Lee.Otterholt from Loretta Holz on Vimeo.

Lyrics

From https://lyricstranslate.com/en/%D1%81%D0%B0%D0%BC%D0%BE%D0%B4%D0%B8%D0%B2%D0%B0-samodiva-nymph.html

Вино съм младо,
младо и буйно,
вино съм силно и руйно.
Пият ме млади,
млади ергени
луди лудеят по мене.
Бяла съм люта
люта ракия
който от мене отпие
той ще забрави
забрави дома си името свое и рода си.

Припев:
Който не вярва - да види
в Пирина нека отиде
дето раснат самодиви,
дето раснат самодиви
като мене все красиви.

2. Вино съм младо,
младо и буйно,
вино съм силно и руйно.
Пият ме млади,
млади ергени
луди лудеят по мене.
Щерка съм лична
лична на Струма
дума на който
на който продумам
с друга не ще се не ще се залюби
себе си той сам ще погуби.

Припев:
Който не вярва - да види
в Пирина нека отиде
дето раснат самодиви,
дето раснат самодиви
като мене все красиви.

Samodiva

Dojdi Dojdi Libe Le (Weisburd Version)

Дойди Дойди Либе Ле

Bulgaria

These notes ©2018, Andrew Carnie. This is the version that was taught by Ira Weisburd. A different version was taught by Roberto Bagnoli and Lee Otterholt

Music:

• Otterholt Texas Camp 2018
• https://youtu.be/F59abuEMw1I
• https://youtu.be/hjhTB1v7kLw
• https://youtu.be/6f5dv6RcB8U
• https://youtu.be/VstMJ6RccVI

Meter: 7/8 counted as QQS
Formation: Open circle, hands down in V position. Leads to the R
Introduction: Start with singing

Part 1: Singing

Bar 1: Step on R in LOD (QQ), Step on L in LOD (S)
Bar 2: Step R (Q), L (Q), R (S)  in LOD
Bar 3: Step L.(Q), R (Q), L (S) in LOD
Bars 4-6: Repeat bars 1-3
Bar 7: Facing center, sway on R to R (QQ), bounce on R (S)
Bar 8: Sway on L to L (QQ), bounce on L (S)
Bars 9-16: Repeat bars 1-8

Part 2: Instrumental

Bar 1: Facing slightly L of center, step R (Q), L heel (Q), R (S) in place (a Bulgarian pas-de-basque)
Bar 2: Repeat bar 1, with opposite footwork, facing slightly R of center.
Bars 3-4: Repeat bars 1-2
Bar 5: Cross R over L (QQ), Step on L to L (S)
Bar 6: Hop on L (Q), Step on R behind L (Q), Step on L to L (S)
Bar 7: Repeat bar 5
Bar 8: Turning to face LOD, but stepping backwards in RLOD, step R (QQ), and step forward in LOD on L (S)

(There appears to be a men's variant to part 2, with turns and squats -- see the second video below)

Other videos on the web

Lyrics

Dojdi, dojdi, libe le, doma na vechera.
Oh, libe le doma na vechera.
Libe, libe, libe le doma na vechera.
Vrzi konche, libe le, za vita kalina.
Ta se kachi, libe le, gore na chardaci
Ta da vidish, libe le, mama kak me gali.
Mene gali, libe le, tebe spomenuva.

Sheet Music

• https://www.europeana.eu/portal/en/record/08506/4B6EE4A98A16AFBE10775104546822C0A5C31729.html

See also:

• Dojdi Dojdi Libe Le (Bagnoli) - Bulgaria

Also Spelled:Doydi