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Showing posts with label Couple. Show all posts
Showing posts with label Couple. Show all posts

Sunday, December 9, 2018

December 09, 2018

Malagueña a los Canarios - Tucson Version (Canary Islands)

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:


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



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
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Sunday, November 25, 2018

November 25, 2018

Mexican Waltz (USA)

Mexican Waltz
USA


These notes ©2018, Andrew Carnie. We learned this dance from Harvey Gardner who learned it in the 1950s from Larry Pallas at the Brooklyn College Folk and Square Dance Club. Michael Herman introduced it the International Folk Dance community, who probably got it from the square dance community of the US southwest. It is done to the tune Chiapanecas, but is not the same dance as the traditional Mexican Dance.

Music:
The first two records mentioned here are the ones most US folk dance groups used to do it to. The others are listed in Ron Houston's 1994, Folk Dance Problem Solver.
Meter: 3/4
Formation: Couples in a circle, Start with men on the inside, Ladies on the outside, holding inside hands, facing LOD
Introduction: 4 bars, start with main melody

Part 1

Bar 1: Facing LOD,  Step on outside foot (M's L, W's R) away from partner (1), swing inside foot up and across (2,3)
Bar 2: Repeat bar 1, with opposite footwork and direction
Bar 3: Step on outside foot to outside (1), pause (2), Clap hands to the outside(3) [In Tucson we face our partners on this step]
Bar 4: Clap again (1), pause (2,3)
Bars 5-8: Repeat bars 1-4 with opposite footwork, and facing CW (RLOD)
Bar 9: Facing partner, holding both hands, sway backwards on outside foot (away from partner) (1,2,3).
Bar 10: Sway in towards partner on inside foot, joined hands go out to sides parallel to the floor (1,2,3)
Bar 11: Sway backwards on outside foot (1), pause (2), Clap hands in front of you (3)
Bar 12: Clap again (1), pause (2,3)
Bar 13: Repeat Bar 10,
Bar 14: Repeat Bar 9,
Bar 15: Sway on inside foot towards partner (1), pause (2), Clap hands, W behind M's neck, M behind W's back (3)
Bar 16: Clap again (1), pause (2,3)

Cues:
Step Swing, Step Swing, Step ... clap clap...
Step Swing, Step Swing, Step ... clap clap
Away, together, away, ... clap clap ...
Together, away, together, .. clap clap ...

Part 2

Bars 1-16: Progress CCW around the room using 16 turning waltz steps in Ballroom hold

Tucson Video


Other notes on the web

Other videos on the web


Other Sources:

  • Herman, Michael (1947) Folk Dances for All. Barnes and Noble.
  • Anonymous (1959) Happy Feet. Northland Recreation Laboratory, Minneapolis. page 28
  • Leifer, Fred (1951) The Folk Dance Memorizer. Adult Education Department Brooklyn College
  • Houston (1994) Folk Dance problem solver 1994, page 4. Society of Folk Dance Historians.
Sheet Music:

Children's song lyrics

Also Called: Mexican Clapping Dance, Chiapanecas, Chapinicas, Chapinecas, Clap Hands, There's a song they know in old mexico
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Saturday, October 27, 2018

October 27, 2018

Srpkinja - Српкиња (Serbia)

Srpkinja
Српкиња
Serbia


These notes ©2017, Andrew Carnie. The dance was widely taught in the US by Dick Crum, Cheryl Spasojević, John Filcich, Martin Koenig, and Michael and Mary Ann Herman. The name translates as "Serbian Girl"

Dick Crum's dance notes say that the dance was a choreography from the earliest part of the 20th century and was composed and choregraphed by Isidor Bajić. He sought to combine traditional Serbian Dance with some of the more popular ball room formations of the time. Bajic incorporated the dance and music into his opera Prince Ivo of Semberia using lyrics composed by Jovan Zivojnovic.

Music: Folkdancer MH1008; Dances from Serbia, NFO 2001
Meter: 2/4
Formation: Couples in a circle, facing center, M on W's R (although it may have originally been danced in squares of 4 couples like a quadrille) Hands down in V position or up in W position.
Introduction: None, start right as the music starts

Part 1: Vizit

Bar 1: Walk R (1), L (2) in LOD
Bar 2: Walk R (1) in LOD, touch L next to R, turning to face slightly RLOD
Bars 3-4: repeat bars 1-2 with opposite footwork and direction.
Bar 5: Facing center, step R (1), L (2) into the middle
Bar 6: Step R into the center (1), Touch L next to R (2)
Bars 7-8: Repeat bars 5-6 with opposite footwork, backing away from center
Bars 9-16: repeat bars 1-8

(Crum's original notes had bars 5-8 as bars 1-4, and Bar 1-4 as 5-8)

Part 2: Balans

Bar 1: Facing center step on R to R (1), close L next to R no weight (2)
Bar 2: Repeat bar 1, opposite footwork and direction
Bar 3: Walk R (1), L (2) in LOD
Bar 4: Walk R (1) in LOD, touch L next to R, turning to face slightly RLOD
Bars 5-8: Repeat bars 1-4 with opposite footwork and direction
Bars 9-16: Repeat bars 1-8

Part 3: Reverans i Koket

Bar 1: Drop hands with neighbor, Woman rolls in front of M with two steps R (1), L (2), to face him.
Bar 2: She curtseys and he bows (1,2)
Bars 3-4: Woman continues roll across stepping to end on M's right, M shifting slightly to the L, everyone steps R (1), L (2), R (1), L (2)
Bars 5-8: Repeat bars 1-4, but with M rolling across W.
Bar 9: Step R to R (1), Close L to L with weight (2)
Bar 10: Step R  to R(1) touch L next to R, turning to face slightly RLOD
Bars 11-12: Repeat bars 9-10 with opposite footwork and direction
Bars 13-16: Repeat bars 9-12
Bars 17-32: Repeat bars 1-16

[In the Noa-am video below they do hop-step-steps in bars 9-10, etc. but this is in none of the notes I can find]

repeat dance from the beginning until the end of the music

Other videos on the web





Other instructions on the web

Other Sources

  • Houston, Ron (2013) Folk Dance Problem Solver 2013. Society of Folk Dance Historians
Also spelled: Srpkina
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Friday, September 28, 2018

September 28, 2018

Paul Jones (USA)

Paul Jones
USA


These notes ©2016, Andrew Carnie. This is a traditional mixer from the American South East from the beginning of the 20th century.  It's characterized by calling the change of figures with a whistle. There are several different versions. I notate two of them below. The dance is named after an American Revolutionary Naval War hero. For more on the name see here: http://www.kickery.com/2014/08/paul-jones-survey.html

Music: Various, any 2/4 tune will do
Meter: 2/4
Formation: Couples in a circle in ballroom position
Introduction: As called by the caller

Version 1: One-step, Circle Right, Grand R&L

Part 1:  Using simple walking steps, the M walks forward in LOD (CCW), while tbe woman backs up. (One step)
Part 2: Upon the call (typically a whistle), the couple opens up and circles to the right.
Part 3. Upon the call, the couple faces each other and begin a grand right and left, M progressing CCW and W progressing CW. Upon the next signal take a new partner and begin one step again.

The one-step could also be replaced by a two-step, or polka or even a waltz if the music is in 3/4.

Videos on the web of Version 1: Grand Right and Left 





Other dance notes on the web for version 1:




Version 2: Concentric circles

Part 1: Dance a polka, two step, one step or waltz in a CCW direction.
Part 2: Form two concentric circles: Women on the inside facing CW. Men on the outside facing CCW. Promenade solo around in the circle until the change signal is given, and then take ballroom position with nearest person in the opposite circle and do part 1 again.

 Video of Version 2 on the web


Other notes on the web for version 2


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Sunday, August 5, 2018

August 05, 2018

Magyar Csárdás és Verbunk (Hungary)

Magyar Csárdás és Verbunk
Magyar Csárdás II
Hungary


These notes ©2016, Andrew Carnie. Originally taught by Csaba Pálfi. This is one of two versions of this dance taught by Csaba Pálfi, as such it is commonly known as "Magyar Csárdás II". This version has three parts, a multipart couple csardas, a men's solo verbunk and women's circle dance, followed by a fast couple dance. The couple dance parts of this suite when taken together without the Verbunk are known as Magyar Csárdás I.


Music: Folkraft LP28 (Hungarian Dances - Csaba Pálfi). The version without the verbunk is on LP29
Meter: Couple Csárdás 4/4 and 2/4: Verbunk & Women's circle (Karikázó): 4/4. Fast Couple Csárdás: 2/4
Formation: Women start facing a man in Shoulder, shoulder waist position.
Introduction: none

Couple Csárdás Part 1

meter: 4/4

Bar 1: Man drops L hand, Woman drops both hands, and man pushes woman at waist into a spin. Woman spins CW with 4 walking steps R (1), L (2), R (3), L (4), raising hands above head end facing partner. Meanwhile man does a Double Csardas step to own R  (Step R to R (1), Close L next to R with weight (2), Step R to R (3), Close L next to R, *with* weight (4)). M's hands are on his hips.
Bar 2: With women tracing an inside circle with respect to just their partner and M tracing an outside circle, everyone does a double csardas to the R: Step R to R (1), Close L next to R (2), step R to R (3), Touch L next to R (4).
Bar 3:  Everyone does a double csardas to the L. End in shoulder-shoulder waist position.
Bars 4-12: repeat bars 1-3, three more times, end with weight on R
Bar 13: Staying in shoulder-shoulder waist position, Upbeat rida step: Step L to L (1), Cross R over L (2), Step L to L (3), Cross R over L (4).
Bar 14: repeat bar 13
Bar 15: Lippentős step: Raise up on ball of R foot, while kicking L foot across R (1), step on L across in front of R (2), Close R next to L, while rising up on the balls of both feet with straight knees, pivot body to face CCW (3), lower heels down (4).
Bars 16-24: repeat bars 13-15, three more times.

(In the Rochester video, they don't do the sequence of 13-15 4 times, however that is the sequence listed in Palfi's notes, so that's what I describe here. In the Rochester video, they do bars 13-15 as listed, then for bar 16, they repeat bar 15 with opposite footwork, then bar 17, is the same as bar 15, Then they do the sequence in bars 13-15, two more times.)

Couple Csárdás Part 2

Meter: 2/4 
Running Cifra step:  Step R (1), L (&), R (2), and then the opposite footwork. 
Formation: Side by side, holding M's R and W's L hand down. 

Bar 1: Using one running cifra, starting R foot (for everyone), dance forward, swinging joined hands forward.
Bar 2: Do a running cifra backwards on L, swinging arms back. 
Bars 3-4: Man dances 2 cifra steps in place, while W turns CW (start turning away from partner) under their joined hands to end facing partner
Bars 5-6: M dances forward CW, while W turns CCW under joined hands (start turning towards partner), both using 2 running cifra steps
Bars 7-8: W dances in place while man dances around to face her. [Palfi's notes say to spin CW two steps in shoulder-shoulder waist position]
Bars 9-12: Using 4 cifra steps, with M holding W's R hand in his L, W dances CW around partner. Man just does steps in place.
Bars 13-14: In shoulder-shoulder waist position, the couple turns CW with two cifra steps. 
Bar 15: With M holding W's R hand in his L, woman makes a complete CW turn under their joined hands with one cifra step
Bar 16: With one more cifra step in place switch hands so holding M's R, W's L. 
Bars 17-32: repeat bars 1-16. 

In the Rochester video the sequence is slightly different than what is described by Palfi. 

Bars 1-8: do bars 9-16 as described above.
Bars 9-16: do bars 1-8 as described above
Bars 17-32: Dancers can repeat the above, or they can improvise other turns and swings. 

Men's Verbunk Part 1:

Men are in a circle equally spaced, not holding handing. L hand is on L hip, R hand is free
Bar 1: Moving and facing LOD, step  R (1,2), L (3,4)
Bar 2: Turning to face center, click R against L taking weight, L goes slightly out to side (1,2), Click L against R, also taking weight (3,4)
Bar 3: Repeat bar 1
Bar 4: Facing center, click R against L with weight, clap hands as if hitting cymbals (1), click L against L with weight, clap again (2), Click R against L again, clap again (3), fall onto L lifting R knee in front (4)
Bar 5:  Facing center, Leap on R heel to R (1), Step on L behind R (&), step on R heel to R (2), Click L foot next to R, NO weight (3), fall onto L, lifting R knee in front (4)
Bar 6:  Repeat bar 5
Bar 7:  Repeat bar 5
Bar 8: Leap on R to R, lifting L up so you can slap L boot top with R hand (1),  Leap on L to L, lifting R and slap boot top with L hand (2), jump on both feet together, snapping fingers of R hand (3), pause (4)

Men's Verbunk Part 2:

Bar 1: Raise R Leg and slap boot top (1), step backwards away from center on R (2), step on L next to R (3), step forward into the center on R (4)
Bar 2: Step forward into the center on L (1), stamp R with no weight (2), Lift R up and hit R boot top with R hand (3), step on R next to L (8)
Bar 3: Lift L leg up and slap boot top with L hand (1) Step on L next to R (2), Lift R leg up and slap boot top with R hand (3), step on R backwards (4)
Bar 4: Step on L next to R (1), Step R forward into the center (2), Step L forward (3) and stamp R next to L (4)
Bar 5: Turning to face LOD, leap onto R, R arm comes up high (1), Click L next to R, no weight (2), Click two heels together  (3), pause.
Bar 6: repeat bar 5 with opposite footwork facing center, L arm is raised instead of R
Bar 7: repeat bar 5
Bar 8: Leap on R to R, lifting L up so you can slap L boot top with R hand (1),  Leap on L to L, lifting R and slap boot top with L hand (2), jump on both feet together, snapping fingers of R hand (3), pause (4)

Men's Verbunk Part 3

Hands are free on this step (i.e. loose and out to side)
Bar 1: Step on R foot, brushing L forward [Note this is different from what Palfi's notes say, but it's what is done in both of the videos below] (1), hop on R, bringing L up and around to back (&), Step on L behind R (2),  Step on R to R, turning lower half of body to face LOD, and bring L knee, close up to R knee bent (3), Hop on R, kicking L forward low (4)
Bar 2: Leap on L to L (1), cross R foot over L (2), Rock back in place on L (&), jump on both feet at shoulder width (3), Close feet together with a click (4)
Bars 3-4: repeat bars 1-2
Bar 5:  Lift R leg up and slap boot top with R hand (1), step on R next to L (2), Lift L leg up and slap boot top with L hand (4), Step on L next to R (4)
Bar 6: Raise R Leg and slap boot top (1), step backwards away from center on R (2), step on L next to R (3), step forward into the center on R (4)
Bar 7: Step forward into the center on L (1), stamp R with no weight (2), Lift R up and hit R boot top with R hand (3), step on R next to L (8)
Bar 8: Lift L leg up and slap boot top with L hand (1) Step on L next to R (2), Lift R leg up and slap boot top with R hand (3), pause (4)

Men's Verbunk Part 4

Bar 1:  Facing center, Leap on R heel to R (1), Step on L behind R (&), step on R heel to R (2), Click L foot next to R, NO weight (3), fall onto L, lifting R knee in front (4)
Bars 2-4: repeat bar 1 3 more times
Bar 5:  Lift R leg up and slap boot top with R hand (1), step on R next to L (2), Lift L leg up and slap boot top with L hand (4), Step on L next to R (4)
Bar 6: Raise R Leg and slap boot top (1), step backwards away from center on R (2), step on L next to R (3), step forward into the center on R (4)
Bar 7: Step forward into the center on L (1), stamp R with no weight (2), Lift R up and hit R boot top with R hand (3), step on R next to L (8)
Bar 8: Leap on R to R, lifting L up so you can slap L boot top with R hand (1),  Leap on L to L, lifting R and slap boot top with L hand (2), jump on both feet together, snapping fingers of R hand (3), pause (4)

Women's Circle Csardas - Karikázó (done during Men's Verbunk)

Bar 1:  Hands on hips, moving towards the center, step  R (1), touch L next to R (2), Step L (3), Touch R next to L (4)
Bars 2-4: repeat bar 1, three more times forming a circle with a back basket hold.
Bar 5: Slow Downbeat rida step: Cross R over L (1), step on L to L (2), Cross R over L (3), Step on L to L (4)
Bar 6: repeat bar 5
Bar 7: Fast Downbeat rida Step: Cross R over L (1), Step on L to L (&), Cross R over L (2), Step L to L (&), Cross R over L (3), Step on L to L (&), Cross R over L (4), Step on L to L (&)
Bar 8: Repeat bar 7, except omit the final & count. (end with crossing R over L, and pause on the & count)
Bar 9: Step on L to L (1) Touch R next to L (2), Step on R to R (3), Touch L next to R (4)
Bars 10-12: repeat bar 9, three more times.
Bars 13-16: repeat bars 5-8, but with opposite footwork and direction.
Bars 17-20: repeat bars 9-12 with opposite footwork and direction
Bars 21-24: repeat bars 5-8
Bars 24-32: repeat bars 9-16

Couple Fast Csárdás

In Palfi's notes, this part of the dance is described as "Part C, I, II" of the Magyar Csárdás.  His Parts A1, Part AII (which I call Couple Csárdás Part 1) and Part B I, II  (which I call Couple Csárdás Part 3) are described above the Verbunk.

In the Rochester video below they play with the sequence here for staging purposes, but this is the basic step that underlies their variations.

Meter: 2/4

Up-beat Rida step: Step on ball of L to L (1), Cross R over L, with a bent knee (2)

Bars 1-4: With women's hands on M's shoulderns, Man's R hand on Woman's lower back and L hand on W's R shoulder blade (i.e. "turn position"), use four rida steps to turn CW around partner.
Bars 5-6: With 2 upbeat rida steps, M takes Woman's R hand in his left and turns her CW under joined hands.
Bars 7-8: Using same footwork, Woman turns CCW under joined hands (M's L, W's R)
Bars 9-56: repeat bars 1-8, 6 more times. i.e. 7 in total.

Sequence:

1) Couple Csárdás part 1
2) Couple Csárdás part 2
3) Mens' verbunk parts 1-4 done on the outside of the circle, while women do circle csárdás (Karikázó) in the center.
3) Couple Fast Csárdás

Boston TNR Video

Men's solo only.


Other videos on the web:

This is the complete dance. The video was recorded in 1972 in Rochester I think. 


Sheet Music

Other Sources:

  • Printed syllabus from University of Rochester, written by Csaba Palfi
Also spelled: Csardas, es,
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Friday, July 13, 2018

July 13, 2018

Draculeţii (Romania)

Draculeţii
Romania


These notes ©2018, Andrew Carnie. Originally taught by Theodor Vasilescu and Costo Constantine, but taught by Nico Hilferink in the US on his 1992 tour. The title translates as "Little Devil" and the dance is from Ilfov in Muntenia

Music: Hilferink Tape Purple Cover
Meter: 2/4
Formation: Couple facing another couple. M is on the L, in skater's position
Introduction: none

Part 1: Do si do

Bar 1: Step on L foot forward towards other couple (1), Hop on L (2)
Bar 2: Step R to R (1), Close L next to R (2)
Bar 3: Step on R to R (1), Hop on R 
Bar 4: Step on L forward (1), Hop on L, swinging R across (2)
Bar 5: Passing back to back with other couple, Step R across L (1), Step L to L (&), Cross R over L (2)
Bar 6: Step backwards on L (1) (having passed back to back you're now returning to place), hop on L (2)
Bar 7: Step R (1), L (2) backing up to original place
Bar 8: Step on R (1, 2)
Bars 9-16: repeat bars 1-8

Part 2: Crossing 

Bar 1: Step on L in place, lifting R heel up to side (1,2)
Bar 2: Cross R foot over L (1), Step on L in place (2)
Bar 3: Step on R to Side (1), Step on L in place (2)
Bar 4: repeat bar 2
Bar 5: repeat bar 3
Bar 6: repeat bar 2
Bar 7: Step on R in place (1), hop on R (2)
Bar 8: Step on L in place (1,2)
Bars 9-16: repeat bars 1-8 with opposite footwork

Part 3: Reels

Bar 1: backing up slightly, step on L backwards (1), hop on L lifting R up low (2)
Bar 2: repeat bar 1 with opposite footwork
Bar 3: repeat bar 1
Bar 4: Cross R foot over L (1), Step on L in place (2)
Bar 5: Step on R to Side (1), Step on L in place (2)
Bar 6: Repeat bar 4
Bar 7: Run R (1), L (2) forwards towards other couple
Bar 8: Run R forward towards other couple (1), hop on R (1)
Bars 9-16: repeat bars 1-8

repeat the dance from the beginning

Other notes on the web:

John Chu's 1992 Tucson Video



Also spelled:  Draculeti
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Thursday, July 12, 2018

July 12, 2018

Military Two Step (Scotland)

Military Two Step
Scotland

These notes ©2018, Andrew Carnie. Originally choreographed by James Finnigan.

Music:


Meter: 2/4 March (or 6/8 march counted as (123)(456))
Formation: Couples around the room in promenade or skaters hold, facing LOD (CCW), M on the L, W on the R.
Introduction: Depends upon the music, but often 4 bars no action or a chord.

Bar 1: Touch outside heel forward (1), touch outside toe next to inside foot (2)
Bar 2: repeat bar 1
Bar 3: Walk O (1), I (2) forward in LOD
Bar 4: Walk O (1), pivot inwards to face RLOD (CW) (2)
Bars 5-8: repeat bars 1-4 with opposite footwork back in RLOD
Bar 9: Face partner, holding 2 hands. Jump on both feet together (1), kick L foot diagonally across to R (2)
Bar 10: repeat bar 9 with opposite footwork
Bar 11-12: Using 4 walking steps W turns CW under M's L, L's R joined hands
Bars 13-16: Take 4 polka steps around the room in LOD (turning)

Making the dance progressive/a mixer.

In bars 11-12, while turning under, women progress clockwise/forward to the next man.

Other Videos on the web

This first video cannot be embedded:
https://vimeo.com/89897896









Other instructions on the web



Other Sources


  • Anonymous (n.d.) Descriptions of Scottish Country Dances. ms.
  • Ewart, David and May (1996) Scottish Ceilidh Dancing. Mainstream Publishing
  • Knight, Peter (1996) Scottish Country Dancing: Collins Pocket Reference. Harper Collins Publisher
Also called: 2-step
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Friday, March 23, 2018

March 23, 2018

De-a Lungul (Romania)

De-a Lungul 
Romania


These notes ©2018, Andrew Carnie. Originally taught by Sunni Bloland.  The dance name translates as "Along the line", however it is a couple dance. It's the dance that started a suite of dances that Sunni observed in Tirgu Mures in Central Transylvania. When Sunni observed it, it was only done by older people.

Music:
Meter: 3/4
Formation:  Couples, facing LOD, standing side by side with M on the L, hands down in V position.

Introduction:

Bars 1-8: Starting with the outside foot (M's L, W's R), take 24 walking steps in LOD, joined hands swing back and forward loosely. On the last two steps turn to face partner, joined hands swing up to W position

Part 1: inside hands

Bar 1: Sway onto outside foot in LOD, Body leans towards LOD and joined hands swing down to be parallel to the floor (1), Sway back on inside in RLOD, arm swings back up to W position, body straightens (2), close outside next to inside (3)
Bar 2: Facing LOD step O forward in LOD, swing joined hands down to V position (1), Step on inside foot forward in LOD, joined hands come up (2), Close O next to I with weight, turning to face each other, joined hands go out to side and The other hand comes up to hold around the shoulders. This is essentially a reversed ballroom position, where the W has her hands in the traditional "leader's" ballroom position.
Bar 3: Sway on the inside foot in RLOD (1), Sway on the outside foot in LOD (2), Close inside foot next to outside, no weight (3)
Bar 4: Step inside in RLOD (1), Step outside in RLOD (2), Step on Inside in LOD, switching hands back to original W position (3), close outside foot next to inside no weight (&)
Bars 5-8: repeat bars 1-4, except on last count end in Varsouvienne position. W also takes weight on R on last (&) count, so that L foot is free.

Part 2: Varsouvienne

Bar 1: Facing LOD in Varsouvienne position, everyone step Rock forward on L (1), Rock back on R in place (2), close L next to R, no weight.
Bar 2: Walk L (1), R (2), L (3) forward in LOD.
Bar 3: Retaining both hands, the woman circles CCW around the man, Starting with R foot and stepping R (1), L (2) R (3); The man steps on R to R (1), Crosses L over R (2), Cross L over R (3).
Bar 4: Still retaining both hands, woman steps L towards outside of the circle (1), step on R making a complete CW turn, hands over the head (2), Close L next to R ending in varsouvienne position, no weight (3)
Bars 5-8: repeat bars 1-4.

Part 3: L hands

Bars 1-8: repeat bars 1-8 of part 2, except holding only L hand in L hand during bars 3-4 and 7-8 instead of varsouvienne position.

Part 4: R hands

Bars 1-2 Repeat bars 1-2 of Part 2
Bar 3: Drop L hand with partner, W pulls R shoulder back and starts to circle CW around the back of the man stepping R, L R (123), M steps forward on R (1), Crosses L over R (2), and steps back on R (3)
Bar 4: Still holding R hands, Woman steps CW in front of man with L foot (1), then steps on R heel doing a pivot CW completely around (2), Close L next to R no weight, ending in varsouvienne position (3)

Part 5: Man's Slap

Bar 1: repeat bar 1 of part 2
Bar 2: Retaining L hand, Woman crosses in front of the man, stepping  LRL, ending facing RLOD; Man steps LRL traveling to the outside of the circle, still facing LOD.
Bar 3: W pauses in place for 3 counts. M bends knees (1), then Kicks R leg up, slapping R shin with R hand, while hopping on L (2), Hold (3), step on R next to L (&)
Bar 4: M step L to L (1), Cross R in front of L (2), Close L next to R (3); while W crosses in front of man stepping L (1), R (2) and close L next to R (3)
Bars 5-8: repeat bars 1-4

Part 6: Women turns, then Man Slaps

Bar 1: repeat bar 1 of part 2
Bar 2: Retaining L hands, Woman steps LR (12), making either 1 1/2 or 2 1/2 CCW heel pivot turns crossing in front of Man, close L next to R no weight, ending facing RLOD ; M steps L backwards (1), Step R next to L (2), cross L over R (3)
Bar 3: Sunni's notes to do the following: W pauses in place for 3 counts. M kicks R foot high, slapping R shin (1), Step back on R, snapping R fingers (2), Step on L next to R, snap fingers again (3); In tucson, we do bar 3 as in part 5. 
Bar 4: M crosses R over L  (1), step L to L (2), Close R next to L (3); Woman steps L in front of M (1), then does a 1 1/2 CCW pivot heel  turn under M's L hand, stepping R (2), Close L next to R, no weight, ending in varsouvienne position (3)
Bars 5-8: repeat bars 1-4

Part 7: Jump clicks

Bar 1: repeat bar 1 of part 2
Bar 2: Step forward L (1), R (2) in LOD. Retaining varsouvienne position and pivoting in own place, step L turning CW 1/2 way to face RLOD (3)
Bar 3: M bounce on both feet three times (1, &, 2), jump in the air, clicking heels together (&), land on both feet (3). Woman just pause in place.
Bar 4: Step R (1), L (2) forward in RLOD. Then pivot on L CCW (&), Step forward in LOD on R (3)
Bars 5-8: repeat bars 1-4

Ending: 

Sunni's original results had the dancers repeating bars 1-4 of part 1 4 times through.
In tucson we do bars 1-4 of each of part 2, part 3, part 4, part 6.

Other notes on the web

Tucson Videos






Other Videos on the web




Lyrics

From: http://www.dunav.org.il/lyrics/de_a_lungul_lyrics.pdf

Mindra mea de la Ciubud, trala la la la la la la la la,
Multe vorbe-n sat se-aud, trala la la la la la la la la,
Spune lumea pe la noi, trala la la la la la la la la,
Ca fac seara drum pe voi, ma, trala la la la la la la la la.

Spune lumea bat-o-vina, trala la la la la la la la la,
C-ar fi ochii tai pricina, trala la la la la la la la la,
Ochii tai ca doua mure, trala la la la la la la la la,
Inima vor sa mi-o fure, trala la la la la la la la la.

Dar eu lumii-n ciuda-i fac, trala la la la la la la la la,
Cind le spun ca ochii-mi plac, trala la la la la la la la la,
S-oi veni mai des la voi, trala la la la la la la la la,
Sa-ti dau mindra buze moi, mai, trala la la la la la la la la,
Si-am sa te cer de mireasa, trala la la la la la la la la,
Mindra mea floare aleasa, trala la la la la la la la la.

My sweetheart from Ciubud,
Rumors are flying in the village,
The world is saying that I keep going too often,
In the evening to your place.

People are saying, God bless them,
That your eyes may be the reason,
Your blackberry eyes,
Want to steal my heart.

But to spite them,
I keep telling them I like your eyes,
I will come to visit you more often,
To kiss you, my sweetheart, with my soft lips,
And I will ask you to be my bride,
My sweetheart, my chosen flower.

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Saturday, February 17, 2018

February 17, 2018

Ivushki - Ивушки (Russia)

Ivushki
Ивушки
Russia

These notes ©2018, Andrew Carnie, based on the teaching of Tineke and Maurits van Geel at a workshop in Tucson Arizona, January 30 and 31, 2018. The dance was choreographed by Maurits van Geel based on traditional steps and styling he researched in preparing a suite of dances for the International Dance Theatre in the Netherlands. The title translates as "The Little Willow Tree". The van Geels spell this dance the Dutch way: Iwushki.

Music: Bratsch "Ivouchki": https://youtu.be/2GRldb7JDc8
Meter: 4/4
Formation: The original choreography is done as couples, but it can also be done as a simple circle. The dance starts as a circle, with the W on the R. No hand hold. Hands are out to sides.
Introduction: Start with singing

Bar 1: Step on R into the center turning to face RLOD (1) Touch L next to R (2), Step back on L, turning to face LOD (3), Touch R next to L (4)
Bar 2: Step R (1), L (2) in LOD. Then facing center step on R to R, with a bent knee (3), step back on L behind R (4), Cross R over L (&).  [Counts 3, 4, &) are like a yemenite but with SQQ rhythm]
Bars 3-4: repeat bars 1-2 with opposite footwork and direction.
Bar 5: Facing center, step on R to R, extending L to L (1,2) Step on L behind R (&), Step on ball of R to R (3). Cross L over R (&). Step on Ball of R to R (4). Cross L over R (&)
Bar 6: Step on R to R, turning body to slightly face RLOD (1), touch L next to R (2), Step on L to face slightly LOD (3), Touch R next to L (4)
Bars 7-8: repeat bars 5-6
Bars 9-12: Turn to face partner, repeat bars 5-8, but Circling around partner CCW, face to face. If not doing as couples, then just repeat bars 5-8.

First time through the dance:
Bar 13: Getting close to partner, take 4 walking steps around partner back to original places. If not doing as couples. then repeat bars 6

Second time through the dance:
Bars 13-14: Take 8 walking steps tracing a slow circle around partner back to original places. If not doing couples, then repeat bar 6 twice.

Third time through the dance, there are no extra bars, so just go straight back to the beginning of the dance after bar 12.

Fourth time through, the music slows down during bars 11 and 12, just slow down with it. and end looking at your partner.

Tucson Video


Lyrics

Taken from the van Geel's typewritten notes
Ivushki vi ivushki,
derevtsa zeljonie,
Shto zhe wi nadelali-i-i devlale vsju semju razvejali
Shto zhe wi nadelali-i-i devlale vsju semju razvejali
Oe vysokova kriltsa Powstrachala sokola
Vstratila powerila devlale
Na ljubov otvetila-a-a 


Little willow, you little willow green trees
what have you done
my whole family expelled what have you done
my whole family expelled near a high stoop
you met your young fellow met and believed
and answered love

Other Sources.

  • van Geel, Tineke and Maurits (2018) Data DVD including dance notes, video and music. 
Also spelled: Iwuski, Ivouchki, Ivuški

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Saturday, February 3, 2018

February 03, 2018

Te Haerlem in den Houte (The Netherlands)

Te Haerlem in den Houte
The Netherlands


These notes ©2017, Andrew Carnie based on the teaching of Maurits and Tineke van Geel at a workshop in Tucson Arizona. The dance was choreographed by Elsche Korf. The title translates as "In the woods of Haarlem". The song is from the 17th century (Thysius Lute book)

Music: https://youtu.be/zEEVD-ae1og (We-nun Henk)
Meter: 4/4
Formation: couples facing LOD, holding nearer hands up and forward. Man's R hand is up and W's is down, in M's R hand. W hold skirt with R hand. M puts L hand on small of back
Introduction: 6 bars (6 major pulses) after  the cello starts.

California Twirl:  The couple exchanges place, with W turning 1/2 way CCW under M's arm into M's position and M walks around W CW 1/2 way to end in W's position. You end facing the opposite direction, with M on the L.

Bar 1: Starting with outside foot (M's L, W's R), walk forward in LOD four steps
Bar 2: Using 4 walking steps, California twirl to end face RLOD (CW).
Bar 3: Walk forward in RLOD with 4 walking steps
Bar 4: Woman push off of man's hand and pulls R shoulder back (drop hands with partner) to loop back to next man with 4 walking steps. The man takes 4 walking steps forward in RLOD. Nod at your partner as you separate.
Bar 5: Using 4 walking steps, California twirl with new partner to face LOD.

At beginning of next bar, M reoffers his new partner his hand, facing up and nods at new partner. 

Repeat until the end of the music. 

For the first 2/3rds of the dance, both the dance and the music are in 5 bar phrases. However, at one point the musicians add in 2 bars of music, at that point the dance no longer fits the phrasing of the music. You just have to ignore the musical phrases and keep going with the dance.

Other notes on the web:

Tucson Video


Other sources

From Tineke and Maurits' typewritten notes


Te Haerlem in den Houte, keert de molenaar om.
Daar woont een meiske stoute.
Om en om en wederom, keert de molenaar om
Dat hoorde een der knapen, keert de molenaar om.
Die wou bij het meiske slapen.
Om en om en wederom, keert de molenaar om.
Dat mijn moeder dat wiste, keert de molenaar om. Zij sloot mij in een kiste.
Om en om en wederom, keert de molenaar om.
Men zal uw moeder schenken wijn, keert de molenaar om.
Zij zal zo wel tevreden zijn.
Om en om en wederom, keert de molenaar om.
Men zal uw moeder schenken wijn, keert de molenaar om.
Zij zal zo wel tevreden zijn.
Om en om en wederom, keert de molenaar om. 
n the woods of Haarlem,
the miller turns around and around.
There lives a naughty girl
Turn around and around and again, the miller turns
That was heard by one of the boys,
the miller turns around and around.
Who wanted to sleep with the girl
Turn around and around and again, the miller turns
My mother knew about this, the miller turns a.and a. She locked me in a box
Turn around and around and again, the miller turns
One will pour your mother wine, the miller turns
She will be satisfied
Turn around and around and again, the miller turns
One will poor your mother wine, the miller turns
She will be satisfied
Turn around and around and again, the miller turns 

Also spelled: Haarlem, Houten


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Sunday, July 2, 2017

July 02, 2017

Bourée Pastourelle - La Pastourelle de Saint Gaultier (France)

Bourée Pastourelle
La Pastourelle de Saint Gaultier
France


These notes ©2017, Andrew Carnie. Originally taught in the US by Louise and Germain Hebert, who learned it from from Pierre Panis and Paul Bouard in the 1960s.

This dance is from Poulingy-Notre Dame in Lower Berry.

Music: Rhythme 4002; Barclay 820138; Echos de L'hexigon
Meter: 3/8
Formation: Circle of 6-10 couples. start with M on L, all facing into the center. No hands
Introduction: Depends upon the recording.

Part 1: Avant Deux

Bars 1-2: Men advance into the center with two Bourée steps (W: RLR, LRL; M: LRL, RLR), women stand in place
Bars 3-4: Women advance into the center with two Bourée steps, while M back out of the center with two Bouree steps
Bars 5-6: Repeat bars 3-4, with M advancing and W retiring.
Bars 7-8: Repeat bars 3-4
Bars 9-10: Repeat bars 5-6
Bars 11-12: Repeat bars 3-4
Bars 13-14:Repeat bars 5-6
Bars 15-16: Repeat bars 3-4, except W makes a 1/2 CCW turn (pull L shoulder back) to end with backs to the center.

Part 2: Chaine (Grand R & L)

Bars 1-2: Take R hands with partner and exchange places with two bourée steps extending to full length of the arm on bar 2
Bars 3-4: Take L hand with next and exchanges places with two bourree steps as in bars 1-2.
Bars 5-8: Repeat bars 1-4
Bars 9-16: Repeat bars 1-8

Part 3: Avant Deux- Shoulders

Bars 1-4:  Using 4 bourée steps advance towards next partner touching R shoulders and retire back.
Bars 5-8:  Repeat bars 1-4, except touch L shoulder's with partner
Bars 9-16: Repeat bars 1-8

Part 4: Souricière (Mouse trap)

Throughout this part woman does bourée steps in place, except in bars 13-16
Bars 1-4: M dances around current partner, staring by passing L shoulders and dancing CCW around her and in front of her onto the next woman CCW.
Bars 5-8: Repeat Bars 1-4 with next woman
Bars 9-12: Repeat Bars 1-4 with next woman but end facing out of the center with this third woman on your L.  Grab M's L and W's R hands, down
Bars 13-14: M dance forward and W back up, turning as a couple in a CCW direction 1/2 way to end facing in.

Part 5: Avant deux - all in

Bars 1-4, everyone advance into the circle with two bourée steps, and then back out for two bourée steps.
Bars 5-8: repeat bars 1-4
Bars 9-12: repeat bars 1-4
Bars 13-14: repeat bars 1-2
Bars 15-16: W turn under M's R CCW to end on the outside, M turn a 1/2 to face out.

Part 6: Pastourelle

Bars 1-2: Women take R hand in R hand with next man CW around the ring. Swing hands to M's R, W's Left, then R, while doing basic bourée steps in place.
Bars 3-4: Woman turns under joined hands CCW, while man directs her to his R. Woman pulls R shoudler back to start
Bars 5-8: Repeat bars 1-4 with the next man in CW direction
Bars 9-12: Repeat bars 1-4 with the next man in CW direction
Bars 13-14: Repeat bars 1-2 with the next man in CW direction
Bars 15-16: Women repeat bars 3-4, but men dance out and turn a 1/2 turn CW to face out in a single circle.

repeat entire dance from the beginning
Depending upon the recording, there may be enough music to do a promenade with partner (M on the inside holding hands with partner). W can do a CW turn under M's arm during this promenade. If performing on stage, if each couple does this in turn it has a nice effect. You can also use this figure to exit from the stage.

Tucson Video


Other notes on the web

Other videos on the web







Other sources

  • Casey, Betty (1981) International Folk Dancing USA. Doubleday and Company
  • Stockton Folk Dance camp (2002) VHS video
  • Society for International Folk Dancing (1966). A Selection of European Folk Dances Vol 3: Pergamon Press

Sheet Music


Also called:Bouree
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Wednesday, May 31, 2017

May 31, 2017

Hagan Habil'adi - הגן הבלעדי (Israel)

Hagan Habil'adi 
 הגן הבלעדי
Israel


These notes ©2017, Andrew Carnie. Choreographed by Marco Ben Shimon as a couple dance. Taught in the US by Ira Weisburd as a circle dance based on Ben Shimon's choreography. "The secret garden".

Music: Chava Alberstein Sweet sorrow
Lyrics: Rachel Shapira
Meter: 4/4
Formation: Circle, hands down in V position OR Couples, facing LOD
Introduction: Start with the "La la la las"
Israelidances.com entry: http://israelidances.com/dance_details.asp?DanceID=4890

Circle Dance Version - Ira's Edited Music

Part 1

Bar 1: Facing center, step R (1), L (2), R (3) into the center.  Rock back onto L (4). arms come up and forward.
Bar 2: Facing center, step R (1), L (2), R (3) backing out of the center. Rock forward onto the L (4), arms go back down to V position.
Bars 3-4: Repeat bars 1-2
Bar 5: Drop hands and turn to face LOD. Step R (1), L (2), R (3), turning to face slightly out as you move forward in LOD.  Snap fingers crossed in front of chest (4)
Bar 6: repeat bar 5, with opposite footwork, but turning to face slightly in.
Bars 7-8: repeat bars 5-6
Bars 9-16: repeat bars 1-8
Bars 17-18: repeat bars 1-2 (one extra in and out at the end)

Part 2

Bar 1: Retake hands in V position, but face slightly R of center. Walk forward in LOD: R (1), L (2), R (3). Brush L foot forward (4)
Bar 2: repeat bar 1 with opposite footwork
Bar 3: Facing center, step on R to R (LOD) (1), Cross L in front of R (2), Step on R to R (3), Step on L behind R (4)
Bar 4: Traveling in LOD, make a complete CW turn, stepping R (1), L (2), R (3), L (4)
Bars 5-8: repeat bars 1-4

Part 3

Bar 1: Not holding hands, facing center, step on R to R, arms go out to the sides low (1), pause (2), Step on L behind R, cross hands in front of body and snap (3), Step on R in place (4)
Bar 2: Repeat bar 1 with opposite footwork and direction
Bar 3: Step on R into the center, putting R hand forward (1,2). Turning CCW, pull L shoulder back and step on L out of the center facing out, lead with L hand forward (3,4)
Bar 4: repeat bar 3, continuing to turn CCW, end facing in.
Bars 5-8: repeat bars 1-4

Bridge

Bar 1: Sway on R to R, arms swing to the R low in front of body (1,2). Sway to the L on the L, arms swing to the L low (3,4)
Bar 2: Facing center, step on R to R, arms swing low to R (1), close L next to R, arms swing up and over to the L (2), Step on R to R (3), Pause (4)
Bars 3-4: repeat bars 1-2.

repeat entire dance from the beginning 2 more times
Repeat Part 1 one more time all the way through, then repeat bars 17-18 one more time to end. 

Circle Dance Version - Original Music:

This is how to make the dance fit the original arrangement as played by Chava Albertstein

Start part 1 with the "la la la las", do as written above.
Do Part 2 as written above
Do Part 3 as written above
Do Bridge as written above
Extra: Do two slow steps in LOD R (1,2), L (3,4)
Do Parts 2-3 and bridge as above, along with the extra steps, skipping part 1
Do Part 1, but do only bars 9-18.
Do Parts 2, 3, and bridge and extra step
Do Part 1
Add in an extra repeat of bar 17-18.

Couple Dance Version

Formation: Couples in a circle facing each other, men in the center. Holding both hands.
Introduction: Start with singing
Music: Note that this is done to a different arrangement of the music than the circle dance version.

Part 1

Bar 1: Starting with Inside foot (M's R W's L), Yemenite (Sway I in RLOD (1), Sway O in LOD (2), Cross I over O in LOD (3)). Tap O foot next to I (4)
Bar 2: Facing LOD and holding nearer hands, do a backwards yemenite with O foot (1,2,3), lift I foot up pivoting to face own O direction (4)
Bar 3: Do a Grapevine I, O, I, O to M's L and W's R
Bar 4: Do a 4 step turn. W turns CCW and M turns CW, back to partner.
Bars 5-8: repeat bars 1-4

Part 2

Bar 1: Take 4 walking steps forward in LOD, holding nearer hands with partner.
Bar 2: With M crossing behind partner and W crossing in front of M. Step on I to I (1,2), and Cross O over I (3,4)
Bar 3: Do a 3/4 turn in place with 4 steps (I, O, I, O). M turns CW. W turns CCW. End facing partner (at a distance)
Bar 4: Take 4 walking steps towards partner, extending M's L and W's R hand, W dances under M's R (i.e. a California Twirl), end by turning towards each other to face LOD again, taking M's R and W's L down.
Bars 5-8: repeat bars 1-4

Part 3

Bar 1: Moving forward in LOD, step I (1). Touch O next to I (2). Step forward O (3).Touch I next to I (4)
Bar 2: While still moving forward in LOD, make a complete turn, stepping I, O, I, O. Man turns CW, W turns CCW.
Bars 3-4: repeat bars 1-2

Part 4

Bar 1: Facing partner, take both hands, cross I over O (1) Step back in place on O (2). Step on I in RLOD (3), Cross O over I in RLOD (4)
Bar 2: Retaining both hands, M turns 1/4 to face LOD. W makes a 3/4 CW turn (to get there M raises his L, W's R in the air and lowers M's R, L's L, W turns under M's L arm. Use 4 steps (IOIO) to do this. End with M facing LOD, W facing RLOD. I hand is behind W's back. O hand is in held high above M's head.
Bar 3: M rocks forward in LOD on I foot, W rocks back on I foot (1), Rock in the other direction on O foot (2). Take two steps I (3), O (4) in RLOD -- M backs up, W dances forward.
Bar 4: M rocks back, W rocks forward on I (1), M rocks forward (2). Drop I hand and take two steps I (towards outside of circle) (3), O (towards inside of circle) (4), turning to face center of circle. Switch hands, so that M's R is in L's L.
Bar 5: Take 3 steps into the center (IOI)(1,2,3), turning towards each other to face out swing O foot around, switch hands.
Bar 6: Rock forward (away from center) on O (1), Rock back in place on I (2), Rock backwards (towards center) on O (3), Rock  forward in place on I (4)
Bars 7-8: repeat bars 5-6 with opposite footwork, except on the last two counts, the woman turns CCW under the M's R arm to end facing partner on the outside.

repeat dance from the beginning; the second time through the dance, you repeat Part 4 one extra time

Other videos on the web

Circle Dance Version










The original couple dance:

Lyrics:

From http://shironet.mako.co.il/artist?type=lyrics&lang=1&wrkid=8322&prfid=383&song_title=d3ad7

הגן הבלעדי


ויום אחד כשיתגלה הפתח הסודי,
ודאי נשמח ואז נברח לגן הבלעדי.
ושם נחיה, מה שאומרים - שירים של ערב חג,
וההיסטוריה תחייך ותנמנם בצד.

ממבטך המאוהב תציץ הסקרנות,
ושוב אני אמצא בך תבונה וגם תמימות.
כי בידך אתה תחביא מפתח לליבי,
ולא יהיה אהוב ממך בגן הבלעדי.

לעת ערביים נטייל בגן הבלעדי.
חיות רעות, מדוכאות, יאכלו מכף ידי.
ובידך אתה תחביא מפתח לליבי,
ולא יהיה אהוב ממך בגן הבלעדי.

from the youtube video
Veyom echad k'sheyitgaleh hapetach hasodi,
vadai nis'mach ve'az nivrach lagan habil'adi.
Vesham nichyeh, mah she'omrim 
shirim shel erev chag,
vehistoriah techayech vetenamnem batzad.

Mimabatcha hame'ohav tatzitz hasakranut,
veshuv ani emtza becah t'vunah vegam tmimut.
Ki beyadcha atah tach'bi mafte'ach lelibi,
ve'lo yihyeh ahuv mimcha bagan habil'adi.

Le'et arba'im netayel bagan habil'adi.
Chayot raot, meduka'ot, yochlu michaf yadi.
Uveyadcha atah tachbi mafte'ach lelibi,
ve'lo yiheyh ahuv mimcha bagan habil'adi.

And one day when the secret opening will be revealed
we'll surely rejoice and then run away to the exclusive garden.
And there we shal live, as they say -
songs of a festival eve,
and history will smile and doze off on the side.

From your loving smile the curiosity will bloom,
and again I'll find understanding and also simplicity.
Because in your hand, you hide the key to my heart,
and I'll have no lover other than you in the exclusive garden.

During dusk we'll hike in the exclusive garden.
Bad, depressed animals will eat from the palm of my hand.
And in your hand, you hide the key to my heart,
and I'll have no lover other than you in the exclusive garden.


Sheet Music

Also spelled: Habiladi
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Saturday, April 22, 2017

April 22, 2017

Joc Din Gânţaga (Romania)

Joc Din Gânţaga
Romania


These notes ©2017, Andrew Carnie. Originally taught by Sonia Dion and Cristian Florescu. I learned the dance from Nancy Bannister.  The dance is from Hunedoara in Transylvania.

Music: Sonia Dion and Cristian Florescu Romanian Realm 7 or 8
Meter: 2/4
Formation: Either of couples in a shoulder/shoulder blade hold or small circles in Shoulder hold.
Introduction: 8 bars no action

Part 1:

Bar 1: Facing slightly R of partner/center, step R to R (1), Cross L over R (2)
Bar 2: Step R in place (1), Step L next to R (&), Step R in place (2)
Bars 3-4: repeat bars 1-2 with opposite footwork and direction
Bars 5-8: repeat bars 1-4

Part 2:

Bar 1:Facing slightly R of partner/center, step R to R (1), Cross L over R (2)
Bar 2: repeat bar 1
Bar 3: repeat bar 1
Bar 4: Step R in place (1), Step L next to R (&), Step R in place (2)
Bars 5-8: repeat bars 1-4 with opposite footwork and direction.

Part 3:

Bar 1: Facing partner/center Step R in place (1), Step L next to R (&), Step R in place (2)
Bar 2: repeat bar 1 with opposite footwork
Bar 3: Step on R to R (1), Cross L over R (2), Step on R to R (&)
Bar 4: Cross L over R (1), Step on R to R (&), Cross L over R (2)
Bars 5-8: repeat bars 1-4
Bars 9-16: repeat bars 1-8

repeat dance from the beginning

Tucson Video

Below is the footwork for the dance, but note that the dance is supposed to be done in couples or small circles. 

Lyrics

Taken from Cristian and Sonia's Syllabus verbatum:


//Nevastă de când ne-am luat trai, la, lai, la, la 
Nici un lucru n-ai lucrat trai, la, lai, la, la // 
Că hainele-s nespălate lai, la, lai, la, la
Și cămașa-i ruptă-n spate lai, la, lai, la, la.

//Lasă-mă bărbate-n pace lai, la, lai, la, la 
Și mie necaz nu-mi face lai, la, lai, la, la// 
Că lumea ziua de-ntâi lai, la, lai, la, la
O ține pentru copii lai, la, lai, la, la.

//Iar marțea doamne ferește lai, la, lai, la, la 
Cine lucră bolnăvește lai, la, lai, la, la// 
Miercurile zile grele lai, la, lai, la, la
Și eu mă feresc de ele lai, la, lai, la, la.

//Joi cusu-i cu ață neagră lai, la, lai, la, la 
Și-am zăcut o vară-n treagă lai, la, lai, la, la// 
Vinerea nu coase nime lai, la, lai, la, la
Nici eu nu te cos pe tine lai, la, lai, la, la 
Sâmbăta-i ziua din urmă lai, la, lai, la, la
Nici de râs și nici de glumă lai, la, lai, la, la, la.

//My wife, since we’ve been married 
You haven’t done a single chore// 
No clothes are washed
And the back of my shirt is torn

//Leave me alone, husband
And don’t give me grief//
The first day (Monday)
Everyone reserves for making babies.

//And on Tuesday, oh my goodness! 
Whoever works falls ill//
And Wednesday is a difficult day 
And I avoid it.

//Thursday I sewed with black thread 
And was sick in bed all summer// 
On Friday, no one sews
And neither do I!
Saturday, the last day
No laughing, no funny business. 

Other sources

  • Dion, Sonia and Cristian Florescu (2017) Laguna Folk Dance Camp syllabus
Also spelled: Gantaga, Ganţaga, Gântaga
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