Fiorentina

USA/Italy

These notes ©2018, Andrew Carnie. I've been unable to dig up any information on who choreographed this dance. I think it's an American choreograph, but I am not sure The song is a popular Italian folk song

Music:
I have been unable to find the recording that Green Valley used in the video below. But there are several other versions of the song available on youtube and iTunes

• https://youtu.be/UCNOir2Sphc
• https://youtu.be/gpsDlwZ3OuY
• https://youtu.be/FFXpfn2Eih8
• https://youtu.be/FFPRM-5bFBg

Meter: 4/4
Formation: Individuals scattered around the room. This is a country western line dance.
Introduction: Wait through the instrumental introduction and then 3 up beats of the singing.

Bar 1: Touch R toe forward (1), Step on R next to L (2), Touch L toe forward (3), Step on L next to R (4)
Bar 2: Repeat bar 1
Bar 3: Step on R to R (1), Step on L behind R (2), Step on R to R (3), Step on L next to R (&), Step on R in place (4)
Bar 4: Repeat bar 3, with opposite footwork and direction
Bar 5: Traveling straight forward, Step R (1), L (&), R (2) and L (3), R (&), L (4)
Bar 6: Repeat bar 5 still moving forward
Bar 7: Pulling R shoulder back, make a complete CW turn in place, stepping R (1), L (2), R (3), L (4)
Bar 8: Backing up, step R (1), L (2), R (3), L (4)

repeat until the end of the music

Green Valley Arizona Video

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.

• F1457x45
• Folkdancer 1016
• Bost Album ES4
• Sonart Album M8
• Sonart M301
• Burns J551
• Folkdancer 1093
• Imperial 1004
• Imperial 1136
• Lloyd Shaw 118
• MacGregor 608
• Old Timer 8100
• https://youtu.be/IQgfFIZy_Fg
• https://youtu.be/t9JVCkUH-E0

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:

• http://www.sheetmusicdigital.com/digitalcollection.asp?ID=DAM0096242 (commercial site)
• https://www.penders.com/p-86807-chiapanecas.aspx (commercial site)
• https://www.sheetmusicplus.com/title/chiapanecas-mexican-clap-dance-digital-sheet-music/20414005

Children's song lyrics

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

Cumbia Tempested

USA/Venezuela

These notes ©2018, Andrew Carnie. Choreographed and taught by Ira Weisburd.

Music: Pastor López "Tempested"; also can be done to Despacito by Luis Fonsi
Meter: 2/4
Formation: Solo. (4 wall US line dance)
Introduction: start with singing

Bar 1: Rock forward on L (1), Rock back on R (&), Step on L next to R (2) (Mambo forward)
Bar 2: Rock backwards on R (1), Rock forward on L (&), Step on R next to L (2) (Mambo back)
Bars 3-4: repeat bars 1-2 (Mambo forwards and back)
Bar 5: Rock to L on L (1), Step on R in place (&), Step on L next to R (2) (Mambo L)
Bar 6: Rock to R on R (1), Step on L in place (&) Step on R next to L (2) (Mambo R)
Bars 7-8: repeat bars 5-6 (Mambo L and R)
Bar 9: Cross L over R (1), Step on R to R (&), Cross L over R (2), Step R to R (&) (Samba/Voltas R)
Bar 10: Cross L over R (1), Step on R to R (&), Cross L over R (2), (Samba/)
Bar 11: Cross R over L (1), Step on L to L (&), Step R back in place (2) (Sailor/Bota Foga)
Bar 12: Cross L over R (1), Step on R to R (&), Step on L back in place (2)(Sailor/Bota Foga)
Bars 13-16: repeat bars 9-12, with opposite footwork and direction, except on last count (a step on the R), make a 1/4 turn CW to face new wall.

repeat until the end of the music

Other videos on the web

Other sources

• Weisburd, Ira (n.d.) Electronic Cue sheet

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:

• http://www.libraryofdance.org/dances/paul-jones/
• http://www.kickery.com/2014/06/castles-paul-jones.html

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

• http://www.panix.com/~czslha/DanceSchedules/CeiliNotes/PaulJones.php
• https://www.dance-forums.com/threads/paul-jones.3204/
• http://vintageinamodernworld.blogspot.com/2011/05/all-latest-steps-paul-jones.html
• Google books

Pot of Gold (Hrycan Version)

Pota Óir

USA/Ireland

These notes ©2018, Andrew Carnie. There are a number of line dances choreographed to this music. See the "see also" section below. This is the version choreographed by Liam Hrycan and is the most widely done version in the line dance community. See the links below for Mr. Hrycan's step sheet.

Music:

Tokyo Polka/Ievan Polkka

USA/Finland/Japan

These notes ©2018, Andrew Carnie

Choreographed by Richard Powers to a Japanese re-recording of a traditional Finnish Polka. The dance fits the Japanese version by Hatsune Miku which uses nonsense syllables instead of the traditional Finnish words.

Music: Ievan Polkka,

The Japanese remastered music used by Powers, which uses Japanese nonsense syllables "Dap dap dap", rather than the traditional Finnish words by a "vocoloid" Hatsune Miku

• https://youtu.be/TXG3yICkJDA

• https://youtu.be/GiiCT3imk1c
• https://youtu.be/4om1rQKPijI
• https://youtu.be/1ygdAiDxKfI
• https://youtu.be/sx1vZJSDNHc
• https://youtu.be/uvygtD_2c_o
• https://youtu.be/VpAgslp8xew
• https://youtu.be/0i8VM_EooCs

Meter: 2/4
Formation: Solo dancers scattered around the room facing one wall.
Introduction: Start with singing.

Bar 1: Hop on R, touching L heel to diagonal L (1), Hop on R, touching L toe next to R instep.
Bar 2: Hop on R (&) Step L to diagonal L forward (1), close R next to L (&), Step L to L diagonal L  (2),
Bars 3-4: Repeat bars 1-2 with opposite footwork and direction
Bar 5: Cross L foot over R, L arm crosses over body (1), Rock back on R in place (2)
Bars 6-7: Using two polka steps (hop (&) L (1), R (&), L (2), hop (&) R (1), L (&), L (2)) Make a complete CCW turn, pulling R shoulder back, and dancing back behind your current position in an arc.
Bar 8: Rock back on L behind R (1), Rock forward on L (2)
Bar 9: repeat bar 5
Bar 10: Repeat the footwork of Bar 2, but travel to the L side instead of diagonally
Bars 11-12: repeat bars 9-10 with opposite footwork and direction
Bars 13-14: Traveling forward, use the footwork of bars 6-7, but not turning, leading first with the L shoulder (bar 13) and then the R (bar14)
Bar 15: Step on L foot forward, pushing off to pull R shoulder back and turn CW, 1/2 way (1), Step on R in place (2)
Bar 16: Step on L foot forward, pushing off to pull R shoulder back and turn CW, this time only a 1/4 way (1), step on R in place (2). You end facing a new wall, which was the L hand wall the first time through the dance.

Repeat the dance facing the new wall, etc. until the end of the music

Other instructions on the web

• http://www.folkdancecamp.org/assets/Tokyo-Polka-2011SFDC.pdf
• http://socialdance.stanford.edu/Syllabi/Tokyo_Polka.pdf
• http://www.folkdance.com/LDNotations/TokyoPolka2012LD.pdf

Other videos on the web

Original Finnish Lyrics

http://lyrics.wikia.com/wiki/Loituma:Ievan_Polkka/en

Nuapurista kuulu se polokan tahti
jalakani pohjii kutkutti.
Ievan äiti se tyttöösä vahti
vaan kyllähän Ieva sen jutkutti,
sillä ei meitä silloin kiellot haittaa
kun myö tanssimme laiasta laitaan.
Salivili hipput tupput täppyt
äppyt tipput hilijalleen.

Ievan suu oli vehnäsellä
ko immeiset onnee toevotti.
Peä oli märkänä jokaisella
ja viulu se vinku ja voevotti.
Ei tätä poikoo märkyys haittaa
sillon ko laskoo laiasta laitaan.
Salivili hipput tupput täppyt
äppyt tipput hilijalleen.

Ievan äiti se kammarissa
virsiä veisata huijjuutti,
kun tämä poika naapurissa
ämmän tyttöä nuijjuutti.
Eikä tätä poikoo ämmät haittaa
sillon ko laskoo laiasta laitaan.
Salivili hipput tupput täppyt
äppyt tipput hilijalleen.

Hilipati hilipati hilipati hillaa,
hilipati hilipati hilipampaa.
Jalituli jallaa talituli jallaa
tilitali tilitali tilitantaa.
Halituli jallaa tilituli tallaa
tilitili tilitili tilitili tallaa.
Halituli tilitali jallati jallan,
tilitali talitali helevantaa.

Rimpatirallaa ripirapirallaa
rumpatiruppa ripirampuu.
Jakkarittaa rippari lapalan
tulituli lallan tipiran tuu.
Jatsu tsappari dikkari dallan
tittari tillan titstan dullaa,
dipidapi dallaa ruppati rupiran
kurikan kukka ja kirikan kuu.
Ratsatsaa ja ripidabi dilla
beritstan dillan dellan doo.
A baribbattaa baribbariiba
ribiribi distan dellan doo.
Ja barillas dillan deia dooa
daba daba daba daba daba duvja vuu.
Baristal dillas dillan duu ba daga
daiga daida duu duu deiga dou.


Siellä oli lystiä soiton jäläkeen
sain minä kerran sytkyyttee.
Kottiin ko mäntii ni ämmä se riitelj
ja Ieva jo alako nyyhkyytteek.
Minä sanon Ievalle mitäpä se haittaa
laskemma vielähi laiasta laitaa.
Salivili hipput tupput täppyt
äppyt tipput hilijalleen.

Muorille sanon jotta tukkee suusi
en ruppee sun terveyttäs takkoomaa.
Terveenä peäset ku korjoot luusi
ja määt siitä murjuus makkoomaa.
Ei tätä poikoo hellyys haittaa
ko akkoja huhkii laiasta laitaan.
Salivili hipput tupput täppyt
äppyt tipput hilijalleen.

Sen minä sanon jotta purra pittää
ei mua niin voan nielasta.
Suat männä ite vaikka lännestä ittään
vaan minä en luovu Ievasta,
sillä ei tätä poikoo kainous haittaa
sillon ko tanssii laiasta laitaan.
Salivili hipput tupput täppyt
äppyt tipput hilijalleen.

The sound of a polka drifted from my neighbor's
and set my feet a-tapping oh!
Ieva's mother had her eye on her daughter but
Ieva she managed to fool her, you know.
'Cause who's going to listen to mother saying no
when we're all busy dancing to and fro!

Ieva was smiling, the fiddle it was wailing
as people crowded round to wish her luck.
Everyone was hot but it didn't seem to bother
the handsome young man, the dashing buck.
'Cause who's going to mind a drop of sweat
when he's all busy dancing to and fro!

Ieva's mother she shut herself away
in her own quiet room to hum a hymn.
Leaving our hero to have a spot of fun
in a neighbor's house when the lights are dim.
'Cause what does it matter what the old folks say
when you're all busy dancing to and fro!

When the music stopped then the real fun began
and that's when the laddie fooled around.
When he took her home, when the dancing was over
her mother angrily waiting they found.
But I said to her, Ieva, now don't you weep
and we'll soon be dancing to and fro!

I said to her mother now stop that noise
or I won't be responsible for what I do.
If you go quietly and stay in your room
you won't get hurt while your daughter I woo.
'Cause this fine laddie is a wild sort of guy
when he's all busy dancing to and fro!

One thing I tell you is you won't trap me,
no, you won't find me an easy catch.
Travel to the east and travel to the west but
Ieva and I are going to make a match.
'Cause this fine laddie ain't the bashful sort
when he's all busy dancing to and fro.

Japanese Nonsense Lyrics 

used in many of the recordings for the line dance:
from https://genius.com/Hatsune-miku-ievan-polkka-lyrics

Hra-tsa-tsa, ia ripi-dapi dilla barits tad dillan deh lando
Aba rippadta parip parii ba ribi, ribi, ribiriz den teahlando
La barillaz dillan deiallou ara va reve reve revydyv dyvjavuo
Bariz dah l'llavz dei lando dabaoke dagae gadae due due dei ia do
Hra-tsa-tsa, ia ripi-dapi dilla barits tad dillan deh lando
Aba rippadta parip parii ba ribi, ribi, ribiriz den teahlando
La barillaz dillan deiallou ara va reve reve revydyv dyvjavuo
Bariz dah l'llavz dei lando dabaoke dagae gadae due due dei ia do

Arattzattza ya ribiraririn raba rittan rindam denrandu
Waba rittatta parippari pariri ribiribi risutan denrandu
Yaba rindan tenran deiaroo waraba dubudubudubu deiebu
Ra rittan dinran denrandu tatatataduuduu deiabuu
Rattzattza ya ribiraririn raba rittan rindam denrandu
Waba rittatta parippari pariri ribiribi risutan denrandu
Yaba rindan tenran deiaroo waraba dubudubudubu deiebu
Ra rittan dinran denrandu tatatataduuduu deiabuu

Also called: Levan (it's an I not an L, but people seem to spell it with an L), Polka, Polkken, Ieva's, Eva's

Il Cantico delle Creature 

USA Italy

These notes ©2017, Andrew Carnie. The dance was choreographed by Brigitte Stufkens-Geerlings. But Ira Weisburd has been main teacher of the dance in the US. Thanks to Rosemarie Keough for correcting the attribution of the dance. 

Music: Angelo Branduardi  Da Francesco a Francesco Note that Ira edited the music for this dance on his CDs to take out the extra few bars that show up every few times through the dance. Amazon
Meter: 4/4
Formation: closed circle with hands in W position
Introduction: start with singing

Bar 1: Facing center, step on R across in front of L (1). Step on L to L (2). Step on R behind L (3). Step on L to L (4) (i.e. a grapevine)
Bar 2: repeat bar 1
Bar 3: Traveling into the center, step R (1), L (2), R (3), L (4), raising hands up throughout.
Bar 4: Drop hands, make a 1/2 CW turn, pulling R shoulder back to face out and stepping R (1), L (2), R (3), L (4)
Bar 5: With hands held with neighbor, but high, step on R to R (1), close L next to R with weight (2), Step on R to R (3), Close L next to R, but don't put weight on it.
Bar 6: repeat bar 5, with opposite footwork and direction
Bar 7: drop hands, and leading with R hand forward, start dancing outwards, curving slightly as you do so and R (1), L (2), R (3), L (4)
Bar 8: Complete turn, pulling R shoulder back to face center again, while stepping R (1), L (2), R (3), L (4)

To make the dance fit the original music you have to add an extra bar in the 3rd, 5th, 8th, and 9th time through the dace between bars 7 and 8. This extra bar is just a repeat of bar 7 dancing out of the center.

Other videos on the web

Lyrics

From: http://www.metrolyrics.com/il-cantico-delle-creature-lyrics-angelo-branduardi.html




A Te solo buon Signore
Si confanno gloria e onore
A Te ogni laude et benedizione
A Te solo si confanno
Che lAltissimo Tu sei
E nullomo degno
Te mentovare
Sii laudato Mio Signore
Con le Tue creature
Specialmente Frate Sole
E la sua luce
Tu ci illumini di lui
Ch bellezza e splendore
Ed altissimo Signore porta il segno
Sii laudato Mio Signore
Per sorelle Luna e Stelle
Ed in cielo le hai formate
Chiare e belle
Sii laudato per Frate Vento
Aria, nuvole e maltempo
Che alle Tue creature
Dan sostentamento

Sii laudato Mio Signore
Per sorella nostra Acqua
Bella e casta molto utile e preziosa
Sii laudato per Frate Folgo
Che ci illumina la notte
Ed bello e giocondo
E robusto e forte

Sii laudato Mio Signore
Per la nostra Madre Terra
Ella che ci sostenta e ci governa
Sii laudato Mio Signore
Vari frutti lei produce
Molti fiori coloriti
E verde erba
Sii laudato per coloro
Che perdonano per il Tuo amore
Sopportando infermit
E tribolazione
E beati sian coloro
Che cammineranno in pace
Che da Te buon Signore
Avran corona
Sii laudato Mio Signore
Per la Morte Corporale
Che da lei nessun che vive
Pu scappare
E beati saran quelli
Nella Tua volont
Che Sorella Morte
Non gli far male

translation from: http://lyricstranslate.com/it/il-cantico-delle-creature-canticle-creation.html