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30th Annual Door County Folk Festival

Get Your Foot in the Door!

Wednesday – Sunday, July 8 – 12, 2009

Sister Bay, Ephraim and Baileys Harbor, Wisconsin

http://www.dcff.net/[email protected]/(773-463-2288)

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Dance Syllabus

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2009 Door County Folk Festival (DCFF), Wisconsin

v11

Phone: (773)-463-2288 or (773)-634-9381 [email protected]

Wednesday Start End Where Event Who

Afternoon 12:00pm SBVH Staff Arrives Staff & Volunteers1:00pm SBVH Setup Begins Staff & Volunteers

Evening 6:00pm SBVH Registration Begins Staff & Volunteers6:30pm 9:00pm BHTH TCE Program - Session 1 - Grades K-5 Sanna Longden8:00pm 1:00am SBVH 8th of July Party with Recorded Music Forrest Johnson & Other Regional Leaders1:00am 2:30am SBVH Late Night Party Paul Collins & Company

Thursday Start End Where Event Who

Morning 9:00am SBVH Setup & Registration Continues Staff & Volunteers9:00am 12:00pm BHTH TCE Program - Session 2 - Grades K-5 Sanna Longden

10:00am 11:45am SBVH Vintage American Round Dances Paul CollinsAfternoon 11:45am 1:15pm Lunch Break

12:00pm 1:00pm SBVH Zumba Latin Dance Workout Session Diane Garvey1:15pm 3:00pm SBVH Swing Dance - Lindy Hop Workshop Maureen Majeski: Lindy Hop1:15pm 3:00pm BHTH Regional Greek Folk Dance Workshop Rick King, Dit Olshan, Paul Collins

Rick: Vlaha (Naxos), Hatzibelik (Iraklia, Seres)Dit: Ni Ke Dre (Amorgos Island), Baidouska (Monastiraki)Paul: Baidouskino (Edessa), Mais Vlasti (Kozani), Sfarlis (Petahtos), Pende Alonia (Naoussa)

3:00pm 3:15pm Break3:15pm 5:00pm SBVH Swing Dance - Balboa Workshop Maureen Majeski: Balboa3:15pm 5:00pm BHTH Intermediate/Advanced Ethnic Dance Workshop Steve Salemson, Dan Garvin

Steve S: Kircino Oro (Macedonia), Kokice (Bulgaria)Dan: Hora et Labora (Romania), Gajda Preshevare (Rom Kosovar)

Evening 8:00pm 12:00am SBVH Ethnic Dance Party - with Live & Recorded Music Forrest Johnson with Live Music by Maritza Orchestra9:00pm SBVH Silent Auction Begins Mercedes Dzindzeleta & Company 1:00am 2:30am SBVH Late Night Party Paul Collins & Company

Friday Start End Where Event Who

Morning 7:45am SBVH Setup & Registration Continues Staff & Volunteers7:45am EVH Setup & Registration Continues Staff & Volunteers8:00am 9:45am SBVH Contra/Square Dance Workshop Roger Diggle, Steve Pike - Live Music by Last Gaspé8:30am 9:45am EVH Resistance Tube Workout Session Carol Johnson9:00am 12:00pm BHTH TCE Program - Session 3 - Grades 6-Adult Warren Kubitschek, Paul Collins9:45am 10:00am Break

10:00am 11:45am SBVH Beginning Ethnic Dance Workshop Leslie Hyll, Paul Wagner, Dit Olshan +Leslie: Avant Deux de Travers (France - Brittany), Diu Xie (China - Tibet), Milanovo Kolo (Serbia)Paul W: Chaldean Sheikani (Iraq/Chaldea), Heyamo (Turkey, Black Sea), Zensko za raka (Macedonia) Dit: Mushanti (Israel), Chapkan Dimko (Macedonia), Opincuta (Bessarabia) +

10:00am 11:45am EVH Intermediate/Advanced Ethnic Dance Workshop Catherine Rudin, Kim Caisse, Michael KuharskiCatherine: Brasni Carvul (Bulgaria-Dobrudja), Zhensko Chamche (Macedonia)Kim: Gilansko Pharo (Romani from Gnilane, Kosovo), Drumul Dracului (Hungarian/Romanian)Michael: Dobrudjanski Opas (Bulgaria)

10:00am 11:45am FBC Bulgarian & Serbian Singing Workshop Daniela Ivanova10:00am 11:45am SBP Children's Activities Dick & Miriam Miller

Afternoon 11:45am 1:15pm Lunch Break12:00pm 1:00pm SBVH Zumba Latin Dance Workout Session Diane Garvey12:00pm 1:00pm FBC Dance & Stress Relief Mercedes Dzindzeleta12:00pm 12:30pm BHTH Setup For Mini-Concert & Swing Workshops Staff & Volunteers12:30pm 1:45pm BHTH DCFF Mini-Concert At Baileys Harbor Village Hall Sloboda, Maritza, Last Gaspe1:15pm 3:00pm SBVH Beginning Ethnic Folk Dance Workshop Penny Brichta, Steve Salemson, Rick King +

Penny: Hinach Yaffa (Israel), Shalom Aleinu (Israel), Hahar Hayarok (Israel)Steve S: Hinach Yaffa (Israel), Pravo Lesnoto Oro (Macedonia), Kapura (Slovak)Rick: Vlasko Kolo (Serbia), Tremouliastos (Greece/Thrace), Maria (Israeli/Salsa) +

1:15pm 3:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Yuliyan Yordanov, Leslie HyllYuli: Gruncharsko Horo (Bulgaria), Siriysko Horo (Syrian Origin)Leslie: Dasme e Rexhes (Albania)

1:15pm 3:00pm FBC Balkan & Eastern Eurpoean Singing Workshop Tri Bratovchedki1:15pm 3:00pm SBP Children's Activities Dick & Miriam Miller2:00pm 3:15pm BHTH East Coast Swing Workshop Maureen Majeski [East Coast Swing - 6-Count]3:00pm 3:15pm Break3:15pm 5:00pm SBVH Beginning Level Ethnic Folk Dance Workshop Yuliyan Yordanov, Catherine Rudin, Kim Caisse +

Yuli: Maleshevsko (Bulgaria-Pirin), Ginka (Bulgaria-Pirin), Boalisko (Bulgaria)

2009 Door County Folk Festival Schedule

Wednesday - Sunday, July 8-12, 2009 - Sister Bay, Ephraim and Baileys Harbor, Wisconsin

(Subject to Change - Changes Marked with +)

DCFF Home

Get Your Foot in the Door!


Catherine: Chala Chala (Pontic Greek), Stella di Maggio (Switzerland), Narino (Turkish)Kim: Fourteen Step Polka (Metis/Manitoba), Charachan Odori (Japan) +

3:15pm 5:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Penny Brichta, Paul WagnerPenny: Mamri'im (Israel), Shir Ga'aguim (Israel)

Paul W: Staro Planinsko Kolo (Serbia), Triti Puti (Bulgaria)

3:15pm 5:00pm BHTH Intermediate/Advanced Ethnic Dance Workshop Rick King, Dan Garvin +

Rick: Dzangurica (Bulgaria), Shattey ya Deney (Lebanon)

Dan: Gajda Preshevare (Rom Kosovar), Liakena (Greece) +

3:15pm 5:00pm FBC Bulgarian Culture Session Daniela IvanovaEvening 5:45pm 8:00pm TSR Cash Bar Beer & Wine Happy Hour The Sandpiper Restaurant in Baileys Harbor

6:15pm TSR Group Dinner in Baileys Harbor - Seating 1 The Sandpiper Restaurant in Baileys Harbor7:00pm TSR Group Dinner in Baileys Harbor - Seating 2 The Sandpiper Restaurant in Baileys Harbor8:30pm 1:00am SBVH Ethnic Folk Dance & Stuffed Animal Party Forrest Johnson - Live Music with Maritza & Sloboda8:30pm 11:00pm EVH Contra & Square Dance Party Roger Diggle, Steve Pike - Live Music by Last Gaspé1:00am 2:30am SBVH Late Night Party Paul Collins & Company

Saturday Start End Where Event Who

Morning 7:45am SBVH Setup & Registration Continues Staff & Volunteers7:45am EVH Setup & Registration Continues Staff & Volunteers8:00am 9:45am SBVH Contra/Square Dance Workshop Roger Diggle, Steve Pike - Live Music by Last Gaspé8:30am 9:45am EVH Jazzercise Demonstration Penny Brichta9:00am 12:00pm BHTH TCE Program - Session 4 - Grades 6-Adult Warren Kubitschek, Paul Collins9:45am 10:00am Break

10:00am 11:45am SBVH Beginning Ethnic Dance Workshop Leslie Hyll, Paul Wagner, Dit Olshan +Leslie: Avant Deux de Travers (France - Brittany), Diu Xie (China - Tibet), Milanovo Kolo (Serbia)Paul W: Chaldean Sheikani (Iraq/Chaldea), Heyamo (Turkey, Black Sea), Zensko za raka (Macedonia) Dit: Mushanti (Israel), Chapkan Dimko (Macedonia), Opincuta (Bessarabia) +

10:00am 11:45am EVH Intermediate/Advanced Ethnic Dance Workshop Catherine Rudin, Kim Caisse, Michael KuharskiCatherine: Brasni Carvul (Bulgaria-Dobrudja), Zhensko Chamche (Macedonia)Kim: Gilansko Pharo (Romani from Gnilane, Kosovo), Drumul Dracului (Hungarian/Romanian)Michael: Dobrudjanski Opas (Bulgaria)

10:00am 11:45am FBC Bulgarian & Serbian Singing Workshop Daniela Ivanova10:00am 11:45am SBP Children's Activities Dick & Miriam Miller

Afternoon 11:45am 1:15pm Lunch Break12:00pm 1:00pm SBVH Zumba Latin Dance Workout Session Diane Garvey12:00pm 1:00pm FBC Dance & Stress Relief Mercedes Dzindzeleta1:15pm 3:00pm SBVH Beginning Ethnic Folk Dance Workshop Penny Brichta, Steve Salemson, Rick King +

Penny: Hinach Yaffa (Israel), Shalom Aleinu (Israel), Hahar Hayarok (Israel)Steve S: Hinach Yaffa (Israel), Pravo Lesnoto Oro (Macedonia), Kapura (Slovak)Rick: Vlasko Kolo (Serbia), Tremouliastos (Greece/Thrace), Maria (Israeli/Salsa) +

1:15pm 3:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Yuliyan Yordanov, Leslie HyllYuli: Gruncharsko Horo (Bulgaria), Siriysko Horo (Syrian Origin)Leslie: Dasme e Rexhes (Albania)

1:15pm 3:00pm FBC Balkan & Eastern Eurpoean Singing Workshop Tri Bratovchedki1:15pm 3:00pm SBP Children's Activities Dick & Miriam Miller2:00pm 3:15pm BHTH East Coast Swing Workshop Maureen Majeski [East Coast Swing - 6-Count]3:00pm 3:15pm Break3:15pm 5:00pm SBVH Beginning Level Ethnic Folk Dance Workshop Yuliyan Yordanov, Catherine Rudin, Kim Caisse +

Yuli: Maleshevsko (Bulgaria-Pirin), Ginka (Bulgaria-Pirin), Boalisko (Bulgaria)Catherine: Chala Chala (Pontic Greek), Stella di Maggio Kim: Fourteen Step Polka (Metis/Manitoba), Charachan Odori (Japan) +

3:15pm 5:00pm EVH Intermediate/Advanced Ethnic Dance Workshop Penny Brichta, Paul WagnerPenny: Mamri'im (Israel), Shir Ga'aguim (Israel)

Paul W: Staro Planinsko Kolo (Serbia), Triti Puti (Bulgaria)

3:15pm 5:00pm BHTH Intermediate/Advanced Ethnic Dance Workshop Rick King, Dan Garvin +

Rick: Dzangurica (Bulgaria), Shattey ya Deney (Lebanon)

Dan: Gajda Preshevare (Rom Kosovar), Liakena (Greece) +

3:15pm 5:00pm FBC Bulgarian Culture Session Daniela Ivanova5:00pm BHTH Cleanup Staff & Volunteers5:00pm FBC Cleanup Staff & Volunteers

Evening 6:00pm SBP Fish Boil Dinner - Seating 1 Sister Bay Park6:30pm SBP Fish Boil Dinner - Seating 2 Sister Bay Park7:00pm SBP Fish Boil Dinner - Seating 3 Sister Bay Park7:00pm Sunset SPB Dancing & Music in the Park Sister Bay Park8:30pm 1:00am SBVH Ethnic Folk Dance Party Forrest Johnson - Live Music with Orkestar Sloboda8:30pm 11:00pm EVH Swing Dance Party w/30-Min Quick-Start Lesson Maureen Majeski


11:00pm EVH Cleanup Staff & Volunteers11:45pm SBVH Silent Auction Ends Mercedes Dzindzeleta & Company 1:00am 2:00am SBVH Larry Hoey Memorial Folk Dance Olympics2:00am 2:30am SBVH Late Night Party Paul Collins & Company

Sunday Start End Where Event Who

Morning 9:00am 11:00am SBVH Contra/Square Dance Workshop Roger Diggle, Steve Pike - Live Music by Last Gaspé11:00am 11:15pm Break11:15am 12:30pm SBVH Review Workshop 1 Dance Teaching Staff

TBDAfternoon 12:30pm 1:30pm Lunch Break

1:30pm 3:15pm SBVH Review Workshop 2 Dance Teaching StaffTBD

3:15pm 3:30pm Break3:30pm 5:00pm SBVH Review Workshop 3 Dance Teaching Staff

TBDEvening 5:00pm Break

6:00pm TBD Survivors' Dinner(s) Random Groups Meet and Organize at SBVH/SBP8:30pm 2:30am SBVH Survivors' Dance Party

Monday Start End Where Event Who

9:00am SBVH Cleanup Staff & Volunteers

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

TSR = The Sandpiper Restaurant (Baileys Harbor) - (Hwy 57, 1 blk N of BHTH, E side of 57) TBD = To be determined

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)

SBP = Sister Bay Park - (Hwy 42, Bay Side, about 3 blocks N of Hwy 57 end) FBC = First Baptist Church of Sister Bay - (Hwy 42, Bay Side, 1 mi S of SBVH)

2009 Door County Folk Festival Schedule

LEGEND


Table of Contents Door Co Syllabus 2009

Presented by Steve Salemson 1 Presented by Yuli Yordanov 42 Kapura 2 Boaliysko Horo 43 Kircino Oro 4 Ginka 44 Kokice 7 Gradchansko Gruncharsko 45 Pravo Lesnoto Horo 9 Maleshevsko (Chetvorka) Horo 46 Siriysko Horo 47 Presented by Penny Brichta 10 Hahar Hayarok 11 Presented by Dan Garvin 48 Hinach Yaffa 12 Gajda Preshevare 49 Mamri’im 13 Hora et Labora 50 Shalom Aleinu 14 Liakena 51 Shir Ga’aguim 15 Presented by Kim Caisse 52 Presented by Catherine Rudin 16 Charachan Odori 53 Brasni Carvul 17 Charachan Odori - lyrics 54 Chala Chala 18 Drumul Dracului 55 Narino 19 Fourteen Step Polka 56 Stella di Maggio 20 Gilansko Pharo 57 Zhensko Chamche 21 Presented by Rick King 58 Presented by Maureen Majeski 22 Dzhanguritsa 59 Swing, Balboa, Lindy Hop 23 Hatzibelik 61

Maria 62 Presented by Leslie Hyll 24 Shatty ya Deney 63 Avant Deux deTravers 25 Tremouliastos 64 Dasme e Rexhes 26 Vlaha 65 Diu Xiu 29 Vlashko Kolo 66 Milanovo Kolo 30 Presented by Dit Olshan 68 Presented by Mike Kuharski 32 Baidouska 69 Dobrudjanski Opas 33 Capkan Dimco 70 Mushanti 71 Presented by Paul Wagner 35 Ni Ke Dre 72 Chaldean Sheikani 36 Opincuta 73 Heyamo 37 Staro Planinsko Kolo 38 Presented by Paul Collins 75 Triti Puti (4-step) 39 Baidouskino 76 Zensko Za Raka 41 Mais Vlasti 77 Pende Alonia 78 Sfarlis 79


Steve Salemson (Madison, WI)

Steve S was first exposed to folk dancing in 1962, when he spent a year living ona kibbutz in Israel. It wasn't until he moved back to New York City in 1974 that hediscovered Balkan dancing and really got hooked. Soon he was dancing between4-6 nights a week, and attending workshops taught by Yves Moreau, Dick Crum,David Vinski, Atanas Kolarovski, Pece Atanasovski, George Tomov, MoshikoHalevy, Mihai David, Bora Özkök, and others. In 1977 Steve joined Tomov'sYugoslav Folk Dance Ensemble, dancing with the group for eight years, includingtrips 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 passable Macedonian and plays the kaval (although LjupcoMilenkovski needn't worry!). In 1999, while working as Associate Director of theUniversity of Wisconsin Press, Steve published Christina Kramer's Makedonskijazik, a Macedonian textbook for beginning and intermediate students, completewith a companion CD, and in 2000 he was responsible for the UW Press'publication of Ronelle Alexander's authoritative two-volume Intensive Bulgarian:A Textbook and Reference Grammar. Steve is retired and lives in Madison,where he spends his time making music, biking, and, of course, folk dancingtwice a week


Penny Brichta (Wilmette, IL)

Penny recently celebrated her 20th year of teaching the beginner’s session at thepopular Northwestern Israeli Dance group. Contrary to popular belief, she wasover 19 when she started co-leading the group. Since spending her junior yearof college living in Israel and dancing far more often than studying, Penny hasbeen hooked on dance. She is responsible for introducing many of the modernIsraeli dances to the Midwest International Dance communities. While Israeliremains her favorite, Penny recently earned certification as a Jazzercise aerobicdance instructor, which she will also share at DCFF.


HaHar HayarokThe Green Mountain

Dance: Bentzi TiramMusic: Yoram Taharlev, Moni Amarillio, Ruchama RazFormation: Circle

Part 1 Facing CCW

1-4 Step R, L, R , brush L,5-8 Step L, R, L, brush R9-12 Sway R, sway L, cross R over L, step back on L13-16 1/2 turn to right to face CW, R-L-R17-20 L Yemenite, hold21-24 Turn 1/2 to center moving twds center with R-L-R25-28 Facing out L touch R, R touch L29-32 Turn 1/4 left: L-R-L33-64 Repeat 1-32

Part 2 Facing center

1-4 Sway R touch L (snap), sway L touch R (snap) with arms up5-8 Moving CW; cross R in front, L side, rock back on R facing CCW9-12 L-R-L, touch R (snap) and face center13-16 Grapevine facing center: Step R side, L front, R side, L behind17-20 Full turn to right R-L-R and lean on R facing center21-24 Moving CW: Step L-R-L25-28 Touch R (snap), 1/4 pivot to face center and touch R (snap)29-56 Repeat 1-28

Presented by Penny J Brichta at DCFF 2009


Hinach YaffaYou are Beautiful

Dance: Yankele LevyMusic: Sem Tov Levi, Yosef Mustaki, Ha’amranimLyrics: Biblical: Song of SongsFormation: Couples: Men’s steps are notated. Women use opposite footwork

Part 1 Facing CW

1-2 L fwd3-4 R-L fwd5-6 R fwd7-10 Face each other. Join both hands. Yemenite L11-12 Close R to L13-16 Release hands and full turn to left LRL and hold17-20 Face CCW, join inside hands RLR fwd and hold21-24 Face each other Yemenite L25-28 Yemenite R with both hands joined29-52 Repeat 1-24

Part 2 Moving CCW

1-2 Join both hands. R to right side3-4 L crosses in front of R5-8 Repeat 1-49-12 Release hands. Full turn to right side RL13-16 Join hands: Yemenite R17-20 Yemenite L21-24 Yemenite R bwds (on 3rd count M-W hands cup together, M on outside)

Part 3

1-4 Release hands. Full turn to left side. LRL and hold count 45-6 R to right side7-12 Repeat 1-613-14 Close L to R and cross arms in front and snap

Notes by Fred Berk

Presented by Penny J Brichta and Steve Salemson at DCFF 2009


Mamri’imTaking Off

Dance: Rafi ZivMusic: Mish Ben AriFormation: circle, hands free

Part 1 Face center

1-4 R to right, L across R, Yemenite R5-6 Turn to left L-R and face CCW7-8 Yemenite L bwd9-10 Step R fwd, touch L heel fwd11-12 Yemenite L bwd13-16 Yemenite R, Yemenite L17-32 Repeat 1-16

Part 2 Face CCW

1-2 R fwd raising right arm, L bwd, lower arm3-4 R behind L and face center L to left, R across L5-6 Turn left with L, R to face CCW7-8 Yemenite L bwd9-10 Turn R-L to right and face center11-12 R to right L across R bending and clapping hands low13-14 R to right, L across R straightening and clapping hands high15-18 Full turn right R-L-R and L-R-L to face center19-20 Step R fwd, touch L angling left side twd center21-22 Turn left twd center with L- R23-24 L-R-L twd center25-26 R fwd bending slightly fwd, back on L and straightening facing CCW27-28 R to right, L across R moving out of circle29-30 Step on R and turn right hop R, R32-32 Yemenite L bwd

Part 3 Face center

1-2 Step R, touch L heel fwd3-4 Quick Yemenite L bwd5-8 Face CCW and repeat 1-49-12 Face out of circle and repeat 1-413-14 Step R fwd, pivot over left shoulder and step L to face center15-16 Clasp hands overhead and bounce twice17-32 Repeat 1-16

Notes by Honey Goldfein Presented by Penny J Brichta at DCFF 2009


Shalom AleinuPeace Upon Us

Dance: Shmulik Gov AriMusic: Lahakat Sheva (Group of 7) a mixed group of Jews and Arabs who write andperform music together.Formation: Circle

Part 1 Face CW

1-4 Cross R over L, L to side, R behind, L to side (grapevine)5-8 Repeat counts 1-49-12 Walk 4 steps twd center raising arms13-16 Walk 4 steps bwd clapping on the beat17-32 Repeat 1-16

Part 2 moving CCW

1-4 Facing center sway R, L, R, L5-8 Walk 4 steps to your right9-12 Repeat counts 1-413-16 Individual turn to your right with 4 steps, R, L, R, L clapping on the beat17-32 Repeat 1-16

The music goes through 4 times. The music speeds up for the 3rd and 4th verse. Optionalsubstitution of double steps in part one on the moving in and out of center; R-L-R, L-R-L.In part two, substitute the double steps during the individual turn R-L-R, L-R-L.

Note: This is the “simplified” version created by Shmulik. He had first created a“standard’ version, still seen in some groups. This version is appropriate for new beginnersand family type events.

Presented by Penny J Brichta at DCFF 2009


SHIR GA’AGUIM( song of yearning )

Dance: Avi LevyMusic: Kobi AflaloFormation: CircleIntro: 16 counts (singer)

Part A - facing centre to start

1-4 R to R; L to R crossed behind; R to R; L to R crossed in front5-8 sway R, sway L; R to R; L to R crossed in front9-12 touch R to R on diagonal; R forward; L backward; R next to L13-16 L double step forward17-20 Yemenite R bwd, on last step rising up on ball of foot and turning 1/2 to R

while arms swing back and then forward and up in the turn21-23 (facing away from centre) L double step backward (toward centre)24 touch R next to L25-28 (moving away from centre) R forward; L forward; (face ccw) R to R; L to R

crossed behind29-30 1/2 turn to R with two steps ( R L ) moving away from centre31-32 (facing centre) balance back onto R; balance forward on L33-64 repeat counts 1-32

Part B - facing centre to start

1-2 touch R forward, bringing L hand forward; pause3 & 4 R back Yemenite5-8 repeat counts 1-4 with opposite footwork and hand movements9 & 10 R Yemenite moving forward toward centre11-12 small leap forward on L diagonal onto L; small leap forward on R diagonal onto

R13-14 1/2 turn to L with two steps ( L R ) moving toward centre15 & 16 (facing away from centre) L back Yemenite17-32 repeat counts 1-16 moving away from centre

Transition between 1st and 2nd time ONLY: R, drag and close L. L drag and close R.

Ending after three times through the dance add the following:

1-24 as counts 1-24 of Part B25-27 R forward, pivoting 1/2 to L; L in place (forward of R); R forward, bringing

hands slowly forward and up

Notes © Roberto Haddon Presented by Penny J Brichta at DCFF 2009


Catherine Rudin (Wayne, NE)

Catherine has been folkdancing since 1966, starting in junior high gym class inSan Diego and moving on to dance, teach, and sometimes perform with variousgroups in Wisconsin, Indiana, Illinois, Ohio, Nebraska, and Hawaii. She has livedin Bulgaria (officially studying linguistics, unofficially soaking up music anddance) and made shorter visits to other parts of the Balkans. These days shegets her Balkan fix with the Omaha International Dancers and teaches a"recreational dance" class (translation: whatever Catherine feels like, from swingto clogging) at Wayne State College in western Nebraska.


Brâsni Cârvul (Bulgaria - Dobrudža)

A type of line râčenica from Dobrudža with many variations. Other related dances include Pandalaš-Kucata, and Sej Sej Bob. Pronunciation: BRUSS-neeh Tsur-VOOL Rhythm: 7/8 (Q-Q-S) Formation: Mixed lines, hands down or in front basket hold Style Proud, heavy, strong and earthy Introduction: 4 measures instrumental – no action. 1. Pravo (slow grapevine pattern) 1 Facing center, step on R to R (Q) pause (Q), step on L behind R (S) 2 Step on R to R (Q), pause (Q) raise L foot in front of R leg (S) 3 Step onto L across R (Q) pause (Q) sharp stamp, no weight, with R next to L (S) 2. Scuff Steps sideways 1 Low leap onto R foot, bending knees, L foot out to L (Q) sharp low scuff with L

across R (Q) sharp step onto L across R (S) 2 Facing center, step on R to R (Q) pause (Q), step on L behind R (S) 3 Step on R to R (Q) pause (Q) close L to R (S) 4-6 Repeat measures 1-3 with opposite footwork and direction 3. Forward and back 1 Small leap forward onto R (Q) sharp stamp with L next to R, no weight (Q) leap onto

L sharply to L (S) 2-3 Repeat pattern of measure 1 two more times 4-6 Take six heavy steps backward R-L-R-L-R-L leaning back Suggested pattern, to fit music: (Leader can also call change of figure at will.) #1 -- 7 times #2 -- 2 times #3 – 2 times

BRÂSNI CÂRVUL ‘Shaved Shoe’ -- song lyrics Sin sinčec razcâfnal,Vâv gora zelena, Vâv pole široko Vsičkite hajduti, Novi drehi stjagat, Stari pesni pejat Stoil mlad vojvoda, Nitu drehi stjaga, Nitu pesni peje Blue cornflower is in bloom, In the green wood, In the wide field All the hajduks, Are strapping on new clothes, Singing old songs Stoil the young leader, Neither puts on new clothes, Nor sings songs

Dance notes by Yves Moreau, 1999; very slightly modified. Presented at DCFF 2009 by Catherine Rudin


Chala Chala (Pontic Greek – Matsouka)

Formation: Open circle, arms down at sides, facing center of circle. step: count: 1. Step R to R Q 2. Step L to R, closing next to R (hold)` S 3. Step R to R. Swing L shoulder back. Q 4. Step L to R, closing next to R. Shoulders return to place. Q 5. Step R to R. Swing L shoulder back. Q 6. Touch L next to R. Shoulders return to place. (hold) S 7. Step L to L Q 8. Touch R next to L S 9. Step R forward Q 10. Touch L next to R Q 11 Step L backward Q 12. Touch R next to L (hold) S Notes slightly modified from those presented at SNOPA 2009 by Patti Cohen. She learned the dance from Panagiotis Apostolidis at Greek Dance Seminar, Prespes, 2006. Dance can be viewed at www.dunav.org.il/balkan_folkdance-videos_greek.html. Presented at DCFF 2009 by Catherine Rudin


Narino (Turkish)

Meter: 4/4 and 6/4 Formation: Semicircle, pinky hold Introduction: 4 times through melody. Start with singing. Fig 1: 8-count pattern with “windshield wiper” 1 Step on R diagonally right; swing arms forward 2 Step on L diagonally forward crossing in front of R; swing arms back 3 Step on R diagonally right, swing arms forward 4 Lift L foot, swing arms all the way up to right 5 Step back on L, with ball of R foot touching, twizzle R heel inward; move arms to left 6 Step back on R, with ball of L foot touching, twizzle L heel inward; move arms to right 7 Step back on L; bring arms to center, near shoulders, with a little bounce 8 Lift R foot and pump it down; swing arms down and back Fig 2: 6-count pattern 1 Step on R diagonally right; swing arms forward 2 Step on L diagonally forward crossing in front of R; swing arms back 3 Step on R diagonally right; swing arms forward 4 Lift L foot and pump it down; swing arms back 5 Step on L in place; swing arms forward 6 Lift R foot and pump it down; swing arms back Alternate Fig. 1 and Fig 2 on singing parts. Do only Fig. 1 during instrumental. Do only Fig 2 during repetitions of last line of song: Yüzüme bakar gider Narino Hey hey ben deli oldum deli Narino Hey hey Narino, I’ve gone crazy Hey hey tutun balaygun beni Narino Hey hey Narino hold me tight Hey hey gideyirum buradan Narino Hey hey Narino, I am leaving here Oy oy kızlar aglayun beni Narino Oy oy girls cry after me Narino Hey hey bu dere yılan olsa Narino Hey hey Narino, if this river was a snake Hey hey derdumi bilen olsa Narino Hey hey Narino, if only someone knew my heartache Hey hey oturup da aglardum Narino Hey hey Narino, I would sit and cry Oy oy yasumi silen olsa Narino Oy oy Narino, if only someone would dry my eyes Hey hey bu dere akar gider Narino Hey hey Narino, this river flows smoothly Hey hey taşları yıkar gider Narino Hey hey Narino, the river batters down the stones Hey hey ne ettum sevdugume Narino Hey hey Narino, what did I do to my lover Oy oy yüzüme bakar gider Narino Oy oy Narino, she looks at me and leaves Dance described and presented by Ahmet Lüleci, 2005; notes slightly modified for clarity. Thanks to Ali Eminov for correcting the song lyrics and translation Presented at DCFF 2009 by Catherine Rudin


Stella di Maggio (Switzerland - Tessin)

A dance from Tessin (Ticino), the Italian-speaking region of Switzerland. It is connected to the pan-European Maypole tradition. Learned by Yves Moreau from Francis Feybli, Zürich. . Translation: Star of May Rhythm: 2/4 Formation: Closed mixed circle. Hands down. Face right to begin. Couple version: Varsouvienne position. Style Light steps Introduction: 15 measures instrumental. Start with singing. Basic circle figure 1 Step forward on R (1) step forward on L (2) 2 Repeat pattern of measure 1 3 Do a “two-step” beginning with R (R-L-R) 4 Same as measure 3, but beginning with L (L-R-L) 5 Repeat pattern of measure 1 6-7 Repeat pattern of measures 3-4 8 Step forward on R in LOD (1) step forward on L in LOD (2) 9 Step on R in LOD (1) close L to R turning to face RLOD (2) 10-11 Repeat pattern of measures 8-9 with reverse direction and footwork 12 Moving towards center, step forward on R, arms come up slowly to W position (1) step forward on L (2) 13 Step forward on R (1) touch ball of L foot next to R, no weight 14 Take two steps back away from center, L-R, arms slowly come back down 15 Step on L in place (1) low light stamp with R foot, next to L, no weight Couple figure Stand side by side, facing counterclockwise, man on L, woman on R, in Varsouvienne position (man’s right arm across woman’s shoulders, holding R in R, L in L hands) Same footwork as basic figure, except: --Start on outside foot (preferably) --Instead of turning around in measure 9, simply back up in measures 10-11 --While backing out of the circle in measures 14-15, wheel around 360˚ as a couple

Dance notes by Yves Moreau, 2009. Yves gives only the basic figure, but alludes also to the couple figure that “can be added”. Presented at DCFF 2009 by Catherine Rudin


Žensko Čamče (Macedonia)

A women’s dance, taught by Atanas Kolarovski in his 1971 tour of the US. Original notes prepared by Marcel Vinokur and Ruth Miller in cooperation with Atanas Kolarovski. Meter: 7/16 – indicated in notes as 1,2,3 (S,Q,Q) Formation: Open circle, hands joined in W hold. Measure Pattern PART I 1 Hold 2 Step forward on L (1); step backward on R, L foot raised in front (2), bring L around to back

of R (3) 3 Lift twice on R, L knee bent, L foot raised slightly behind R (1-2); step L in place (3) 4 Step forward on R (1); step back on L (2-3) 5 Lift twice on L, R knee bent, R foot raised in front of L (1-2); step R in place (3) 6-8 Repeat action of measures 2-4 9 Lift on L (1); moving LOD lift on L and touch floor with R heel (2); roll onto full foot (3) 10 Continuing LOD, step L (1); lift on L and touch floor with R heel (2); roll onto full foot (3) 11 Repeat action of measure 10 12-21 Repeat action of measures 2-11 22-28 Repeat action of measures 2-8, adding a lift on L on last count of measure 28 PART II 1 Facing and moving in LOD, step R (1); step L (2); step R (3) 2 Step L (1); step R (2); step L (3) 3 Lift on L, R knee bent and raised slightly (1); facing center, step diagonally fwd R on R (2-3) 4-6 Repeat action of measures 2-4, Part I. 7 Lift on L (1), step slightly right on R, L knee bent and raised across R leg (2-3) 8 Step L next to R (1); lift on L, R knee bent and raised across L leg (2-3) 9-16 Repeat action of measures 1-8, Part II PART III 1-2 Repeat action of measures 1-2, Part II 3 Continuing LOD, step R (1), step L (2), hold (3) 4 Facing center, step right on R (1), step L behind R (2); step right on R (3) 5 Bend R knee, L leg held in front of R, just off ground (1); straighten R knee and bring L

around to back (2-3) 6 Bend R knee, L held in back (1); straighten R knee (2-3) 7 Step back on L (1); step R next to L (2-3) 8 Step L across R (1); lift on L, R knee bent and raised across L leg (2-3) 9-32 Repeat action of measures 1-8, Part III, three more times 33-35 Repeat action of emasures 1-3, Part III 36 Facing center, step right on R (1), lift on R, L knee bent and raised across R leg (2-3) Presented at DCFF 2009 by Catherine Rudin


Maureen Majeski (Milwaukee, WI)

Maureen has been teaching Swing Dance in Milwaukee for over 12 years.Maureen became interested in Swing Dance in 1995 and in 1996 she startedorganizing and promoting swing events in the Milwaukee area. She has beenteaching since 1998. Since then Maureen , along with other Jumpin' Jive Swingdancers, have made appearances at Rainbow Summer, Bastille Days,Summerfest, and as a morning wake up guest on Milwaukee’s Fox 6 News.

Maureen works all over the state for private and corporate events, and for privateparties and instruction. As Jumpin' Jive Club instructor, she offers weekly SwingDance lessons at several locations in the Greater Milwaukee area and hostsswing dance parties featuring the live music. For more info contact: 262-54SWING [(262)-547-9464)], www.jumpinjiveclub.com, [email protected].


Swing Dance Notes

Balboa:1. Basic 8 count step with up holds.

Lead begins on left foot. Follow mirrors the step beginning on right foot.a. Step left foot backwardb. Step right foot backward next to left.c. Slide left foot forward ( no weight on it.)d. Step on left replacing it where it was.f. Step forward on right.g. Step forward on left.h. Slide left foot backward ( no weight on it.)i. Step on right replacing it where it was.

2. Basic step with down hold on 3.

Variation of basic with slide step replaced with step forward on count 3 instead of doing the slide. Stay thereand hold in place for count 4. (Direction is opposite for the Follow.)

3. Basic step with down hold on 7.

Variation of basic with slide step replaced with step backward on count 7 instead of doing the slide. Stay thereand hold in place for count 8. (Direction is opposite for the Follow.)

4. Come around move with down hold pivot on 3.5. Style step with heel accents to Leads left and right.Will add on after this.

Lindy Hop:1. Basic 8-count footwork: Step, Step, Triple-step, Step Step Triple step.

(Lead begins on left foot, Follow begins on right foot.)2. Leading this pattern in a complete cirlce as a couple.3. Leading this patten on a line back and forth ending in your starting position.4. Eight Count pass across move to Lead's left and right.Variations and style steps added as time allows.

East Coast Swing:Class #11. Basic Single Swing done as Slow, Slow Quick, Quick.

(Lead begins on the left foot, Follow on the right foot.)2. Dancing basic turns for both Lead and Follow.3. Double time swing moves using kick steps and tap steps.4. Challenge step: Learning the Frankie Struts.

Frankie Structs are a series of four 6 counts moves.Move 1: From crossed hands underarm turn Follow to right side with Lead stepping in front of her, over the theright and ending in Lead Skaters.Move 2 & 3: Struts twice: Rock step, kick step, kick cross.Move 4: Lead Follow forward with left hand and back to facing position.

Class #21. Intro of Basic triple time Swing Step.2. Triple step tuck turns from closed.3. Triple step tuck turns passing.4. Triple step tuck turns with hand changes both facing and passing.5. Challenge Step: Side by Side Charleston.

Adding on facing Charleston step.


Leslie Hyll (Dayton, OH)

Leslie has been a member of the Miami Valley Folk Dancers recreational folkdance club for over 30 years, sharing teaching responsibilities (beginning andadvanced levels) and serving in various administrative offices. She spear-headeda project to digitize 50 years of the club's dance workshop syllabi. She has beena member of several performing groups including: Zivio! (South Slavic), Beseda(American Czechoslovakian Club) and Bagatelle (Le Club Francais), at varioustimes serving as a researcher, choreographer, instructor, and director for thosegroups. She choreographed an American suite for Zivio!'s 1987 tour ofYugoslavia, and Slovenian, Croatian, Macedonian and Pan-Slavic dance suitesfor the Dayton International Festival.. www.daytonfolkdance.com


AVANT-DEUX DE TRAVERS

(Brittany – France)

Popular form of dance throughout Brittany. This one is done in mixed lines and comes from L'Orient région on the Coast. Source: Simone Mésonéro.

Rhythm: 2/4

Record: LARIDAINE ML-1 (45 rpm)

Formation: Short mixed lines 4-6 people. Tight hold. Arms held upwards (under shldr height). Elbows bent. Very close. Looks somewhat like Turkish-type hold.

MEASURE DESCRIPTION

Basic travel step

1 "Two-step": Step fwd onto R (1) close L to R (&) step fwd on R (2) small hop onto R (&)

2 Same as above but reversing direction & ftwork (moving bkwd and at the same time tilting entire line clockwise, freely in room)

3-8 Repeat pattern of meas 1-4

"Chorus Step"

1 Small step fwd onto R (1) small hop onto R (&) small step bkwd onto L (2) small hop on L (&)

2 Small step to R on R (1) small hop on R (&) small step to L on L (2) small hop on L (&)

3-8 Repeat pattern of meas 1-2. Do not move around room on this step. Stay in place facing ctr of room.

Dance repeats from beg. alternating patterns.

Description by Yves Moreau

Yves Moreau Weekend, March 15-16, 1980 Miami Valley Folk Dancers Presented by Leslie Hyll (Dayton, Ohio) at the 2009 Door County Folk Festival (Wisconsin)


DASME E REXHES

Origin: Albania – Style of dance from Kosovo and Northeast Albania

Background: This is a women’s dance. The song is about Rexha's wedding. Dashme means

wedding and Rexha is a boy's name. This song is a legend known by Albanians

all over the world, symbolizing hardship of Albanian motherhood. Rexha goes

to get the horse he will ride to his wedding, but the horse kicks him or throws

him off and Rexha dies. The horse is shot, and Rexha’s mother laments the loss

of her son.

Source: Emin "Gaxha" Island

Rhythm 2/4

Formation: Choose your own spot, arms spread out in front of breast.

NOTE – If you have already learned the dance, then these instructions are a good reminder of the

steps. However, if you have not been through a teaching session on this dance, these instructions

do not provide enough information to learn the dance.

There is NO introduction. The dance starts with the music.

Meas Cnt Part I. Arm Movements are subtle

Back Step

1 1-2 Step on R, crossing close behind L Both arms R

2 Step on L, crossing close behind R Both arms L

3 Step on R, crossing close behind L Both arms R

4 1 Step L forward, Both arms L

2 Step R backward Both arms R

5-8 Repeat meas. 1-4 with opposite movements

Little Circle

9-11 6 buzz steps R, turn 1/1 R in place (Re, Re, Re,

Re, Re, R.)

L hand in A pos,

R in front at waist level

12 1 Step L forward

2 Close R

Meas Cnt Part II. Arm Movements

Down/Up

1-2 Raise up arms through sdw pos

3-4 Lower arms slowly in front to waist level.

Touch Step

5 1 Touch ball of L foot slightly fwd, knees bend,

while turning L ankle forward

R

2 L raised slightly sdw, R knee raised L knee

turned in

L

6 1-2 Step L forward R, L


DASME E REXHES Page 2 of 3 Meas Cnt Part II continued Arm Movements

7-8 Repeat meas. 5-6 with R with opposite

footwork

R, L, R, L

9-10 Repeat meas. 5-6

11 1 Touch ball of R ft slightly forward while

turning R ankle forward

R

2 R raised slightly sdw, L knee raised R knee

turned in

L

12 Repeat meas. 11 R, L

Left & Right Buzz

13-14 4 buzz steps R (Re, Re, Re, R) R, L, R, L

15-16 4 buzz steps L (Le, Le, Le, L) R, L, R, L

Big Circle

17-20 8 buzz steps R (Re, Re, Re, Re, Re, Re, Re, R)

in a large circle counter clockwise

L in front bend at face level,

R behind slanting down

Touch Step

21-22 Repeat meas 5-6

23 Repeat meas. 11

Little Circle

24-26 6 buzz steps turn 1/1 R in place as in meas 9-11 of Part I.

27 1 Step in place both arms down

2 Step L slightly forward

Meas Cnt Part IIIA. Arm Movements

Hesitation Step

1 1 Step ball of R ft slightly forward both arms fwd at waist level

2 Weight on R with accent R

2 1-2 Step L, R back in place L, R

3-4 Repeat meas. 1-2 in mirror image

5-12 Repeat meas. 1-4 two more times

Little Circle

13-15 6 buzz steps R, turn 1/1 R in place as in meas. 9-11 of Part I.

Part IIIB.

Hesitation Step

1-12 Repeat meas. 1-12 of Part IIIA.

Little Circle

13-14 4 buzz steps r, turn 1/1 R in place

15 1 Step R in place

2 Step L slightly forward


DASME E REXHES Page 3 of 3 Meas Cnt Part IV. Arm Movements

Back Step

1-4 Repeat meas 5-8 of Part I. : (L)

5-8 Repeat meas 1-4 of Part I. : (R)

9-12 Repeat meas. 5-8 of Part I. : (L)

Left & Right Buzz, Big Circle, Touch Step, Little Circle

13-27 Repeat meas. 13-27 of Part II. :

Order of dance: I, II, IIIA, IV, IIIB/I, II, IIIA, IV, IIIB

Dasme e Rexhes - Leslie’s Sequence Reminder - A, B, A, B

Sequence A Sequence B

Ct Note Step Ft Ct Note Step Ft

16 2x8 Back step R 24 3x8 Back step L

8 Little Circle R

8 Down/Up n/a

16 4x4 Touch step L

8 L&R Buzz R 8 L&R Buzz R

8 Big Circle R 8 Big Circle R

6 1.5x4 Touch step L 6 1.5x4 Touch step L

8 Little Circle R 8 Little Circle R

24 6x4 Hesitation step R 24 6x4 Hesitation step R

6 Little Circle R 6 Little Circle R

Instructions by M. Ibns and L. Langeveld

Step Titles and Sequence Reminder added in 2009 by Leslie Hyll

Miami Valley Folk Dancers 45th Anniversary Weekend November 8 and 9, 1997 International Folk Dances taught by Wim Bekooy

Presented by Leslie Hyll (Dayton, Ohio) at the 2009 Door County Folk Festival (Wisconsin) (with the expert assistance of Lorraine Fortner)


DIU XIE Origin: China (Tibet)

Pronunciation: Due Shey

Background: The costume for this dance has very, very long sleeves, much longer than the

arms. We simulate the sleeves by using a scarf or handkerchief in each hand.

Rhythm: 4/4

Formation: Solo in circle facing CW, handkerchief in each hand, arms hanging loosely at

sides.

Measure Count Pattern

9 meas Introduction – no action. Both your R and L arms should be hanging (as best

is possible) to your R side.

Figure 1

1 1 Step forward in LOD on R. At the same time, begin to move your arms from

your R side to your L side, by bringing them up over your head.

2 Step forward in LOD on L. At the same time, continue to move your arms

from your R side to your L side, by moving them over your head.

3 Stamp R foot in place without taking weight. Complete the movement of

your arms to the L, by bringing them down to your L side.

4 Pause

2-5 1-4 Repeat Figure 1, Meas 1, four more times.

On Meas 2, arms move from L to R over your head.

On Meas 3, arms move R to L over your head.

On Meas 4, arms move L to R over your head.

On Meas 5, arms move R to L over your head.

Figure 2

1 1-4 Walk forward in LOD, R,L,R,L. At the same time, your body slightly bent

over, and knees bent as you walk, wave arms in front of knees. Cross arms in

front of knees, R arm in front, as you step with R; open arms as you step with

L.

2 1-2 Touch right heel forward. At the same time, R arm goes up above head, L

arm goes down and slightly back.

3-4 Touch R toe back. At the same time, L arm goes up above head, R arm goes

down and slightly back.

3 1-4 Repeat Figure 2, Meas 1

4 1-4 Repeat Figure 2, Meas 2

Instructions by Leslie Hyll, as learned from Sandy Starkman, in Dayton, Ohio, 1996

Presented by Leslie Hyll (Dayton, Ohio) at the 2009 Door County Folk Festival (Wisconsin) 29


MILANOVO KOLO

Origin: Serbia

Background: “Kolo” means circle. Kolos are the predominant dances in Serbia. This one is

named after Milan, a man’s name – thus Milanovo Kolo, or “Milan’s Circle.” It

is acceptable to shout during the dance – “hey,” “hup,” “Veselo,” “Hupatsoop,”

“Hej, Haj, Bozhe Daj,” etc. This dance has several regional variations in the

U.S. Variations in the east are attributed to Pittsburgh Serbs, and in the west to

unknown folk dancers. Please note that there are more variations than have been

noted in these instructions, and that all variations are not compatible with each

other.

Music: Festival Records (45rpm) FLP-4505, Festival 1034

RCA (45rpm) EPA-4129, RCA (LP) LPM 1620

Stanchel (78rpm) 1011-B, Folkraft 1549 (45rpm)

Sheet Music: Geisler, Richard. "Milanovo Kolo", The Yugoslav Collection, The

Village & Early Music Society, 15181 Ballantree Lane, Grass Valley, CA

95949-7633.

Sheet Music: Vancouver International Folk Dancers Music Book, Vol. 2.,

Deborah Jones, 1982.

Rhythm: 4/4

Formation: Open circle, hands joined down, leader on right end of line

Measure Pattern

Part 1 (an eastern variation)

1 Face to right and move CCW, step-hop on R (ct 1,2), then step-hop on L (ct 3,4).

2 Face center of circle, step sdwd to R on R (ct 1), step on L behind R (ct 2), take 3

quick light steps in place, RLR (ct 3&4).

3 Face to L and move CW, repeat Meas 1 with opposite footwork – step-hop on L (ct

1,2), step-hop on R (ct 3,4).

4 Face center of circle, repeat Meas 2 with opposite footwork – step sdwd to L on L (ct

1), step on R behind L (ct 2), take 3 quick light steps in place, LRL (ct 3&4).

Part 2 (an eastern variation)

1, 2 Move to center, starting on R, step-together-step, pause (ct 1,2,3,4). Continuing twd

center, starting with L, step-together-step, pause (ct 1,2,3,4). At the same time, bring

joined hands up to shoulder level, arms straight.

3, 4 Backup from center, starting with R, step-together-step, pause (ct 1,2,3,4).

Continuing bwd, starting with L, step-together-step, pause (ct 1,2,3,4). At the same,

time bring joined hands down to sides.


MILANOVO KOLO Page 2 of 2 Measure Pattern

Part 1 (a western variation)

1 Face diagonally to R, move on the diagonal into center, step-hop on R (ct 1,2), then

step-hop on L (ct 3,4). At the same time, raise hands up to chest level, arms straight.

2 Face diagonally L, move on the diagonal backing away from center, step on R (ct 1),

step back on L (ct 2), take 3 quick light steps in place, RLR (ct 3&4). At the same

time, lower hands to sides.

3 Repeat Part 1 meas. 1, with opposite footwork and direction - Face diagonally to L,

move on the diagonal into center, step-hop on L (ct 1,2), then step-hop on R (ct 3,4).

At the same time, raise hands up to chest level, arms straight.

4 Repeat Part 1 meas. 1, with opposite footwork - Face diagonally R, move on the

diagonal backing away from center, step on L (ct 1), step back on R (ct 2), take 3

quick light steps in place, LRL (ct 3&4). At the same time, lower hands to sides.

Part 2 (a western variation)

1 Facing center, cross R in front of L (ct 1), rock back on L in place (ct 2), step R

crossed in front of L (ct 3), hop on R while swinging L to front of R in preparation

for next step (ct 4).

2 Step L crossed in front of R (ct 1), rock back on R in place (ct 2), step L crossed in

front of R (ct 3), hop on L while swinging R to front of L in preparation for next

step(ct 4).

3, 4 Repeat Part 2, meas 1, 2.

Please note that the two variations presented here are not compatible with each other. That is,

they can’t be done together in the same line.

Presented by Leslie Hyll (Dayton, Ohio) at the 2009 Door County Folk Festival (Wisconsin)


Michael Kuharski (Madison, WI)

Michael, 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, & asmattering of “MwaukeeTalk”. He has made 10 trips to the Balkans and regularjourneys to Milwaukee to study the folklore, language and culture of the people(particularly Kosovo Albanians, Macedonians, Bulgarians, & Wauwatosans) aswell as to collect dances, music, instruments, costumes, friends, red scarves, &anecdotes. Michael is Artistic Director of Ensemble Narodno, the main manbehind Folk Ball, a June Camp organizer, & adds energy almost anywhere. Heteaches weekly at Madison Folkdance Unlimited, annually at Door County FolkFestival, and elsewhere upon invitation. Michael plays accordion, lugs a tupanaround, & transcribes folk songs by the score. Beware of his edited versions offavorite folkdance recordings and try to catch him sitting down!


Dobrudjanski Opas(Bulgaria)

Background: The Opas is a genre of men's dance found in the Dobrudja(Danube delta) region of Bulgaria and may be considered their versionof the Pravo. Historically, this dance form may have come with majormigrations from Thrace to Dobrudja, especially in the 18th century.The name describes the hold used: "za opas" means "by the belt" in thelocal dialect. In standard Bulgarian this expression is "za pojas".The body style, which is based strongly on the earth and done very muchinto the ground, depends on the flexed-knee posture characteristic ofDobrudjan men's dances. Beginning with gentle rocking ("zaspi" = "go tosleep") in the first figure, the dance develops increasing force & energy,complementing forceful footwork with head and shoulder movements.

Yves Moreau, Marty Koenig, & Jaap Leegwater all have taughtdances from this family. I learned one from the Gabrovo Ensemble in 1993.Marty Koenig learned this dance in the village of Srebarna, in theDobrudja region. The Madison folkdance community learned it from Martyin the early 1970s & has been doing it continuously ever since. Thisdescription is based on a syllabus from Marty and on Madison tradition.

Sequence: Execute the figures in the order presented here.The leader (rightmost dancer) calls for the next step at his discretion.For Figures V & VI the leader can just call "NOVO". These two figures areoptional: to omit them, just call for "Pravo" after doing some of Fig.IV.

Recording: Balkan-Arts BAEU-1 "Bulgarian Folk Songs & Dances".Rhythm: 2/4.Formation: Line.Hold: Belt hold with left arm over, right under.

Meas Count Action---- ----- ------------------------------------------------------------

FIGURE I - PRAVO or BAVNO or OSNOVNO.1 1 Facing center, step R sideward r.

2 Step L beside R.

2 1 Step R sideward r.2 "Chukche" on R, bringing L foot across in front of R.

3 1 Step L across in front of R.2 "Chukche" on L, lifting R.

FIGURE II - CHUKNI.1 1 In place, fall heavily onto R.

2 In place, fall heavily onto L.

2 1 In place, fall heavily onto R.& In place, fall heavily onto L.2 In place, fall heavily onto R.

3 1 In place, fall heavily onto L, turning body 1/4 turn left.2 Stamp R in place beside L.

(page 1 of 2)


Dobrudjanski Opas (page 2 of 2)Meas Count Action---- ----- -------------------------------------------------------------

FIGURE III - NAPRED.1-6 [ Execute Figure II twice, moving forward toward center ]

7 1 Stamp R in place.2 Stamp R in place. (Yes, you just did 3 stamps in a row.)

FIGURE IV - [no call: a continuation of NAPRED].1 1 Moving r (LOD), knees bent & feet low to the ground,

fall onto R.2 Hop R, crossing L in front of R.

2 1 Continuing in LOD, fall onto L.2 Hop L, bringing R leg around in front.

3 1 Pull R leg back, falling onto both feet with knees bent.2 [ Hold. ]

FIGURE V.1 1 Moving r (LOD), knees bent & feet low to the ground,

fall onto R.2 Hop R, crossing L in front of R.

2 1 Continuing in LOD, fall onto L.2 Hop L, bringing R leg around in front.

3 1 Hop L in place, beginning back bicycle lift with R.& Step R in place.2 Step L in place beside R, feet together, knees bent.

FIGURE VI - ["POWER PRAVO"]1 1 Facing center, shift weight to R, leaving L foot in place.

2 Shift weight to L, leaving R foot in place.

2 1 Heavy step onto R sideward r.2 "Chukche" on R, bringing L foot across in front of R.

3 1 Step L across in front of R.2 "Chukche" on L, lifting R.

Presented by Michael KuharskiDoor County Folk Festival - 2009


Paul Wagner (Eau Claire, WI)

Paul W returns to the DCFF staff. Paul has been dancing, teaching and enjoyingfolk dance for over 34 years. He currently is one of the leaders of the Eau ClaireInternational Folk Dancers, and has been a member and leader of the Eau Claireinternational performance group and the Bistra Voda band. While teachingdances from all over the world, Paul especially enjoys the rhythms, music anddance forms of the Balkans. In 2001 Paul completed his doctorate in ComputerScience from the University of Minnesota. He teaches computer science at theUniversity of Wisconsin - Eau Claire. In addition to his interest in dance andmusic, Paul enjoys running, canoeing and kayaking, bird watching and volleyball.


Chaldean SheikhaniChaldea (Iraq)

Source: Dance from Chaldean community in North America.Music: Steve Kotansky Tapestry 2007 CDRhythm: 2/4Formation: Short lines or open circle with arms down and fingers interlocked. Often, the

arms change positions and dancers are close enough to place their own L hand attheir lower back (elbow bent) and their own R hand extended Fwd into theirneighbor’s lower back.

Measure Pattern1 Facing R of center, step and lean to R (ct 1); bounce twice on both

feet apart (weight is more on the R ft and R knee bends slightly) (cts2, &);

2 Sway onto L ft leaving R ft in place (ct 1); bounce twice on both feetor close R ft beside L ft (cts 2, &);

3 Fall onto R ft with accent in place and swing L leg fwd with astraight leg (ct 1); step L ft fwd (ct 2);

4 Step R ft fwd (ct 1); turning to face center, touch L ft beside R ft (ct2)

5 Facing center, step L ft fwd (ct 1); step R ft fwd (ct &); step L ft fwd(ct 2);

6 Stamp R ft slightly fwd (ct 1); stamp or scuff R ft again (ct 2);

Originally presented by Steve Kotansky at Tapestry Folkdance Center, Minneapolis, 2007Notes by Steve KotanskyPresented at Door County Folk Festival 2009 by Paul Wagner


HeyamoTurkey

Pronounciation: HEY AMMOMusic: Ahmet Luleci, CD #4, Track #1Rhythm: 4/4Formation: Arms down bent from the elbows parallel to the ground.

Figure 1Facing center

Count Pattern1 Step on R to Rt2 Step on L to Rt, crossing Rt3 Step on R to Rt4 Quick step on L to Rt, crossing Rt& Quick step on R to Rt5 Step on L to Rt, crossing Rt6 Quick step on R to Rt& Quick step on L to Rt, crossing Rt7 Step on R to Rt8 Touch L next to R9 Step on L to Lt10 Step on R to Rt11 Step on L to Lt12 Touch R next to L

(I remember Ahmet doing a slight lift of the foot that touched, immediately after the touch,on counts 8 and 12, and slight kicks out with other foot after the steps on counts 9 and10 - PJW)

Dance repeats from beginning

Originally presented by Ahmet Luleci at Tapestry Folkdance Center, Minneapolis MN,October 2008

Notes originally by Ahmet LuleciPresented at Door County Folk Festival 2009 by Paul Wagner


Staro Planinsko KoloEast Serbia

Dance from East Serbia. Source: Book of Janković sisters, Beograd

Pronounciation: STAH-roh PLAH-neen-skoh KOH-lohMusic: Yves Moreau CDRhythm: 2/4Formation: Open circle. Face ctr, wt on L. Hands down in “V” position.Style: Small bouncy steps

1. Basic1 With wt on L, touch ball of R ft out to R (1) touch-close ball of R ft

to L ft (2)2 Repeat pattern of meas. 13 Repeat pattern of meas. 14 Twist both heels out to R (1) straighten heels to face ctr (2)5 Step fwd on R (1) pause (2)6 Step fwd on L (1) pause (2)7 Stamp with R ft next to L (1) pause (2)8 Repeat pattern of meas. 79 Small hop on L (1) step back onto R (2)10 Step back onto L (1) step back onto R (2)11 Repeat pattern of meas. 9 with opposite footwork (moving bkwd.)12 Repeat pattern of meas. 10 with opposite footwork (moving bkwd.)

2. Stamping variation1 Stamp with R ft next to L (1) pause (2)2 Repeat pattern of meas. 13 Repeat pattern of meas. 14 Twist both heels out to R (1) straighten heels to face ctr (2)5 Three small running steps R-L-R fwd with slight back crossing to R6 Same steps as meas. 5 with opp ftwk.7 Same pattern as in meas. 58 Leap onto L ft (1) stamp with R next to L9-12 Repeat pattern of meas. 9-12, Fig. 1 (Basic)

3. Stamping variation traveling in LOD1 Facing, LOD, stamp with R ft next to L (1), repeat stamp (2)2 Repeat pattern of meas. 13 Repeat pattern of meas. 14-12 Repeat meas. 4-12 of Fig. 2, but facing LOD

Leader “calls” change of figures at will.Originally presented by Yves Moreau at Folklore Village Christmas Festival, Dodgeville,

Wisconsin, December 2006Presented at Door County Folk Festival 2009 by Paul Wagner


Triti Puti (4-Step)Bulgaria

Rhythm: 2/4Recordings: Aman 3Formation: M & W in short, straight lines, V-hold.Source: I (Warren/Catherine) learned this dance from Kate Shoupe, who learned it from

Vivan Hartzler in 1981. History unknown before that.Style: When doing hops, the free leg lifts slightly in front, knee bent. Arms swing

forward (count 1) and back (count 2) throughout the dance.

Measure StepsFigure 1: Box and Side Step

1 Facing center, step R forward (count 1), step L beside R (count 2)2 Step R to R (1), touch L beside R (2).3 Step L backward (1), step R beside L (2).4 Step L to L (1), touch R beside L (2).5 Step R forward (1), touch L beside R (2).6 Step L backward (1), step R beside L (2).7 Step L to L (1), step R beside L (2).8 Step L to L (1), touch R beside L (2).

Figure 2: Travel Forward & Backward1 Facing center, hop L (1), step R forward (&), hop R (2), step L forward (&).2 Hop L (1), step R forward (&), step L forward (2), step R backward (&).3 Hop R (1), step L backward (&), hop L (2), step R backward (&).4 Hop R (1), step L backward (&), step R backward (2), step L forward (&).5-8 Repeat Measures 1-4

Figure 3: Daičovo Step1 Facing center, moving diagonally L and forward: hop L (1), step R (&), step L

(2), step R (&).2 Moving diagonally R and forward: hop R (1), step L (&), step R (2), step L (&).3 Moving diagonally R and backward: hop L (1), step R (&), step L (2), step R (&).4 Moving diagonally L and backward: hop R (1), step L (&), step R (2), step L (&).5-8 Repeat Measures 1-4

Figure 4: In Place & Scissors1 Facing center, hop L (1), step R in place (&), hop R (2), step L in place (&).2 Hop L (1), step R in place (&), step L across R (2), step R back in place (&).3 Repeat measure 2 with opposite footwork in opposite direction4 Scissors: step R in place, kicking L forward & low (1), step L in place, kicking R

forward and low (&), step R in place, kicking L forward & low (2), step L inplace, kicking R forward and low (&).

5-8 Repeat Measures 1-4


Sequence:: Figures 1,2,3,4,4; 1,2,3,4; 1,2,3,4,4; 1,2,3,4,4

- - - - -

Description by Catherine and Warren KubitschekLearned by Paul Wagner from Warren Kubitschek at Door County Folk Festival, 1993Presented by Paul Wagner at Tapestry Folk Dance Center, 11/2007


Žensko za rakaMacedonia

A women’s dance from Western Macedonia with a 12-measure pattern. Learned fromSaško Anastasov.

Pronounciation: ZHEHN-skoh za RAH-kaMusic: Yves Moreau CDRhythm: 2/4Formation: Open circle. Face R of ctr, wt on L. Hands joined up in “W” position.Style: Proud and smooth.

No special introduction. Start at beginning of any musical phrase.

Measure Pattern1 Facing and traveling LOD, step on R (1) light lift on R raising L (2)2 Same pattern as in meas 1, starting with L ft3 Two walking steps in LOD, R-L4 Facing ctr, step on R (1) raise L ft, knee slightly bent (2)5 Facing ctr, step fwd onto L ft (1) raise R ft behind L calf (2)6 Still facing ctr, step on R to R (1) step on L across R (2)7 Step on R (1) lift L (2)8 Facing ctr, step fwd on L (1) raise R ft behind L calf (2)9 Facing ctr, step back onto R (1) lift L (2)10 Facing & traveling RLOD, step on L (1) step on R across L (2)11 Facing ctr step on L to L (1) step on R behind L (2)12 Facing ctr, step on L to L (1) lift R, bending knee (2)

Dance repeats from beginning

Originally presented by Yves Moreau at Folklore Village Christmas Festival, Dodgeville,Wisconsin, December 2006

Notes by Yves MoreauPresented at Door County Folk Festival 2009 by Paul Wagner


Yuliyan "Yuli" Yordanov

"Yuli" grew up in Doyrentsi, a village in Lovech region of north central Bulgaria,and learned dancing and singing at a young age. A graduate of the acclaimedAcademy of Music and Dance Art in Plovdiv, he worked professionally in Lovechas a dance director, choreographer, and Bulgarian folk dance instructorbeginning in 1993. He and his students participated in many concerts,celebrations, and international festivals throughout Bulgaria and the rest ofEurope. In May 1995 they were selected to appear on Channel One of BulgarianNational Television. In 1997 Yuliyan was honored with an invitation to attend thetraditional annual party for Bulgarians with notable achievements in educationand culture hosted by the president of Bulgaria.

Since moving to the U.S., Yuliyan has taught Bulgarian dancing at: Door CountyFolk Festival in Door County, WI (2003, 2004 and 2005), Appleton IFD DanceWeekend in Appleton, WI (2005), Autumn Leaves Festival in Nashville, TN(2005), Balkanske Igre Spring Festival in Chicago, IL (2004, 2005 and 2006),Bulgarian Dance Weekend in Harrisburg, PA (2006, 2008), Buffalo on theDanube Dance Camp at Timber Ridge Camp in High View, WV (2007), OldCountry Weekend, Lake Texoma, OK (2007), Rang Tang, Atlanta, GA (2008),Workshops in Evanston, IL (2004); Milwaukee, WI (2004); Chicago, IL (2003,2004, 2005); Washington DC (2006, 2008); Princeton, NJ (2006, 2008); LasVegas, NV (2007); San Diego, Laguna Beach, Bellflower and Berkeley, California(2007); Seattle, WA (2008); Philadelphia, PA (2008); Brooklyn Heights, NY(2008). In Des Plaines, IL, Yuliyan established and leads the folk danceformations "Nashencheta" and "Mitronija" of St. Sophia Bulgarian School since2002. In Milwaukee, WI, he has been a choreographer and artistic director for the"Na Lesa" Bulgarian folk dance ensemble since 2004.

For two years (2005-2006) he served as an artistic director of the younger groupof "St. Sava Junior Dancers" at the Serbian Cultural Center. In Madison, WI,Yuliyan has danced with and choreographed regional Bulgarian dance suites for“Narodno! International Dancers”. He also dances with the “Mesoghios GreekDancers” where he learned many authentic dances. As a musician, Yuliyan hasperformed (tupan, tambura, vocals) with “Malo Selo” folk ensemble in Madisonand is now the vocalist and tupan player for the Balkan folk music ensemble“Veseliyka” also in Madison.


Boaliysko horo

(from Thrace, Bulgaria)

Meter: 2/4. Ten-measure dance pattern.

The style of the dance is energetic, upbeat. It can be done to many different pieces ofmusic.Arms are in a belt hold. In measures 1-4 face and move to the right; in measures 5-10,face center.

Measures:

1. Slide fwd with R (1); skip fwd with R, L remains in the air (2).2. Slide fwd with L (1); skip fwd with L, R remains in the air (2).3. Leap fwd onto R while raising L heel behind the body (1); leap fwd onto L

while raising R heel behind the body (2).4. Same as measure 3.5. While turning body to face center, leap onto R to R (1); leap onto L to R

crossing behind R (2).6. Leap onto R diagonally back to R while raising L bent in the knee behind the

body (1); kick fwd with L (2).7. Leap onto L to L slightly turning body to L (1); emphasized step R to L,

crossing in front of L, while bending the upper body (2).8. Leap onto L to L (1); leap onto R to L, crossing behind L (2).9. Leap onto L diagonally back to L, while raising R bent in the knee behind the

body (1). Kick fwd with R.10. Leap onto R, pivoting body to L (1); leap back onto L to R, crossing behind R.

Described and presented by Yuliyan Yordanov, © 2002


Ginka

(from Pirin mountain area in SW Bulgaria)

Meter: 7/8 (3+2+2 or SQQ). Six-measure dance patterns. Open circle formation withhands in a “V” hold. This dance can be done to many different pieces of music.

Pattern 1 (usually for music in slower tempo)Measures:

1. Bounce on L with R raised and extended (1); step on R (2); pause (3).2. Bounce on R with L raised and extended (1); step on L (2); pause (3).3. Same as measure 1.4. Step on L to R, crossing in front of R, lifting R (1); step on R back in place (2);

pause (3).5. Turning diagonally to L, lift and move L in a circular motion around and behind

R, while bouncing subtly on R (reel step) (1, 2); step on L behind R (3).6. Step on R to R, facing R (LOD) (1); step on L to R, crossing in front of R (2);

pause (3).

Pattern 2 (usually for music in faster tempo)Measures:

1. Hop on L with R raised and extended (1); step on R (2); pause (3).2. Hop on R with L raised and extended (1); step on L (2); pause (3).3. Hop on L with R raised and extended (1); hop on L bending R in the knee (2);

step back on R behind L (3).4. Step on L to L, turning to face center (1); step on R to L, crossing in front of L

(2); pause (3).5. Facing diagonally to L, hop twice on R while circling L around and behind R

(1, 2); step back on L behind R (3).6. Turning to face LOD, step fwd on R (1); step fwd on L (2); pause (3).

N.B. There are many other variations.



Gradchansko Gruncharsko(From the village of Gradets, Vidin region, NW Bulgaria)

Meter: 9/8 (2+3+2+2) – Each measure can be counted “one (1) - two (2) - three (3)- four (4)”. Emphasis on (2) and (4).

This dance is a variety of Gruncharsko Horo (Potter’s Dance) and can be done tomany different pieces of music.The styling is energetic, with the arms swinging forward and back in a V-hold.There is a periodic synchronization between musical phrase and dance phrase.The basic motion is “Gruncharka” and it resembles the motion of the potter’swheel: step on R (1); emphasized step on L and Reversed Bicycle Motion (RBM)with R (2); bounce on L (3); RBM with R (4). First “Gruncharka” usually starts witha step, the following ones start with a bounce. Depending on the leg doing theRBM “Gruncharka” is further defined as either R or L.

Figure 1Measures: 1-5 (LOD), 6-10 (RLOD)

1. “Gruncharka” with R2. “Gruncharka” with L3. “Gruncharka with R4. Hop on L (1); step on R to R facing center (2); step on L to R crossing

in front of R (3); step on R to R (4).5. Step on L to R crossing behind R (1); step on R to R (2); step on L to R

crossing in front of R (3); close R to L (4).6-10. Same as measures 1-5 but with opposite footwork and direction.

Figure 2 - Facing center.Measures:

1. Hop on L (1); emphasized step on R to R (2); leap onto L to R (3); stepon R to R.

2. “Gruncharka” with L.3. “Gruncharka” with R.4. “Gruncharka” with L.

5-8. Same as measures 1-4 but with opposite footwork and direction.

Figure 3 - Same as Figure 2 but forward (measure 1) and back (measure 5).

Figure 4Measures: 1-4 (LOD), 5-8 (facing center)

1-4. Leap onto R to R (1); close L to R bending the upper body (2); leaponto R lifting L back (3); step on L to R (4).

5. “Hlopka” (click) R to L (1); step on R (2); “Hlopka” L to R or a reel stepwith L (3); step on L (4).

6. “Gruncharka” with L7. “Gruncharka” with R (wider)8. Two reel steps - R, L.



Maleshevsko horo

(From Pirin mountain area in SW Bulgaria and from present-day Macedonia)

This dance is known under different names such as Chetvorka, Malishevsko, Strumsko,etc.

Meter: 2/4. Eight-measure dance pattern. It can be done to many different pieces ofmusic.

The dance is done in an open circle formation. In measures 1-3, face and move to theright (LOD); in measure 5, move to the left (RLOD); in measures 4, 6-7, face center; inmeasure 8, turn as described below.Arms are in a “V” hold, swinging forward on count 1 and back on count 2 of eachmeasure. Some measures are counted “1-and-2-and.”

Basic pattern

Measures:

1. Step fwd on R (LOD) (1); step fwd on L and dip (2).2. Step fwd on R (1); step on L beside R (and); step fwd on R (2); pause (and).3. Same as measure 2, but with opposite footwork.4. While facing center, step R to R (1); lift L (2).5. Step L to L (RLOD) (1); step R to L, crossing in front of L (2).6. Step slightly back on L (1); lift R (2).7. Step R to R (1); lift L (2).8. While turning body to R, step on L (1); lift R (2).

A variation for measures 6-8:

6. Leap onto L, facing R (1); leap onto R behind L (and); leap onto L in place (2);pause (and).

7. as measure 6, but with opposite footwork.8. same as measure 6. (Or: touch with L heel (1); small leap onto L (2).)

N.B. There are many improvisation-based variations for this dance.



Siriysko horo

(The dance has a Syrian origin and was observed in the Bulgarian community in Chicago)

Meter: 2/4. Twenty-measure dance pattern.

The style of the dance is energetic, upbeat. Arms are in a “V” hold, while dancers in theline are close to one another and facing center throughout the dance.

Measures:

1. Small leap onto R to R (1); step on L to R, crossing behind R (2).2. Small leap onto R to R (1); step on L to R, crossing in front of R (2).3. While slightly pivoting body to L, hop on L (1); slightly emphasized step with a

tiny dip on R to L, crossing in front of L (2).4-6. Small leap onto L to L (1); slightly emphasized step with a tiny dip on R to L,

crossing in front of L (2).7. Small step L to L with a lean to the left (1); lean to R to switch weight (2).8. Close L to R (1); pause (2).9. Small step on L towards center while leaning fwd (1); lean back on R (2).

10. Close L to R (1); pause (2).11-12. Same as measures 7-8.

13. Simultaneous jump R back, L diagonally fwd to L on heel, body subtly leansback (1); jump on L returning to original (before the jump) position, lifting Rbent in the knee (2).

14. Step on R to L crossing in front of L, while L comes off the ground (1);simultaneous jump L back, R diagonally fwd to R on heel, body subtly leansback (2).

15. Leap diagonally back to R on R (1); step on L to R, crossing in front of R,while R comes off the ground (2).

16. Same as measure 13.*In the following (17-20) measures, the upper body is slightly leaning fwd.Shoulder shimmies are more than welcome.

17. Slightly emphasized touch fwd on R heel (1); leap back onto R, while raising Lin the air (2).

18. Slightly emphasized touch fwd on L heel (1); leap back onto L, while raising Rin the air (2).

19-20. Same as measures 17-18.N.B. In measures 17-20 the touch with heel can be replaced with a kick.



Dan Garvin (Vadnais Heights, MN)

Dan has taught at the Door County Folk Festival, Chicagoland Spring Fling andother 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 ofthe organizers of SNOPA! - a Twin-Cities Winter Dance Weekend. He was on thedance committee of the folk dance group at Columbia University at Earle Hall inNew York City. He danced in Madison Folk Dance Ensemble when he attendedthe University of Wisconsin in Madison. Despite being from St Paul, he is amember of Tri Bratovchedki, a Balkan singing group from Madison, Wisconsin.


Kim Caisse (Madison, WI)

Kim has danced with the Madison international folk dance group for over tenyears. She has been helping to organize and teach on Sunday nights for severalyears now, and enjoys being one of the little elves that help make the MadisonFolk Ball and June Camp happen. Kim also teaches crochet at a marvelouscafe/yarn shop in Verona, WI, and finds it strangely similar to teaching dance.She has been self employed as a ceramic jewelry artist for over twelve years.


Charachan Odori

I learned this Japanese circle dance from Joanna Thompson, who learned it at Stockton folkdance camp. The story in the song is set in Edo, the old name for Tokyo. Charachan isonomatopoeia, odori means dance.

This dance is done in a circle without holding hands. Begin the dance facing counterclockwise.Overall, you will move slightly counterclockwise throughout the dance. Each dancer holds a fanin the right hand, an “uchiwa” style fan, not a folding fan. You can also do this dance withoutfans. Just hold your right hand with palm outward in the first two measures, and clap handstogether on the third, and tap your left fingertips with the right in the last part.

Measure feet hands

1-2 Facing counterclockwise, pull R footback, bending knee, touch with R ball offoot forward, pull R foot back again, stepforward.

3-4 Step L forward, step R forward.

5-6 Leap onto L, slightly toward middle ofcircle, bending forward from waist slightly.

Step back slightly on R.

Step L to L, facing center of circle.

7-8 Face clockwise, take 3 small stepsclockwise (R, L, R) and a fourth L stepturning back towards counterclockwise.

Dance notes by Kim Caisse

1-2 L hand is down at side. Start with Rhand holding fan close in front of shoulder,push fan forward so arm is fully extendedand parallel with floor, pull R hand back toshoulder with R foot, push R hand forwardagain with R step.

3-4 With R hand down at side, push L handforward with palm facing forward until armis parallel with floor. Bring L hand down toside and push R hand forward with fan.

5-6 Bring fan down to L with R armextended to clap it with open L hand a littlelower than waist height as you leap on L.

Separate hands slightly and bring them up alittle to make top of ‘mountain,’

Extend hands down and out to sides keepinghand and fan parallel with the sides of the‘mountain’ as though you are sculpting it.

7-8 Hold L hand with palm up at elbowheight, tap edge of fan 3 times against Lfingertips during the first 3 steps. Bring fanback up to shoulder and L hand down tobegin again.


Charachan Odori Lyrics

Transcription and translation by Yumi Matsumoto and Kim Caisse

Yo hoi, yo hoi, yohiana chorus. Just an exuberant shout that doesn’t really mean anything.

Watashi wa ima kita, ima koko e I’ve just now come here, I don’t know all the proprietiesOtosho no go sahoo wa shirae domo (the narrator is apologizing that he’s not formal or high class)

Shiranai tokoro wa mazu gomen I’ll say I’m sorry now in case I don’t know part (of the song)Shiranai tokoro wa chotto mazu gomen

Charachan odori o odorimashoo (2x) Let’s dance the Charachan dance

Charachan odori o odoru nara When we do the Charachan dance, we’ll ask all the dancing girlsOdoriko minnasama tanomimasu (to join in... to do their best... both meanings are possible)

Furukima gedai n ya sora edo (?) (2x) (this is a tale from an older era? - archaic Japanese - sorry!)

Shoya no OSumi to za o kimyoo ka I wonder if the overlord’s daughter Sumi will get engaged.Shoya no OSumi san to za o kimyoo ka

OSumi wa yoi ko ja kirei na ko ja Sumi is a good girl, a pretty girl.OSumi no go kiryoo o homeru nara If I were to praise Sumi’s appearance...

Tateba shakuyaku, suwa botan When she stands she’s like a shakuyaku peony, when she sitsAruku ma sugata wa yuri no hana she’s like a botan peony. Walking she is like a lily blossom.

Sono na wa Edo juu ni shirewatari That name (Sumi’s) is known throughout Edo (old name forEdo no ma wakai shu ga nozomikake Tokyo). All the youths of Edo cast their hopes her way.

Nozomikaketaru wakai shu ga The youths who cast their hopesItomen noro naru fumi tsukau must send a letter if they want to win her.

Fumi wa yama hodo areba tote Though there are enough letters to make a mountain,Sore tote te ni toru fumi wa nai there is not even one she will take in her hand.

Naka ni hitotsu ga me ni tomaru Among them one catches her eye.Sono fumi hiraite naka mitara She opens that letter and looks inside.

Sono na wa Edo juu ni shirewatari Her name is known throughout Edo.Edo no ma wakai shu ga nozomikake All the youths of Edo cast their hopes her way.

Kono saki yondara yoi keredo It would be interesting to read further butDoo yara jikan to narimashita Somehow we’re out of time.

Kono koe kagiri de sayonara (2x) With this voice, finally, goodbye.


Drumul Dracului

Often called a Moldvai dance, this is from Hungarian speakers in Romania. I learned this whenDuvo Ensemble played in Madison, Wisconsin. This recording is by Szaszka, a great local Madison/Twin Cities band. I learned some more variations from Sarah Bruins of Szaszka andfrom Tom Roby and Marjorie Nugent. Part one and two alternate, and each part goes with themusic, which also has a clear part one and part two. Usually I lead it so part 1 basic alternateswith whatever part 2 variations the dancers like, and occasionally call the left moving variation.I save the final alternate pattern for the very end. Meter: 4/4, handhold: W Part 1 Basic1-2 Face center. (Step R to R, step L beside R) twice3-4 Step R to R, stamp L twice beside R, hold one beat5-8 repeat 1-4 with opposite footwork and direction9-16 Repeat 1-8

Part 1 Left moving variation (you might want to designate a ‘tail leader’ or call ‘to the left’)1-4 Face center. Take seven steps to left, starting with R, always crossing R in front of L, thenpivot on R swinging L around to go back to R.5-8 Same as 1-4 with opposite footwork and direction.9-16 repeat 1-8. The final pivot leads into part 2 nicely.

Part 2 Variation 1, low key version1-2 Face center. Step R in front of L, step L in place, step R beside L, step L in place.3-6 Repeat 1-2 twice for 3 times total.7-8 Stamp R 3 times slightly forward, pointing first straight forward, then diagonally to R, thenstraight forward again. Hold for one beat.

Part 2 Variation 2, higher energy versionSame as variation 1, but instead of stepping, leap onto R in front, picking up L in back, and thenfall back onto R by L while letting L foot shoot forward slightly with leg straight.

Part 2 Variation 3, with crossing leapsSame as variation 2 but replace 3 stamps with this:7-8 Leap onto R in front of L, chug backwards slightly with a little hop, then leap onto L in frontof R and chug backwards slightly with a little hop. The chugs are small, just enough to make youstay in place throughout these two measures.

Part 2 Variation 4, crossing leaps keep going, end with stampsDo variation 3, but after the first pair of crossing leaps, keep doing crossing leaps alternatingright and left (4 pairs total) until the last measure, and end with the 3 stamps from variation 1.

Alternate pair of patterns I’ve seen Sarah lead these two together:Part 11-2 Facing slightly to R, step R, L, to R3-4 Face forward and Step R,L,R sideways to R, closing L beside R5-8 Repeat 1-4 with opposite footwork and direction.9-16 Repeat 1-8Part 21-2 Facing slightly to R, step R,L to R, pivot sharply to face center and close R beside L withouttaking weight.3-6 repeat 1-2 two more times for 3 times total.7-8 Stamp R 3 times as in 1st variation of part one.

Dance notes by Kim Caisse


Fourteen Step

Metis dance from Manitoba, Canada, taught by Dennis Grove and his granddaughter Kayla ofSelkirk, Manitoba at Folk Ball 2009 in Madison, Wisconsin.

The Metis are people of mixed native American and European heritage in Canada and thenorthern United States, and they have a continuous lively tradition of community dance that goesback centuries. Check out this link to learn more, and hear some great music!

http://www.ameriquefrancaise.org/index.php/M%C3%A9tis_Fiddling_and_Dance

Many Metis dances are almost the same as other familiar square, contra and couple dances thatgo with old-time fiddle music. One major difference is that inactive couples continue ‘jigging’ inplace throughout the dance, and in dances with couples progressing around a circle, thatprogression is also usually done by jigging. Here’s my attempt to describe a basic Metis-style jigmove: lightly flick or scuff foot diagonally forward and take three small steps. The scuff andeach of the steps take equal time, and you bounce throughout, coming down on each of the threesteps, so it feels like “and down, down, down.”

In many of the dances Dennis taught us there were four measures of jig moving around the circlestarting with the left (and LRL, and RLR, etc.). Dennis’ phrase to tell us to begin this commonpattern of processing with four measures of jig was, “and then you begin your dance.”

Metis jigging is similar and related to clogging, so feel free to play around with it if you like toclog. But the video Dennis showed us really reminded me of other forms of native Americandances done in circles, and certainly had that feel of everyone bouncing in unison, so keep that inmind and balance it against the ‘flavor’ of dance you get with clogging.

measure1-2 With L: touch heel diag. fwd., hook heel in front of R shin, touch diag. fwd. again,

step L beside R.3-4 Man stands and pivots only right foot on heel twice, moving toe to R,L,R,L, while

woman pivots feet twice, R,L,R,L, on both heels.5-6 Same as 1-2 but with R.7 Touch L heel diag. fwd., hook L heel in front of R shin.8-11 Couples move counterclockwise around the circle with four measures of Metis jig,

i.e. (scuff L forward diagonally, step L, R, L moving forward, scuff R forwarddiagonally, step R, L, R, moving forward) repeat ( ).


Gilansko Pharo

Romani (Gypsy) dance from the city of Gnjilane in Kosovo. Taught by Šani Rifati at Folk Ball inMadison, Wisconsin and at Spring Festival in Chicago.

Here are Šani’s notes about this dance:This version of pharo (heavy or maškoto) horo comes from the city of Gnjilane, which is famousfor their occupational songs and dances. The pharo dance is very heavy with slow lifting foot.The drummer and the leading dancer interact closely with each other with the rhythms andtempo. Quite often the rhythm gets syncopated and the drummer has to pay enormous attentionto the feet to create an uplifting ambiance. Unfortunately this dance is disappearing from theRoma from Kosovo. They’ve been living over 9 years in western Europe after the conflict inKosovo and the dances are geting lost.

What we miss when dancing to recorded music is that in this dance and others like it thedrummer is usually right out on the dance floor with the lead dancer. Šani’s organization, Voiceof Roma, has some videos posted on YouTube showing this at their festivals in California.Search for “Voice of Roma” and “Herdeljezi” on YouTube and check it out! This particulartrack is with the clarinetist Kelpač playing with Orkestar Titanik from the mahala Šutka inSkopje, Macedonia.

Rhythm: 12/8 counted 3-2-2-3-2 or s-q-q-s-q.

Hand hold: I’ve seen Šani lead this starting with hands down in V- position, with hands movingslowly upwards as the piece progresses and the energy builds, all the while with arms straight, soyou almost have your arms straight out in front of you by the end.

You can start anywhere in the pattern, and individual variations are part of the fun, so pleasedon’t take this description as set in stone. There are five measures in the dance, two moving, andthree in place with the same footwork repeated first with the left foot, then right, then left. Thelifts and the steps are all quite large. Savor the rhythm. It’s ok to wait until the last possiblemoment to make each step. Don’t rush the beat.

Moving measures:1 Facing center, lift R in front, then turn to face right extending R to R, then step R to R.

(slow, quick, quick)Step L foot to R, step R to R. (slow, quick)

2 Still facing R, step L to R, lift R in front of you and push down to extend it to R, step R to R.(slow, quick, quick)Step L foot to R, step R to R, turning to face center. (slow, quick)

In place measures: facing center3 Lift L in front of you and pump down slightly twice, step L beside R. (slow, quick, quick)

Step R in front of L, step on L in place. (slow, quick)4 Repeat 3 with opposite footwork.5 Repeat 3 as written.

A really fun variation can happen on the last in place measure just before you begin to move tothe right. If you notice the end of the musical phrase is going to coincide with this measure, doyour lift and two pumps, and then hold the pose, balancing with anticipation until the last beat ofthe measure when you will leap dramatically onto the left foot with the right raised high in frontof you. Then continue the dance nonchalantly as if you have done nothing special in particular.

These dance notes by Kim Caisse


Rick King (Southfield, MI)

Rick first danced at the Detroit Folkdance Club in 1973 for about 2 months butdidn't dance regularly until 1978 at Alex Cushnier's group at Wayne StateUniversity. In 1979 joined the Detroit Folk Dance Club. In 1984, he took a hiatusfrom dancing and became active again in 1989, dancing 2-3 nights per week. In1990, he began teaching folk dance classes in Huntington Woods and Southfield,MI and promoting folk dancing in the area, organizing dance workshops featuringlocal Chaldean and Lebanese ethnic groups. In 1995 he started a monthly dancegroup on Suns that later moved to alternate Sats in Ferndale. That year he alsotook 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 andmoved it to the Ferndale location, dancing two Fris a month, while continuing themonthly Sat group. Eventually the two groups merged into Fris, meeting weekly.At the same time, Rick became the leader for the weekly Monday teachingnights. Rick's music collection goes beyond the basic folk dance "repertoire"recordings and contains more current versions, especially from the Balkans andthe Middle East. His loves doing simpler dances to alternative music that has an"ethnic" feel. Rick is also an avid bird watcher.


Dzhanguritsa (pg.2) Meas. 4 - facing center - drawing a circle from left, fwd to LOD

1. leap onto R ft fwd2. leap onto L ft fwd3. leap onto R ft to LOD4. lift on R ft+ leap onto L ft to LOD

Figure 3 - 8 meas.Meas.1,2 - same as meas.1,2 from Figure 2Meas.3 - facing center

1. leap onto R ft bkwd2. leap onto L ft bkwd3. leap onto R ft bkwd4. leap onto L ft fwd - diagonally left+ leap onto R ft fwd - diagonally left

Meas.4 - same as meas.3, but with opposite footwork and finish facing centerMeas.5 - facing center

1. touch with R heel fwd, while lifting on L ft2. leap onto R ft fwd - toward the center3. step on L ft fwd4. lift on L ft+ step on R ft fwd

Meas.6 - facing center1. leap onto L ft in place+ leap onto R ft next to L ft2. leap onto L ft in place, while sharply crossing R heel in front of L ft in the air - low3. step on R ft next to L ft4. lift on R ft+ step on L ft in place

Meas.7 - facing center1. touch R toes fwd with straightened knee, while lifting on L ft2. touch L toes diag. right with straightened knee, while lifting on L ft3. touch R toes fwd with straightened knee, while lifting on L ft4. lift on L ft, while bending R knee up fwd+ leap onto R ft next to L ft

Meas.8 - facing center1. step on L ft behind R ft2. step on R ft in place3. lift on R ft, while L ft is drawing a low, horizontal circle from left, fwd to LOD4. lift on R ft, while L ft continues drawing the circle to LOD+ step on L ft fwd to LOD

Sequence:Depending on the abilities of the group you can choose which figures to dance. If you want to dance all three figures the music goes very well with the following sequence: Introduction - 2 meas.; Figure 1 - 4 times; Figure 2 - 4 times; Figure 3 - 5 times.

Notes copied from Iliana's notes, with minor changes.2009 Door County Folk Festival (DCFF), Wisconsin

Maria

This dance is done in the Israeli dance community, but has nothing to do with Israelidancing other than being a choreography to a specific tune. It is roughly based on thebasic salsa step, and could be done with a partner.

MUSIC: Blake, Porter & Gomez Escolar

SINGER: Ricky Martin

ORIGINAL RECORDING: CD "A medic vivir" (live recording)

CHOREOGRAPHY: Alberto Zirlinger 1998

FORMAT: Solo dancers scattered across the floor.

SPECIFIC STEPS:Pivot: After transferring weight to the forward foot (a.k.a. step), turn 180° away from thatfoot to face opposite direction. Feet stay on spot. Return weight to original foot.

Kick ball change (right): Kick or flick R (1), take small step back onto the ball of the Rfoot with part weight (&) and then step on the spot onto L (2).

DANCE:All are facing front (= "north"; I'm using N, E, S, W to indicate direction).Intro - instrumental. Start on vocal.

Count:

1-4 Step fwd R (1), pull L close (&), step R (2), step L (3), pivot R (4)

5-8 Facing S: step fwd L (1), pull R close (&), step L (2), step R (3), pivot L (4)

9-12 Facing N: lift R knee (&), step R across L (1), lift L knee (&), step L across R(2), jump up with both arms high (&), land both feet aligned (3), pull both armsdown with elbows bent while pulling up L knee (~fetal position) with momentumto turn 90° to R (4)

13-16 Facing E: step fwd L (1), pull R close (&), step L (2), step R (3), pivot L (4)

17-20 Facing W: step R (1), step L (2), step R (3), step L (4)

21-24 Kick ball change (1, &, 2), step R (3), pivot L (4)

25-28 Facing E: Step R while turning 90° to L to face N (1), close L sideways (&), stepR (2), step L crossed behind R (3), step R in place (4)

29-32 Make 360° swivel on R or turn L (1), R (2), jump (&) and land both feet aligned(3), and stretch R leg forward (4)

Notes: Hanneke Meij

Suggestion: This choreography results in dancers gradually moving towards the front("north") because the movement of counts 9-12 have no corresponding movement in theother direction. To compensate, you can move R ("south") as you make the 360° turn incounts 29-32.


Maria (original version)

Ella es Una mujer especialComo caida de otro planetaElla es Un laberinto carnalQue atrapa y no te enteras

Asi es MariaBlanca coma el diaPero es veneno si te quieres enamorarAsi es MariaTan caliente y friaQue si te la bebes de seguro te va a matar

Un, dos, tresUn pasito pa'delante , MariaUn, dos, tresUn pasito pa' atrasAunque me muera ahora, MariaMaria, to tengo que besar

Ella es Como un pecado mortalQue te condena poco a pocoElla es Un espejismo sexualQue te vuelve loco; loco

Asi es MariaBlanca coma el diaPero es veneno si te quieres enamorarAsi es MariaTan caliente y friaQue si te la bebes de seguro te va a matar

Un, dos, tresUn pasito pa'delante, MariaUn, dos, tresUn pasito pa'atrasAunque me muera ahora, MariaMaria, a mi que mas me da


06/19/05 Dance notes © Rick King

Shatty ya Deney

LebaneseMeter: 2/4 (1, &, 2)Formation: line, hands clasped, arms held down, leader on the right.Begin with weight on L facing LOD

Pattern A: TravelingMeas.1 Facing LOD, after a preparatory lift of R, touch R heel in front(ct. 1), step R in

place(ct. &), step L forward(ct. 2)2 Repeat meas. 13 Step R slightly back and out of center(ct. 1), lift L in front(ct. 2)4 Step L across R(ct. 1), step R slightly behind L(ct. &), step L(ct. 2)

At end of the traveling sequence, turn to face center and bring R out in front to preparefor the next pattern.

Pattern B: Dancing in place (always done 4 times)Meas.1 Facing center and dancing in place, after a preparatory lift of R in front, cross R

leg in front of L, bringing the R foot beside the L cal5f(ct. 1), kick R in front(ct.2)

2 Step back on the ball of R foot(ct. 1), step L in place(ct. &), extend R leg in frontand slap R foot on floor(ct. 2)

3 In the same position, step R in front(ct. 1), step L in place(ct. &), step back on ballof R foot(ct. 2)

4 Touch R heel in front(ct. 1), step back slightly on R(ct. &), step L in place(ct. 2).Bring R out in front in preparation to repeat.

Sequence of patternsThe dance begins with the traveling step which continues during the chorus until the solosinging begins. At that point, the sequence becomes 4 'B's followed by 2 'A's. Thiscontinues until the chorus continues without a break at which point the traveling patternis repeated to the end of the music.


TremouliastosDance of Emona, Bana, Thrace. "Tremouliastos" means "trembling" or "shaking". Learned from Demetri Tashie at OWDC Camp High/Scope May 2009.

Meter: 2/4, counted 1,&,2,&Formation: line with simple "V" hold. Begin with weight on L.

Meas.Traveling R:1 Facing R of center and moving R, step R,L,R (cts.1,&,2)2 Step L,R,L (cts.1,&,2)3 Skip-step R (ct.1), skip-step L (ct.2)4 Step R (ct.1); close L to R with no weight (ct.2)

"tremouliastos": shake the upper body during measures 5 through 8:5 Facing center, step L to L (ct.1), step R close to L (ct.2)6,7 Repeat meas. 58 Step L to L (ct.1), close R to L without weight (ct.2)

Dance in place any of A, B, or C:9 A) ("pas-de-basques") Step R in place, step L across in front of R, step R in place

(cts.1,&,2)B) Step R in place, touch L next to R (cts. 1,2)C) Step R in place, step L next to R, step R in place (cts.1,&,2)

10 Repeat meas. 9 with opposite footwork.11-16 Repeat measures 9 and 10 three more times.

06/22/09 Dance notes © Rick King (after Demetri Tashie)65


VlahaDance of the island of Naxos. A men’s Carnival (Apokreas) dance slightly choreographed by Demetri Tashie to fit the music “Brovalate Sta Dhomata”. "Vlaha" refers to a shepherdess. The dance consists of a "sta tria" and two variations combined into a sequence that works well with the chosen recording.

Meter: 2/4, counted 1,&,2,&Formation: shoulder hold, leader on the right. Begin with weight on L.

Meas.Variation A: (sta tria)1 Moving R, step R,L (cts.1,2)2 Step R (ct.1); lift L (ct.2)3 In place, step L (ct.1); lift R (ct.2)

Variation B:1 Moving R, skip R,L (cts.1,2)2 Fall on R, kicking L foot behind R leg (ct.1); moving L, step L slightly L (ct.2); step R

across in front of L (ct.&) 3 Step L (ct.1); lift R (ct.2)[4 At two points in the music Variation B is ALTERED by adding an extra measure to make

it four measures long:swing R to R (ct.1); step R next to L (ct.2)]

Variation C:1 Moving R, take two quick steps R,L (a "bloop-bloop" step), stepping R slightly before ct.

1 and L on ct. 1 (ct.1); step R (ct.&), step L (ct.2)[Measure 1 is SIMPLIFIED when changing from Variation B to Variation C, to this:Step R,L (cts.1,2)]

2 With a preparatory jump, land on both feet (ct.1); shift weight to R and hop, lifting L behind (ct.2)

3 Step L behind R (ct.1); step R to R (ct.&); step L behind R (ct.2)

(Before beginning allow four measures to pass; i.e., count "1 & 2 &" four times after the full orchestra begins.)Sequence: First part: 4 x A, 4 x B, 1 x simplified C, 3 x CSecond part (begins with vocal): 3 x A, 2 x B, 3 x A, 1 x altered B, 4 x B, 1 x simplified C, 5 x CRepeat the Second part to the end of the music.

Suggestions: the sequence can seem confusing but it is designed to go with the music, which you will understand after listening and dancing to it several times. On the other hand, since all three variations are the same length, where you see sequences of A's and B's alternating you can mix and match without losing anything. Variation C always starts where the music modulates down; the music is instrumental at this point and always the same melody.

06/08/09 Dance notes © Rick King (after Demetri Tashie)66


06/19/05 Dance notes © Rick King

Vlaško Kolo

Serbian,VlachMeter: 2/4Formation: line, hands joined, arms held down, leader on the right.Begin with weight on L

Basic dance – this should be done with small steps.Meas.1 Facing center and moving LOD, step R to R(ct. 1), step L next to R(ct. 2).2 Repeat meas. 13 Repeat meas. 14 Step R to R(ct. 1), kick L slightly in front(ct. 2)5 Step L in place(ct. 1), kick R slightly in front(ct. 2)6 Step R in place(ct. 1), kick L slightly in front(ct. 2)7 Step L to L(ct. 1), step R next to L(ct. 2) (This is the opposite of meas. 1)8 Step L to L(ct. 1), kick R slightly in front(ct. 2) (This is the opposite of meas. 4)

(The first three measures can be done very “sitno”, or small, by almost just twisting theheels R and then the ball of the foot R.)

Variations of basic danceThere are many variations possible in measures 4, 5, and 6. For example, in measure 5step L into the center(ct. 1), lean a little(ct. 2), and then repeat measure 6 as before.Stamps can be added at any time.

Faster, traveling version.Meas.1 Facing center and moving LOD, step R to R(ct. 1), step L behind R(ct. 2).2 Repeat meas. 13 Repeat meas. 14 Step R to R(ct. 1), lift L to begin crossing in front of R(ct. 2)5 Step L across R(ct. 1), lift R slightly(ct. 2)6 Step R in place(ct. 1), kick L slightly in front(ct. 2)7 Step L to L(ct. 1), step R next to L(ct. 2)8 Step L to L(ct. 1), kick R in front(ct. 2)

Variation on the faster version – move in and out of the center.Meas.4 Step R into center(ct. 1), swing L forward(ct. 2)5 Continuing to move forward, step L(ct. 1), swing R around in front of L(ct. 2)6 Step on R across L, turning to face L of center(ct. 1), lift L behind(ct. 2)7 Step L out of center(ct. 1), step R back behind L, turning to center(ct. 2)8 Step L out of center(ct. 1), lift R(ct. 2)


Dit Olshan (Skokie, IL)

Dit has been teaching International Folk Dance in the Chicago area for about 30years, at one time, leading three separate groups a week.. Currently she leads aWednesday Nite group at the Skokie Park District. Formerly, as a math teacherin Chicago, Dit implemented an extra curricular program in international dance atthe district level, conducting district teacher workshops while teaching classes ather own school. She has traveled, studying dance, in Yugoslavia, Romania,Bulgaria and Scotland. She has given international dance workshops regularly ona semi-annual basis in Israel to the Israeli Teachers Association and variouslocal groups during the 1990's. Other workshops given include San Diego, NewOrleans, Springfield, IL and Racine, WI. Dit has been a regular member of theteaching staff of Lake Geneva Camp for the past 25 years. She has served onthe Midwest June Camp committee for several years, chairing it for three of thoseyears. Currently, Dit is a docent at Lincoln Park Zoo, works as a tax preparer,and has not spent more than a year without a dog - which she is known to showup with at Paul Collins Dance group!


Taught by Dit Olshan as learned from Demetri Tashe at Detroit Camp HighscopeMay, 2009


Paul Collins (Chicago, IL)

Paul C has danced since the age of eight and has been an ethnic folk danceleader & square/contra dance caller since high school in the mid 1960's. Paul hasbeen a guest caller at dances from the North Country to the Deep South and haseven called squares and taught folk dancing for the hearing impaired at GalledetUniversity in Washington. DC. Between 1966 and 1979, Paul led the Universityof Chicago Folk Dance Club and introduced squares and contras into the group'srepertiore. After directing the U of C Folk Dancers' Annual Fall "International FolkFestival" for twelve years, in 1980 Paul joined Gerhard Bernhard in producing theDCFF and two years later became co-director. In 1989, Paul and Bill Sassostarted the Mid-North Folk Dance Club that has today evolved into Ethnic DanceChicago. Paul has also presented dance programs for kids in Chicago areaschools, tutoring programs and scouting organizations. Since 2000 Paul hasspent a week in residency at the Spring Hill Middle School in Wisconsin Dells,Wisconson, helping the 8th grade classes prepare ethnic dance presentations forthe School's International Festival. In the world outside of dance, Paul is anindependent management consultant in web-based collaboration, groupfacilitation and personal network development and is a co-founder and director ofthe Midwest Facilitators' Network and is a student in Northwestern University'sLeadership and Organization Behavior Program.


Baïdouskino Original Research & Notes by Demetri Tashie

Edited by Paul Collins Source: Dance of Loutraki, Macedonia Time Signature: 3/4 counted as q-s, q-s, q-s etc. Also 5/8 counted as q-s or 12-123. Formation: Open circle, hands down 15 measure dance Meas Count 1 q hop L moving to right, hands down

s step R 2 q hop R

s step L 3 q hop L

s step R 4 q leap L moving to right, stepping L in front of R

s step R 5 q leap L

s step R 6 q leap L

s step R 7 q hop R in place, hands up

s step L 8 q hop L

s step R 9 q hop R

s step L 10 q leap R moving to left, hands down, stepping R in front of L

s step L 11 q leap R

s step L 12 q leap R

s step L 13 q hop L in place, hands up

s step R 14 q hop R

s step L 15 q step R moving to left, hands down, stepping in front of L

s step L Note: The starting point of the dance (starting measure) is arbitrary! This should not be a point of contention. Dennis Boxell taught an eleven-measure variant of this dance (known as Sarakina or Baïdoushka or Rajko) starting as described here. Demetri taught this dance starting with what is measure two and ending with what is measure one, but his notes described it in this way. The important thing is for the dancers to dance together and have fun.


Mais Vlasti Original Research & Notes by Demetri Tashie

Edited by Paul Collins Source: May Dance of Vlasti, Kozani, Macedonia (not restricted to the month of May) Time Signature: 2/4 counted S-Q-Q, or 1-2-3 or 1&-2& Formation: Open circle, hands down 18 count dance (6 measures, counted Slow, Quick-sQuick each) Meas Count 1 1 S step R to right facing slightly L, moving backward to R

2 Q step L continue moving backward in LOD 3 Q step R turning slightly R to face LOD

2 4 S step L over R facing right in LOD

5 Q step R continue moving in LOD 6 Q step L continue moving in LOD

3 7 S step R to R facing center, rocking back on Right foot.

8 Q step L behind hands swing slightly back with body’s movements 9 Q step R back in place

4 10 S step L forward facing center, rocking forward on L foot

11 Q step R forward of L hands swing slightly up with body’s movements 12 Q step L back in place

5 13 S step R back still facing center

14 Q step L behind starting to turn slightly left 15 Q step R crosses over L start moving to the left at about 45º

6 16 S step L to left

17 Q step R to left rocking forward on R 18 Q step L back in place

LOD = Line of Direction – Counter Clockwise around the circle


Pende Alonia Original Research & Notes by Demetri Tashie

Edited by Paul Collins Source: Dance of Naoussa, Macedonia. Translation is five (5) threshing floors - also the name of a neighborhood in Naoussa. The dance is also known as Baïdouska. This is a dance of Apokreas (Carnival) and it is danced in this manner to honor a townsman who used to dance the Baïdouska with these steps and turns. Time signature: 7/8 counted S-Q-Q, or 1 2-3 or 1-2-3, 1-2, 1-2. Formation: Open circle, hands up Twelve Dance Measures: Measure Count 1 S step R Start moving to left, hands up

QQ step L 2 S step R

QQ step L 3 S hop L In place, facing center

QQ step R 4 S hop R

QQ step L 5 S hop L

QQ step R Start moving to R 6 S hop R Moving to R, hands down

QQ step L 7 S hop L

QQ step R 8 S hop R

QQ step L Swing hands back behind, raise R leg, turn 45º L 9 S hop L Spin 360º clockwise, hands get thrown up in the QQ step R air, end in place, facing center 10 S hop R Use measures 9 & 10 to turn 360º clockwise

QQ step L 11 S hop L Measures 11-12 done in place

QQ step R 12 S hop R

QQ step L


Sfarl is Original Research & Notes by Demetri Tashie

Edited by Paul Collins

Source: Dance of Bana, Northern Thrace Time Signature: 9/8 counted Q-Q-Q-S, or 1-2-3-4 or 1-2, 1-2, 1-2, 1-2-3 Formation: Open circle, hands down Four Dance Measures: First measure - moving left, and to center: Count 1 Q step L 2 Q brush R 3 Q step R 4 S touch L Second measure - facing center and moving backward: Count 1 Q leap L backward 2 Q step R backward, closing feet together 3 Q leap L backward, turning body 45º to left 4 S stamp R closing feet together Third measure - facing left then moving right: Count 1-2 QQ stamp R in place, still facing 45º to left 3 Q leap R turn to r ight 4 S step L move to right, crossing L over R Fourth measure – moving right: Count 1 Q leap R 2 Q step L 3 Q step R 4 S brush L turning to face center Note: The starting point of the dance (starting measure) is arbitrary! This should not be a point of contention. Dennis Boxell taught this dance starting with measure three as described here. Demetri taught this dance starting with what is measure three, but his notes described it in this way. The important thing is for the dancers to dance together and have fun.


30th Annual Door County Folk Festival - July 8 – 12, 2009

DCFF STAFF Gerhard Bernhard (Sister Bay, WI)

Paul Collins (Chicago, IL) Chris Alfeld (Madison, WI)

Penny Brichta (Wilmette, IL) Kim Caisse (Madison, WI)

Eddie Cordray (Dayton, OH) Roger Diggle (Madison, WI)

Mercedes Dzindzeleta (Racine, WI) Diane Garvey (Chicago, IL)

Dan Garvin (Vadnais Heights, MN) Michael Goff (Evanston, IL)

Leslie Hyll (Dayton, OH)Daniela Ivanova (Silver Lake, WA & Sofia, Bulgaria)

Carol Johnson (Big Bend, WI) Forrest Johnson (Big Bend, WI)

Kay Josten (Waukesha, WI) Rick King (Bloomfield Hills, MI)

Warren Kubitschek (South Bend, IN) Michael Kuharski (Madison, WI) Nina Lusterman (Evanston, IL)

Maureen Majeski (Milwaukee, WI) Dick & Miriam Miller (Middleton, WI)

Dit Olshan (Skokie, IL) Georgine Paris (Chicago, IL)

Steve Pike (Madison, WI) Catherine Rudin (Wayne NE)

Steve Salemson (Madison, WI) Karen Tutkowski (Milwaukee, WI)

Paul Wagner (Eau Claire, WI) Yuliyan Yordanov (Madison, WI)

DCFF MUSICIANS

Orkestar Sloboda Milan Kontich (Brookfield, WI)

Harley Schoville (Milwaukee,WI) Stevo Petrovich (Greenfield, WI) Savo Radjenovich(Franklin, WI)

The Last Gaspé

Doug Brown (Madison, WI) Kevin Clark (Fitchburg, WI) John Kraniak (Madison, WI)

Maria Terres (Shorewood, WI)

Maritza

Ann Streufert (Decorah IA) Pine Wilson (Decorah IA)

Rob Van Tyn (St Paul, MN) Will Kemperman (Twin Cities, MN)

Bill Musser (Decorah IA)

Tri Bratovchedki

Dan Garvin (Vadnais Heights, MN) Debbie Kmetz (Madison, WI) Nancy Yugo (Madison, WI)

DCFF WORK SCHOLARS Chris Alfeld (Team Leader) (Madison, WI) Georgine Paris (Team Leader) (Chicago, Il)

Mary Kay Basso (Milwaukee, WI) Sarah Bennett (Madison, WI) Jean Borger (Ann Arbor, MI)

Melissa Boutell (Hudsonville, MI) Mary Ann DeKane (Roseville, MI)

Judy Lindquist (West Bend WI) Dawn Lovig (Plymouth, MN) Lori Lovig (Plymouth, MN)

Sandi Penzkover (Mt. Horeb, WI) Cindy Schlosser (Eau Clairs, WI)

Susan Smith (Boulder, CO) Arnie Van Art (De Soto, WI) 80


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