manang biday philippine couple dance from ilocano record
TRANSCRIPT
MANANG BIDAY Philippine Couple Dance From Ilocano RECORD: Folk Dancer MH 2022-B
This dance introduced i n the United States by Philippine Dance Authority Francisca Aquino. Please do not reproduce these directions without her permisssion. These directions have been condensed from her book on Philippine Folk Dances which contains music and more detailed directions.
MANANG BIDAI i s a dance after a popular love song i n the I]ocos region. Biday i s the name of a g i r l with whom a young man i s very much i n love. Manang i s used f o r addressing an older s i s t e r . I t i s a fa v o r i t e song of the young boys and g i r l s who sing the words of the song alternately as they dance.
COUNT: One, two, three, t o a measure.
FORMATION: Partners stand about six feet apart., facing each other. When facing an audience, G i r l i s at Right side of Boy. Partners face each other and do the following step. Boy has hands on hips, G i r l holds s k i r t : Place r i g h t heel forward (2 counts). Bring r i g h t f t back to place ( l count ) Place l e f t heel forward (2 counts). Bring l e f t foot back to place for ( l count) 2 meas. Starting with r i g h t f o o t , take two waltz steps forward to meet at centre and two waltz steps backward to proper places. Arms i n l a t e r a l position, moving sideward r i g h t and l e f t a lternately. 4 meas. Three step turn r i g h t i n place, hands as i n (a) 2 meas. Repeat a l l from (a-c) , 8 meas.
Part 1:
(a)
(b)
( c ) (d)
Part 2: PARTNERS FACE FRONT (a) Starting with r i g h t f o o t , take two waltz steps forward. Kumitang
Right hand, l e f t hand on waist on f i r s t measure and reverse position of hands on second measure 2 meas.
(b) Do two touch steps i n f r o n t , (Right, Left) with hands as i n figure Part l - ( a ) . The touch step i s : Place Right toe forward (2 counts). Bring foot to place, count 1 Place Left toe forward (2 counts). Bring foot t o place, count 1
2 meas. (c) Repeat Part 2-(a) moving backwards to place 2 meas. (d) Three step turn r i g h t i n place. Hands as i n Figure l - ( a ) . . . 2 meas. (e) Repeat a l l of Part 2 from (a-d) 8 meas.
REPEAT DANCE FROM BEGINNING. Words and music are available i n Francisca Aquino's book. These dance directions issued f o r Francisca Aquino by Folk Dance House from whom the records may also be purchased. 108 West 16 Street, New York City-11 Watkins 9-0644
10
M A N A V U D A N C E : R a y a Spivak M U S I C : Josef Spivak
F o r m a t i o n : C i r c l e , face center , a l l join hands.
P A R T O N E • i
1-2 R points fwd 3-4 R points swd 5 R bwd 6 L c l o s e s to R 7 R fwd 8 Hold 9-10 L bwd 11-12 R fwd 13 L bwd 14 R fwd 15 L c l o s e s to R 16 Hold 17-32 R e v e r s e 1-16.
P A R T T W O
Count 1-3 4 5-7 8 9-32
Y e m . R 1/4 turn on R to right side (face C C W ) 3 steps fwd L R L 1/4 turn on L to left side (face center) Repeat 1-8 three m o r e t i m e s .
T H I S RECORD I S PART OF A S E R I E S OF FOLK AINO SQUARE DANCE D I S C S B E A R I N G THE FOLK DANCER L A B E L D I R E C T E D BY M I C H A E L HERMAN
ROUMANIAN FOLK DANCE FOLK DANCER RECORD M H 1 1 2 0
T H I S DANCE WAS INTRODUCED IN T H I S COUNTRY BY L A R I S A L U C A C I
F O R M A T I O N : C I R C L E , NO P A R T N E R S , HANDS J O I N E D ABOUT SHOULDER L E V E L .
DANCERS MOVE TO C E N T R E ONE S T E P FORWARB ON THE L E F T F O O T . TOUCH RIGHT FOOT DOWN B E S I D E L E F T FOOT WITHOUT WEIGHT ON I T . S T E P BACK ON R I G H T F O O T . TOUCH L E F T FOOT B E S I D E R I G H T WITHOUT WEIGHT ON I T .
M « V E S IDEWARDS 3 S T E P S . L R L ( R I G H T BEHIND L E F T ) F A C E TO THE R I G H T AND T A K E TWO SLOW S T E P S , R , L , F A C E C E N T R E AGAIN AND T A K E 3 QUICK S T E P S S IDEWARDS TO THE R IGHT ( R L R ) WITH L E F T GOING BEHIND R I G H T . R E P E A T DANCE FROM B E G I N N I N G .
THE MATADOR
Lines facing
1 - 4 R heel over L f t ; to R side (repeat 2 times i n a l l )
5 R toe in back of L f t .
6 Step R to R
7 L toe in back of R f t . :.
8 Step L to L
9 R Dehind L
10 L close beside R
11 - 12 Stamp 2 times with R f t .
13 Rock backward
14 Step forward on L. f t .
15 - 16 Turn L shoulder ( R , L )
Change places with partner
End facing partner
MEXICAN MIXER (U.S.A.Mexican)
Record: R.C.A. 4128; Selco 7439; Rhythm 1024
For m a t i o n : Couples i n double c i r c l e , two hands j o i n e d w i t h p a r t n e r . Man's back t o c e n t r e .
Dance: D i r e c t i o n s f o r man, l a d y r e v e r s e f e e t .
1 . To man's l e f t , CCW, s t e p l e f t ; r i g h t t o g e t h e r ; step l e f t ; r i g h t t o g e t h e r ; s t e p l e f t , c r o s s r i g h t i n f r o n t ; step l e f t ; k i c k r i g h t . ( P e d a l ) ( c a l l s t e p , t o g e t h e r , s t e p , t o g e t h e r , s t e p , c r o s s , s t e p , k i c k ) Repeat s t a r t i n g r i g h t . Move i n CW d i r e c t i o n .
1 1 . R i g h t hand t o p a r t n e r , j o i n l e f t w i t h person on l e f t . (Men f a c i n g i n , l a d i e s o u t ) Balance f o r w a r d , Balance back. R i g h t h a r d h o l d , w a l k 4 s t e p s c h a n g i n g p l a c e w i t h p a r t n e r . J o i n l e f t hands, b a l a n c e f o r w a r d , balance back. L e f t hand h o l d , w alk 4 s t e p s i n t o dance p o s i t i o n w i t h new p a r t n e r .
TWELFTH STREET RAG (American N o v e l t y Dance)
Record: C a p i t o l Record 123 Forma t i o n : May be done as co u p l e dance o r any number s i d e by s i d e . 1 . H o l d i n g hands w a l k f o r w a r d 4 steps L,R,L,R. P o i n t l e f t t o e f o r
ward, t h e n t o s i d e , them t a k e 3 st e p s moving away f r o m c e n t e r , L,R,L. l e f t f o o t g o i n g b e h i n d r i g h t . Repeat f r o m b e g i n n i n g s t a r t i n g on r i g h t f o o t 4 s t e p s f o r w a r d R,L,R,L. P o i n t r i g h t f o o t f o r w a r d , t h e n t o s i d e , t h e n t a k e 3 st e p s moving t o w a r d c e n t e r , R,L,R - r i g h t g o i n g b e h i n d l e f t f o o t .
2. Take 7 st e p s sidewards t o c e n t e r , e i t h e r as a s t e p - t o g e t h e r - s t e p -t o g e t h e r o r as a s h u f f l e w i t h r i g h t f o o t g o i n g b e h i n d l e f t on 1,3,5,7. The r e p e a t moving away f r o m c e n t e r .
3. " C h a r l e s t o n " . Step on l e f t f o o t f o r w a r d . P o i n t r i g h t t o e f o r w a r d . Step back on r i g h t f o o t . P o i n t l e f t t o e b e h i n d you. Step f o r w a r d on l e f t . P o i n t r i g h t t o e f o r w a r d . Step on r i g h t f o o t . P o i n t l e f t f o o t back.
Every o t h e r t i m e you have a t a g t h a t goes l i k e t h i s : Jump f o r w a r d on b o t h f e e t t h r o w i n g hands up i n a i r , jump backwards on b o t h f e e t and thr o w hands back. Turn away f r o m y o u r p a r t n e r 1,2,3, s t e p s and c l a p hands o f p a r t n e r ( b o t h ) on 4 t h c o u n t . When d o i n g f o r m l i n e o f many p e o p l e , t u r n t o own r i g h t , 1,2,3, s t e p s c l a p hands on 4 t h c o u n t , ( o r t a k e two st e p s - t h e n c l a p own t h i g h s ( 3 ) , own hands (£), p a r t n e r ' s hands ( 4 ) .
(American couple dance) ^^c<4u^ .,iVajljr
Record: F o l k r a f t 1093x**5A and 1̂ 83x>+5A ^ Formation: Double c i r c l e : couples f a c i n g line-of-dance (counter
c l o c k w i s e ) , woman on p a r t n e r ' s r i g h t . S t a r t i n g P o s i t i o n : I n s i d e hands j o i n e d . Outside foot f r e e .
Music 3 A :
Measure PART I (Music AA)
1 - 2 Two STEP-SWINGS s t a r t i n g with outside f o o t : step on outside foot (count 1 ) , swing i n s i d e foot a c r o s s i n f r o n t of outside foot (count 2 ) , pause (count 3 ) , and REPEAT, r e v e r s i n g footwork (counts *+-6).
3 - ^ Step on outside foot (count 1 ) , pause (count 2 ) , r e l e a s e and c l a p own hands twice (counts 3-*0, pause (counts 5-6).
5 - 8 Re o i n i n s i d e hands and REPEAT p a t t e r n of measures 1-H r e v e r s i n g -footwork. F i n i s h f a c i n g p a r t n e r , both hands j o i n e d .
9 - 10 Step backward, p u l l i n g away from partner (count 1 ) , pause (counts 2 - 3 ) , step forward, keeping hands joi n e d and extending arms sideward (count k ) , pause (counts 5-6).
11 - 12
13 - 1*+ R e j o i n both hands and step forward, extending arms sideward (count 1 ) , pause (counts 2-3), step backward, p u l l i n g away from partner (count * t ) , pause (counts 5-6).
15 - 16 Step forward, r e l e a s i n g hands and emb acing p a r t n e r with both arms (count 1 ) , pause (count 2 ) , c l a p own hands twice behind p a r t n e r ' s back (counts 3- 1*), pause (counts 5-6).
PART I I — Waltz promenade (Music BB)
17 - 32 S i x t e e n w a l t z steps t u r n i n g clockwise with p a r t n e r i n ballroom p o s i t i o n , progressing counterclockwise.
17Ja67
MONTEGO BAY
Solo Novelty Dance Record: L & R records Bobby Bloom No. 157
PART 1 Touch R. to R. s i d e . Close R. to L. Repeat with l e f t , and once more R.
8 counts, with f e e t together, bend both knees twice.
PART 2 Cross R. over L. Touch L. foot to L. Cross L. over R. Step back on R. and L. ( f e e t together) touch R. h e e l f l o o r i n f r o n t . Step forward on R. t u r n i n g to face R. and c l o s e L. to R.
Repeat dance from the beginning, t a k i n g a t u r n R each time.
I n s t r u c t i o n s by - Jack Geddes
Records a v a i l a b l e from: Canadian F.D.S. Audio V i s u a l 185 Spadina Ave., S u i t e 1, Toronto 2B, Ontario
i\iii:'<Y<i. So.'ik. m i>'i
r-MtmiZ&m COUPLE? SIDE 81 3EDE,, a.il fa.cju.g f r o n t , GHU ski<.h **k.',xi.e., w h n # tts»i .Uft̂ fe haacls tekthd back d u r i n g a&a£« s
PAJj?* 1« U) J> CCCt/RACHiL Mwre at*ay f w » p t r t a a r , lad,? te r i g h t , t * l e f t wllte t M s yt«ps Jwmp t o s i d e •an be tb feet . , Lady then si&ps back oa l « f i f « c t aiad t^siehe* r i g h t ; ir># V.» f l o o r * Ma» - K i l l s t e p back OK i-igfat. sad t'Mca l e f t ts>«, flr» this? step cwiee, : l e f t , l a d y vu r i g i v t , Tom away f t v « per tae? J steps* &xtd .a ausap Msfe* He* do ?.h* f i r s n , &fcep »e«viL«g t iyaardt part*©?*;
.tfedjy s *J«Btp i/5 i«f»>« st t jp -k- Bide tj« -n.ghi f $ a t ,
Msa? Joap v& Pi#fcft f srtep U - s td« 1*11 f f t f v t * v,u-uffih r i g h t t.c?te.,
13) Hsp*a\ i l l cf Par t 1, FiTil&h f .g par'!*©*-,. E * r w r i n g v£> y w r r-.;.gf-t-^ fesria aissy f r » i»Hf ie? vrU-ft 3 iugfot i.,«si.pJffig :r.^ps ^ t a r i k t g «a right- f'ferfc , a*,d ;*is»p bnlz* wi l ,L .-..•sit
Wsw B *r>:,s.?i,iiig i--r Ui« . l * f t ,
l6?DR»t 3 t.c thfe I « f t B3T AT ?HB ESt> -ACE F M T AJfeJO SWfc' CK?,f O K E ,
Hv?v ryosjaiL P«r% A .-mXf. aafi •f'rl-.y •- ic- r-igbt asad l*r"t,
PART; «* 1*<E[ < '* L JwDC i ) , ' I t - ".fay- s •» zt^i J ** H h i, ,->j !<?j * > , * h* ' r R ' r . f* t -" i*- r - l fjfrf f ! t i - i l" ~ i « < * i j ̂ H
1 +' i ( i t * * r«b l ' i h * « .' ' i " * i < !y> r; •• •»• - J i f " rn-'i ' *m » ' u ' •- >
^ v . < " f . ' ^ ^ a S ' A i ' ; i -ft > * «.n> - . i r4 r ^ r i> 'i 5 * . a • <> ' ,t ' ! *" f ,i •> 'J , <« . ' t r . ?; * <• . 'X ^ < f " »
« » ^ otr '4 •• " > t»i - A\ < ' ^«r"f^ k « - r * -.sir » :< c.J, -i 1 • - 1 rfiAl <3t3p , , i » N x- •• i >M',< ; r *ir f j»x < ̂ J.y r t " p'> -J^ a*. ' i ' t 1 * -ig „f K ••h
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f < - ) i ? . ' ^ IU v v, • t - f
,^r>nr FRACiTC^lLf r E : . ! ^ WHAT TC .Sf FAJf'.'T' ;;.
FARTs 3s AQELITAo Face partner and IBCT© diag&aally forward t o xlght w i t h pointing of r i g h t toe ferw&rdj then backwards and leap forward R,L,Ea low poi»t l e f t toe forward and back a Acdmove diagonally forward t o ovaa l e f t so you f i n i s h i s partner's place? l a d y % facing down* s»eri up, Mwe wit h l e f t shoulder t o partner u i t h a push step (4 of them) and then turn t o face partner with a stamp* Proceed t o o r i g i n a l place w i t h 4 aoro push steps l o f t shoulder t o partner aad stamp, Hepeat a l l of Adelita,
At t h i s point yea are separate from partner u How a l l take a slew t u r n toward partner 0 Then another single alow t u r n away frcm parta©r0 New do & double t u r n aisigly towards pari&er and f i n i s h side by sides and j o i n inside hands',
N-3V stave forward w i t h t h i s steps Step on r i g h t foot am quickly beat l e f t , heel and toe en f l o o r i n a shuffle step* Mw® f^ward and thea drop hands and E&ke a b i g leep t© raaja?'a l e f t * l a d y % rights s t i l l using uam footwork, f i n i s h faciag partner 0
Finish daises by placing r i g h t f o o t over l e f t and turning casapleiely aroiaid t o l e f t and bow t o partner.
W I f I t Hsf JW* rtU,t|' - r . l ^ c c f r o o ^ e a r e ; T o r t ^ a l (Research for $hls dene* wes^done in Portugal fty Madelynne. GtaeoeJ* -l£lfy
Becord^ r r WUfiM 4»23*,*ide I :tawM
with elbows*a* about iboulder^level:
$ m**:W i n d u c t i o n 2/4 t i • (6*co«nts> Mea*. 1 - 4 8»arc.biag steps in the Urge circle.by^couples. CCW
9 - 1 1 6 steps in s s u l l c i r c U CCttf ' Wlttfes^sisIlV c i r c l e ; lUahd til turn sharply . fcoJLj Mi .cute, in.front of prtnr.} follow along behind; this
12 • 14 6 steps in M M small c i r c l e aoving Cd (each dancer turns'sharply to. own ' I ^ o ^ t o ^ ^ i ^ t i o n 9$ the,c<*ciei,.tBnd wi|h «Uon.inside of the
jUrgV c i r c l e , ̂ facing ̂pe ?tw*r; 15 (3/41 l^wales step in place,,,beginning with.L.foot,
tA&lB'rVtSACfttttAM) Ml and B2 dance t o g e t h e r ' t o g e t h e r ; these are th« diagonal* in t f c ^ f f t . %.$W be^in on,IL f t .
M I n n d T ? 4ot M.2 **ati I d o : 16 - ,7 1 waits step fwd, twd,.. cntr.. 2 waits steps i n place
l'sres waits step fwd. ending I shoulder almost touching
lft • 19 2 waits steps backvd. to place re- 1 walt#.s^e^^fi|s}.cnjtr$ l.wrs «ecingrsteps waits*#tep m<&»t% shouts**
20 - i%~ 2.waits steps to change places; 2 wajti st*ps.Jteptf toT place, re-pass faee-to-face, L ahldr leading tracing steps
22 - 23 2 wilts'st«p* to finish; backing "2 waitjMtsps to change.places; pass x into opposite.place *̂ c"e 7*0?face,. t' shoulder leading
2 4 - 3 1 Eepeat action of seas. 16 - 23, Repeat action of aea». 16 - 23, returning to original, nl*«as.. returning to original places
32 Step, K, !«, R /counts \d 2>. h t>vt i s . new. free,, to. begin danse..anew.
I«pesjt Jijrts A and B, continuing unt i l iwsic,pease*..
NEHESKO
RECORDS Folkra f t 1537 x 45 FORMATION: Open c i r c l e or l i n e . Hands joined and held low. RHYTHM: 2/4
Translation* Heavenly
Pa r t ' I
Meas. 1 - 2 Facing s l i g h l y and moving r i g h t , two running two steps ( r i r , l r l )
3 Continuing, two running steps ( r i g h t , l e f t ) 4 Three quick steps ( r i g h t , l e f t , r i g h t ) i n place, turning t o
face s l i g h t l y l e f t at the end 5 - 8 Repeat pattern of measures 1 - 4 reversing d i r e c t i o n and
footwork.
Part I I
9 - 1 2 Step on Rft forward, step l e f t foot i n place ) Step on R f t back, step l e f t foot i n place ) repeat
13 - 16 Four pas de basques - i n place and rather f l a t f o o t e d .
17 Stamp r i g h t foot i n place without taking weight.
SAVILA SE BELA LOZA (Serbia)
RECORD: Fol k r a f t 1496 x 45 FORMATION: Line with leader at r i g h t . Hands held down
Part I
Meas. 1 - 1 0 Twenty small running steps to r i g h t beginning with r i g h t foot
1 1 - 2 0 Twenty small running steps to l e f t
Part I I 21-22 facing s l i g h t l y t o r i g h t , one schottische step ( or basic kolo
step) beginning with r i g h t f o o t . 23 - 24 facing s l i g h t l y to l e f t , one schottische step ( or basic kolo
step) beginning with l e f t foot
25 - 32 Repeat pattern of measures 2 1 - 2 4 twice (three times i n a l l )
Words: A pr e t t y grapevine entwined i t s e l f along a fence. Todor t r i c k e d Toda and kissed her three times.
Savila se bela loza vinova) Todor Todi podvalio ) Uz Tarabu vinova 3X ) 2X Triput curu poljubio) 3*
NEVER ON SUNDAY
Record: Tikvah 131; United A r t i s t s 234
FORMATION: Open c i r c l e or l i n e , no partners, hands joined at shoulder height.
PART 1 "MISIRLOU" step. Step on Right foot, pause, point l e f t toe forward, pause. Take 3 steps moving sidewards Right, by placing L e f t behind Right, Right to the Right side, L e f t in front of Right. Without dropping hands face l e f t and walk forward to get R,L,R. (Note that you swing the Right foot forward to get into t h i s part of the dance. Now walk backwards 3 steps. L, R, L.
REPEAT Part 1.
PART 11 "MISIRLOU" step with a reverse. Step on Right, point l e f t toe forward, take 3 steps sideward, L,R,L, moving Right. Swing Right foot over l e f t and take 3 steps walking l e f t (clockwise) R,L,R. Swing l e f t foot over Right and walk 3 steps counterclockwise L g R/ L • Swing Right foot over L e f t and walk 3 steps clockwise R,L,R. Now walk backwards 3 steps, L,R,L.
REPEAT Part 11.
PART 111 "MISIRLOU" step with a C r i s s Cross Step on Right, point l e f t toe forward, Take 3 steps sideward L,R,L, moving to r i g h t . Cross Right foot over l e f t , put f u l l weight on i t . Cross L e f t foot over Right, put f u l l weight on i t . Swing Right foot over l e f t and walk l e f t (clockwise) 3 steps, R,L,R. Then back up 3 steps, L,R,L.
REPEAT Part 111.
Note that the f i r s t and l a s t part of each step i s always the same. The variations only come in the middle of the step.
Each part of the dance i s done twice, then repeat from the beginning. Hold hands shoulder height with elbows s l i g h t l y bent.
NEBESKO
RECORDt Folkraft 1537 x 45 FORMATION* Open c i r c l e or line. Hands Joined and held low. RHYTHM: 2/4 Translations Heavenly
P a r t i
Meas. 1 - 2 Facing slighly and moving right, two running two steps ( r l r , l r l )
3 Continuing, two running steps (right, l e f t ) 4 Three quick steps (right, l e f t , right) i n place, turning to
face slightly l e f t at the end 5 - 8 Repeat pattern of measures 1 - 4 reversing direction and
footwork.
Part I I
9 - 1 2 Step on Rft forward, step l e f t foot in place ) Step on Rft back, step l e f t foot in place ) repeat
13 - 16 Four pas de basques - i n place and rather flatfooted.
17 Stamp right foot i n place without taking weight.
SAVILA SE HELA LOZA (Serbia)
RECORD: Folkraft l h % x 45 FORMATION: Line with leader at right. Hands held down
Part I
Meas. 1 - 1 0 Twenty small running steps to right beginning with right foot
1 1 - 2 0 Twenty small running steps to l e f t
Part I I 2 1 - 2 2 facing slightly to right, one schottische step ( or basic kolo
step) beginning with right foot. 23 - 24 facing slightly to l e f t , one schottische step ( or basic kolo
step) beginning with l e f t foo£
25 - 32 Repeat pattern of measures 21-24 twice (three times in a l l )
Words: A pretty grapevine entwined i t s e l f along a fence. Todor tricked Toda and kissed her three times.
Savila se bela loza vinova) Todor Todi podvalio ) Uz Tarabu vinova 3* ) 2X Triput curu poljubio) 3X
NIKO'S TARANTELLA ITALY
This dance was taught t o me i n I s r a e l by an I t a l i a n t o u r i s t called Niko. In order t o distinguish i t from other Tarantellas the dance has since been called Niko ys Tarantella.
Record: Any t a r a n t e l l a recording. The recording used at t h i s camp i s "Uchiove Tarantella", Unidisc EX 45268.
Formation: Couples i n a c i r c l e . Face partner. Man has back t o centre of c i r c l e .
FIGURE I : Arms above head. 1-2. Polka i n place beginning w i t h small leap on R f t t o R side.
Snap fingers. 3-4. Repeat 1-2 with L f t . Snap fingers. 5-8. Repeat 1-4. 9-16. R arms around partners waists, free arms i n a i r . Swing. 17-32. Repeat Figure I .
FIGURE I I ; Join R hands. 1-8. Boy does 4 polka steps i n place beginning with L f t , while leading
the g i r l around from his R side, behind him and back t o place. G i r l does 4 polkas beginning w i t h R f t .
9-12. Join inside hands and face CCW. Balance out and i n . 13-16. G i r l turns under boy vs R arm wit h 4 steps ( r 1 r l ) . 17-32. Repeat Figure I I .
FIGURE I I I : Face partner. Boy has back t o centre. Boy begin L f t ; g i r l R f t . 1. A small leap towards partner. Bend forward. 2-4. Walk L R L, l i f t i n g arms gradually. Clap on 4th count. 5-8. Four l i g h t running steps bkwd. Bring arms down. 9-16. R shoulder do-si-do. 17-32. Repeat Figure I I I only L shoulder do-si-do.
FIGUREi IV: Social dance posi t i o n , begin w i t h L f t for boy, R f t f o r g i r l . 1-12. Six polka steps around moving CCW. 13-16. G i r l turns twice under boy*s L arm. 17-32. Repeat Figure IV.
Note: With t h i s p a r t i c u l a r recording, the fourth figure i s done 3 times on the t h i r d repeat of the dance.
Presented by Teme Kernerman at Ontario Folk Dance Camp 1971.
NUMERO CINCO
Record: A & M 45 rpm. by Herb Alpert Novelty Dance: Henry Glass formation: Couples in ballroom position, man's back to centre. Style: Soft kneed, Latin American Introduction:
4 measures (16 counts)
PART 1: Rhumba box step and change places. Ladies step same as man's but with opposite feet.
Measure l:Man steps left foot to the left, close right, step left forward and hold count - 1,2,3 (Lady steps back on count three).
2:Repeat measure one with opposite feet and in opposite directions, (e.g. man starts right foot, and steps back on right on count 3).
3.'Holding ladies' right hand in man's left only, step back away from partner on left foot, (lady steps back on right)olose right to left, step left foot forward, dancers are now standing along side partners right to right. Man places right hand on partner's waist, lady places left on partner's shoulder. This is the "Boxcar" position.
4:Step forward on right turning to face partner, step on left facing partner, step right beside left and hold. Dancers are now in ballroom positions.
5 -8:Repeat measures 1 to 4 crossing back to place.
PART 11: Side Step Measures 9: Still in ballroom position man steps left to the left side and
closes right to left, count, slow, slow. 10: Man steps left to left side, closes right, and steps left to
side, count quick, quick, slow. 11-12: Same count as measures 9 & 10 but starting with right foot,
close (slow) step left to open (slow). Right closes (quick) left open (quick) step right to close (slow).
13-16: Same as measures 9 to 12.
PART 111: Jarabe Step Measures
17-20: Step a little back from partner with man's hands behind back, ladies ' hands holding skirt. Man starting left foot, lady opposite, step forward weight on heel, step right in place weight on toe, step "Left beside right weight on toe. Repeat starting man's right, and repeat again from beginning of Part 111. Finishing with three stamps and the spot and hold,
21-24: Repeat measures 17-20. The above heel, toe, steps are done in even tempo and are there fore against the music, which has 4 beats to the measure. Repeat dance from the beginning.
Instructions by Jack Geddes, Canadian Folk Dance Service 60S King Street West Toronto 2B,Ontario
RIGHT and LEFT (OIGA VASEHBA) Estonian Folk Dance Record FOLK DANCER MH 3007 Part of the Folk Dance Series directed by Michael Herman
FORMATION: SIX COUPLES i n a set although i t can be done with Seven or f o r that matter any number of couples to make i t a mixer. Six i s best. Lady stands to r i g h t of man.
FIGURE 1: A l l j o i n hands and swinging joined hands forward and back walk to the LEFT 16 steps.
FIGURE 2: On the f i r s t count the men send the g i r l s vigorously forward t o the centre of the c i r c l e where they immediately j o i n hands raised at shoulder l e v e l with bent elbows and move to the l e f t with 16 walking steps. AT THE SAME TIME, the boys j o i n hands on the outside and IMMEDIATELY walk to the RIGHT 16 steps.
FIGURE 3' As the men are doing Figure 2 they should time themselves so that they s t a r t f i g u r e 3 standing to the LEFT of t h e i r o r i g i n a l partners. NOTE that t h i s i s true only when you have s i x or seven couples, otherwise they should j u s t stop to the LEFT of any g i r l , being careful not t o have 2 men stop i n the same space?
Figure 3 i s done by the boys (without dropping t h e i r joined hands) placing t h e i r hands over the g i r l s 7 heads and making a frontwards basket. In t h i s basket position a l l walk to the Left 16 steps.
FIGURE 4: A l l face partners and do a GRAND RIGHT AND LEFT using 16 walking steps.
REPEAT DANCE FROM THE BEGINNING: Note that i t w i l l happen at the end of the Grand Right and Left that when you form a c i r c l e f o r a repeat of the dance there may be two g i r l s or two men together. Don*t run around the c i r c l e t o f i n d a correct place as i t w i l l a l l straighten out i t s e l f normally when the g i r l s are sent to the center of the r i n g f o r Figure 2. As long as everyone remembers that you st a r t the Grand Right and Left by the men facing Right, the g i r l s Left. The Estonian style Grand Right and Left i s done with each hand coming down from high with a big sweep of the arm.
Dancers should be encouraged to sing La, l a , l a , during the dance to add to the fun of the dance.
Other Estonian dances recorded on the FOLK DANCER label include: Virua Waltz K i g i i d i Kaagidi Tuljak Sadala Polka Vandra Polka Jamaja Labajalg Eide Ratas Raksi Jaak
These directions issued by FOLK DANCE HOUSE, 108 West 16 Street, New York City - 11 Mail address, P.O. Box 201, Flushing L . I . N.Y. Send f o r brochures, catalogues, etc. Serving the f o l k dance public since 1940. V i s i t us when i n New York at the New York City address.
OLAHOS Hungarian Dance f r o m South Hungary Taught by Andor Czompo Music: Q u a l i t o n LPX 18007
FORMATION: Group o f i n d i v i d u a l s 1 One back cross CIFRA (QQS) t o t h e R i g h t .
Jump t o t h e R i g h t i n t o 5 t h p o s i t i o n . L e f t f e e t i n f r o n t , knees s t r a i g h t .
Jump i n t o 5 t h p o s i t i o n , R i g h t f e e t f o r w a r d s knees bent.
Repeat t h e above c o m b i n a t i o n two more t i m e s . One back c r o s s CIFRA t o t h e R i g h t . Jump w i t h h e e l - c l i c k c l o s e t o L e f t . Jump w i t h h e e l - c l i c k c l o s e t o t h e R i g h t .
2. Two hop h e e l s t e p RLR (QQS) i n p l a c e . Do a h o p - h e e l - s t e p - h e e l - s t e p - h e e l - s t e p i n p l a c e
(QQ Q Q Q Q S) w i t h c l a p s on t h e marked b e a t s . Two h o p - h e e l - s t e p RLR (QQS) i n p l a c e . Do a h o p - h e e l - s t e p - h e e l - s t e p - j u m p h e e l c l i c k
(QQQQ,SS).
3. Two back cross CIFRA t o R i g h t and L e f t 6 q u i c k s i d e c r o s s steps w i t h b e n t knees t o t h e R i g h t w i t h l e f t f o o t c r o s s i n g i n back Step t o t h e R i g h t w i t h R ( S ) . Repeat t h e two cr o s s CIFRA and f o u r s i d e c r o s s s t e p w i t h o p p o s i t e f o o t w o r k and d i r e c t i o n Step t o t h e L e f t on t h e L e f t f o o t (S) Jump h e e l - c l i c k t o R i g h t .
Repeat t h e dance f r o m t h e b e g i n n i n g .
CIFRA STEP
1. Step t o R w i t h R f t . 2. Step b e h i n d R f t w i t h L f t . 3. Step t o R w i t h R f t . 4. Hold
OOSKA GOOKAS (Armenian)
Record: Folkraft 1530x45 or Rendezvous i n Armenia - Roulette 25230 (LP)
Formation: Broken Circle, l i t t l e fingers joined, shoulder l e v e l f o r hands. Circle moves t o the r i g h t .
Meas. 1-2
Meas. 3
Meas. 4
Meas. 5
Meas. 6-8
Note:
Two two-steps s t a r t i n g with R f t . , moving to the R
Facing centre - step R to r t . , step L f t . behind R.
Step R to r t . , step L near R with no weight
Step L f t . to L, step R f t . beside L. Hands move to the Left and to the r i g h t .
Repeat Meas. 5 three more times - on the l a s t step (step R f t . beside L) put no weight on i t .
Begin the dance from the beginning.
Ooska Gookas - tr a n s l a t i o n - Where do you come from?
ORIJENT
PRONUNCIATION - O-ree-yent
RECORD: DU-TAM 1001 (45 rpm)
This i s one of several variants of Orijent, which originally comes from a group of villages just south of Belgrade, Serbia, Yugoslavia.
FORMATION:
Figure'I Meas.l
Meas.2
Meas.3-16
FIGURE I I Meas.l
Meas. 2
Meas.3
Meas.4
FIGURE I I I Meas.l
Meas.2
Meas.3-4 Meas.5-8 Meas.9-16
Open line or circle of dancers, no partners, hands joined and held low. Often, when men dance Orijent in separate lines, they place hands on neighbours* nearest shoulders.
Place L toe on ground in front of Rft ( c t . l ) , moving R, shift weight on Lft in front of Rft (ct.2) Step onto Rft i n front of Lft, having brought i t across in a slight "slicing* movement ( t . l ) ; step onto Lft behind Rft (ct.&); step onto Rft beside Lft (ct.2). Repeat movements of Meas. 1-2 seven more times, for a total of eight.
With a goodly stretch of L leg step out to side with Lft f t ( c t . l ) j step Rft across in front of Lft (ct.2). (during this measure dancer i s bent forward from waist). Step diagonally forward/right with Lft, straightening body ( c t . l ) j pause (ct.2) ( r t leg comes up, bent knee, turned in toward l e f t . Step straight back on Rft behind Lft ("as i f on a tightrope") c t . l ; Step straight back on Lft behind Rft in same style (ct.2). Step back ("on tightrope") with Rft behind Lft again ( c t . l ) : Stretch L leg to l e f t with a shaking movement of Lft. (ct.2;.
Step slightly forward on b a l l of Lft, keeping feet close, no weight on Rft, turning heels to L ( c t . l ) ; same with Rft, turning heels to R (ct.2) Step L-R-L in the same style as the steps in Meas. 1, continuing to move forward Same as Meas. 1-2, continuing forward toward centre Same as Meas. 1-4, but backwards, returning to place. Repeat a l l of Meas. 1-8 once more.
Presented by Olga Sandolowich - The College of Education - Summer School 1970.
OSLO WALTZ
Scotch-English
RECORD; Folk Dancer MH-3016
This old-time dance i s said to be of Scotch-English origin, set to a Norwegian folk melody, although some describe i t as an American dance of the l a s t century.
Formation: Couples with hands joined in a single c i r c l e , facing centre. Lady on her partner's r i g h t .
Part One. (MUSIC A)
MEAS. 1-2. A l l do a waltz balance forward (leading with man's l e f t foot and lady's right) toward the center, and back, with the other foot.
MEAS. 3-4. Man releases h i s partner's hand, but holds the right hand of the lady on h i s l e f t . She crosses in front of him with a right-face turn, in two waltz steps ( s i x steps) and ends on h i s right side, facing center.
MEAS. 5-8. and MEAS. 1-8. (Repeated). Action of MEAS. 1-4 i s repeated three more times, so each lady has passed to the right four times.
Part Two. (MUSIC A)
MEAS. 1-2. Each man jo i n s both hands with the lady now on h i s ri g h t , h i s new partner. They do a step-swing balance in waltz rhythm toward the center (man stepping on l e f t foot, swinging right over, and lady with opposite footwork) and then do the same action away from the center.
MEAS. 3-4. Releasing hands, they do a complete turn away from each other in six steps, man turning l e f t and lady right, and moving toward the center.
MEAS. 5-8. Facing and joining hands again, they repeat action of MEAS. 1-8 in opposite direction, doing waltz step-swing away from the center, toward the center, and turning individually away from center.
Part Three. (MUSIC B)
MEAS. 1-4. Joining both hands again, couples take two step-draws toward the center (not taking the weight on the following foot on the second step-draw) and two step-draws away from the center. They maneuver s l i g h t l y so the man has h i s back to the center on the l a s t step-draw.
MEAS. 5-8. In closed dance position, couples do four waltz steps, turning clockwise, and moving around the c i r c l e counter-clockwise.