Slavonija is the largest and most fertile part of Croatia’s land. It borders Hungary and the Drava River on the north, the Sava River on the south, the Moslavina Region on the west and the Srijem Region on the east. For this reason, Slavonian folk traditions have remained unchanged for centuries. The wealth of this region is reflected in the dances, songs and costumes. The song “Aj lipo ti je” belongs to the “Drumarac” type (songs usually sung while walking to the field/party or home from the field/party. Sometimes they’ll sing in the “kolo” too. Presented in 2009 by Željko Jergan. View the pdf here.
Al Je Ljepo
Bosnian Croats (Bošnjaci) migrated to the Hungarian part of the Baranja region near the town of Pécs (Pećuh) at the end of the 17th century. Despite the long period of their being among other nationalities, they have survived and kept their speech patterns as well as their wealth of all folk forms, thanks to the village elders. Their rich and unique folk songs reflect daily life of the people - work in the house, in the farmyard, in the field, the joys and the sorrows of everyday life. Presented by Željko Jergan in 2009. View the pdf here.
Ani More Nuse
Ani More Nuse is an extremely popular melody among Albanians all over the world. Choreographers have put many steps to this dance, but when Albanians just want to dance to this music at a party or social event most Albanians either do a simple step in a line or they dance individually. This dance attempts to recapture this flavor by combining these two elements in a little 2 figure arrangement. Presented in 2009 by Lee Otterholt. View the pdf here.
Bassanello
Bassanello comes from Veneto, a region in Northeast Italy, and is a very popular dance deriving from the Alpagota tradition in the Belluno province. The name refers to a small area in this province. It is a courtship dance done at the beginning of a wedding banquet, danced by the married couples, parents and witnesses. Presented by Roberto Bagnoli in 2009. View the pdf here.
Bitolsko Svadbeno Oro
Bitolsko svadbeno oro means “wedding dance from Bitola.” Lee Otterholt learned this dance from Ciga Despotović in the late 1970’s.
Presented in 2009 by Lee Otterholt. View the pdf here.
The Bonny Cuckoo
The Bonny Cuckoo was created by Gail Ticknor, Gail’s Maggots, 1996. Published in CDSS News, March-April 1986 and The Blind Harper Dances, Allison Thompson, ed. 2003. Paul Stamler says, “‘Bonny Cuckoo’ is a song, sung to the tune of “Sheebeg and Sheemore,” hence the name of the dance. Shirley Collins recorded it on her 1959 debut album on Folkways.”
Presented in 2009 by Bruce Hamilton. View the pdf here.
Čizme Moje
Prigorje Region, translated “by the hills,” is located in the environs of Croatia’s capital Zagreb where the “kaykavian” dialect is prevalent. A prominent dance in this area is “drmeš” (shaking dance – a fine, subtle shaking of the entire body) and was accepted a long time ago and is still danced today. Željko Jergan researched the Kašinsko Prigorje region, particularly a small village of Kašina Northwest of Zagreb, from 1975-1984.
Presented in 2009 by Željko Jergan. View the pdf here.
Clopton Bridge
Clopton Bridge spans the Avon river in Stratford, just outside the Royal Shakespeare Theater. Devisor: John Chapman, Dancing Through the Night. Published in The Barn Dance Book edited by John Reay.
Presented by Bruce Hamilton in 2009. View the pdf here.
Contradanza
This is among the most common dances in Sicily, and is currently danced during weddings and other festivities. It is also known as Cuntradanza and Quattrigghia, and follows only in part the rules of the French Contradanse, from which it derives.
Presented by Roberto Bagnoli in 2009. View pdf here.
Čučersko Oro
A Macedonian dance Lee Otterholt learned from Ciga Despotović in the late 1970’s.
Presented by Lee Otterholt in 2009. View pdf here.
Cupanica
This dance comes from the Bačka region (also known as the Pannonian region) where the Croatian people live in the areas between the Danube and Tisa Rivers. In numerous debates and written articles about these people, they are often referred to as the Bunjevci and Šokci. The region is situated around the ancient town of Bač - which was once a district and also the seat of the Catholic Church. This is how it got its Slavic place-name. The migration of the
Dalmatian Croats in the Bačka region (upon liberation from the Turks) did not happen at the same time. Their arrival occurred from the beginning of the 15th to the end of the 17th century. Despite the long period of their being among other Pannonian peoples, the Bačka Croats have
survived and kept their speech patterns ("ikavian") as well as their wealth of costumes and art forms. This dance is done during wedding and other social gatherings. The bagpipe (gajde) used to be the traditional instrument played for this music; today the tambura orchestra is used. The dance was learned by Željko Jergan in 1989 from village group from Tavankut at Đakovački Vezovi Festival.
Presented by Željko Jergan in 2009. View pdf here.
Derite (Se Čizme Moje)—not taught
During the 16th century Turkish invasion, many Croatians left the regions around the Kupa, Korana and Una rivers, and the region of Primorje, finding safety in a desolate region of Burgenland, Austria, known to the Croatians that live there as Gradišće. They have managed to maintain to this day, their rich traditions, language and culture, including this dance and song from the village Stinatz (Stinjaki), which are done during festive celebrations. The research was done in 1982-84 in Gradišće.
Presented by Željko Jergan in 2009. View pdf here.
Deux lignes du Carré Dominion
This dance was popular in the 1930's in Montreal and was often danced at Dominion Square in Montreal (from which it gets its name). Source: Caller Gérard Morin.
Presented by France Bourque-Moreau in 2009. View pdf here.
Do Pasi
This dance comes from Veneto, in Verona and belongs to the group of dances called "Soti" - dances related to the German Schottische and widespread in the province of Verona and known throughout the entire region by various names. This tune is played by Calicanto, one of the most important bands in the Italian folk-revival movement, active since 1981.
Presented by Roberto Bagnoli in 2009. View pdf here.
Drianovska Râčenica II
A line râčenica from the region of Drianovo in North-East Bulgaria. In 1998, Yves Moreau introduced a dance also called Drianovska Râčenica with different and slower music (a capella song), and therefore decided to call this one Drianovska Râčenica II, to avoid confusion. The version described below was introduced by Belčo Stanev in Germany to the popular folk song Trâgnali mi sa Drianovskite bulki.
Presented by Yves Moreau in 2009. View pdf here.
Drmeš iz Marijanaca
Slavonia is the richest agricultural region (known as the bread basket) in Croatia. For this reason, folk traditions have remained unchanged for centuries. The wealth of this region is reflected in the dances, songs and costumes. The village of Marijanci is in northeastern Slavonia (Osijek-Baranja County near the city of Valpovo). Most of the dances in Slavonia surround the musicians, who are in the center of a circle. Musical accompaniment features the bagpipe (gajde) and tambura (samica), or a full tambura orchestra. Slavonian people dance to celebrate any occasion - weddings, harvest, church celebrations, or any other daily occurrence that merits a celebration.
Presented by Željko Jergan in 2009. View pdf here.
Elinpelinsko Četvorno
Četvorno is a widespread form of dance in Western Bulgaria, especially in the Šop region around Sofia. The following steps and patterns were observed by Yves Moreau in 1986 as danced by a group from the village of Elin Pelin.
Presented by Yves Moreau in 2009. View pdf here.
Friday Night Special
Dance created by Sam Flinders and published in Everyday Dances, 1969.
Music: 2/4 meter Any good reel or jig.
CD: English Dances presented by Bruce Hamilton, Band 10.
Presented by Bruce Hamilton in 2009. View pdf here.
Giga
This is a dance from Emilia-Romagna. Like the Piedmontese Gigo, the Giga from Emilia is a widely
spread, popular dance in 6/8 rhythm. It is danced in couples, and belongs to the group called “Balli Staccati” (without touching) of the Bologna Mountains (Valle del Savena, Valle del Setta).
Presented by Roberto Bagnoli in 2009. View pdf here.
Hambo
The hambo is one of the folk dances of Sweden that quite possibly derived along some of the same lines as the mazurka and polska (Sjöberg 1980). In both the polska and hambo the dancers make a full clockwise one-measure turn, starting on the same foot at the beginning of each measure. The late Gordon Tracie referred to the hambo as "the national dance of Sweden" (Lidster & Tamburini 1965). It is perhaps the most well known of the folk dances in Sweden, with Swedish cultural groups around the world, and with American folk dancers.
The hambo has been danced continuously for at least the last hundred years. It is basically the same dance throughout Sweden, yet one can see regional as well as individual characteristics.
In 1965 the province/cultural area of Hälsingland began an annual hambo competition in early July. The competition has influenced the style of the hambo. It has provided a lot of visibility for the dance, and for many years 1500 couples participated. There was a race to the postbox to apply for the event. The event still exists today though it has changed some and is not as popular as it once was. There are hambo competitions in a number of areas in Sweden today.
The hambo style described here is as one might find in the Hälsingehambon contest. It is based on what I have learned from Tommy and Ewa Englund, Stig and Helén Eriksson, Leif and Margareta Virtanen, who have all won the competition at least once, dance researcher-teacher Bo Peterzon, and from the late Gordon Tracie.
Presented by Roo Lester in 2009. View pdf here.
Harmanlijska Râčenica
Line râčenica from the region around Harmanli in Eastern Thrace. Observed by Yves Moreau at folk festival in Haskovo, June 1966. Dance can be done to any basic 8-meas Thracian râčenica tune.
Translation: Râčenica from the region of Harmanli.
Pronunciation: hahr-mahn-LEE-skah ruh-che-NEE-tsah
Music: 7/8 meter (QQS) CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 4.
Formation: Mixed open circle. Hands in W-pos. Wt on L, face ctr.
Styling: Earthy, slight knee bend.
Presented by Yves Moreau in 2009. View pdf here.
Hopa dina
Moslavina is situated at the foot of the Moslavina Hill, at the apex of many rivers, lakes and swamps. This region is renowned for its wine and agricultural wealth. For this reason the national costume, songs and dances have been developed to the highest level and have been carried on from generation to generation to the present day. Željko was researching in Popovača, Kutina and Gradečki Pavlovec (parts of Moslavina region) 1977-1985.
Presented by Željko Jergan in 2009. View pdf here.
Jabuke - Marice
Baranja is an area which straddles the border between northeastern Croatia and southwestern Hungary. Croatians (Bošnjaci & Šokci), who have lived there for many generations, inhabit the villages in Hungary near the town of Pécs (Pećuh). Their dances retain their Slavic character, with little or no influence from the surrounding Hungarian culture. The folk songs, music, costumes and dance are today only celebrated during family gatherings, church celebrations or weddings, thanks to the village elders. Željko was researching around the city of Pécs in the summer of 1992.
Presented by Željko Jergan in 2009. View pdf here.
Kardamska Zborenka
Zborenka is a common type of dance throughout Dobrudža in North-East Bulgaria. This version is from the region of Kardam near the Romanian border. Learned from Živko Petrov.
Pronunciation: Kahr-DAHM-skah ZBOH-rehn-kah
Music:2/4 meter CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 8.
Formation: Mixed open circle or line. Face ctr, wt on L. Hands joined down at sides, V-pos, or short lines in front basket hold.
Presented by Yves Moreau in 2009. View pdf here.
Kiladiotiko
Kiladiotiko is a dance from the town of Kilada, about 40 miles SE of Nafplion, in NE Peloponnese. I learned this dance from the local folk dance group in Nafplion. Oddly enough it is often danced to Island-style syrtó music, often from Naxos.
Pronunciation: KIHL-ah-dee-AW-tee-koh
Music: 4/4 meter CD: Balkan and Beyond – Stockton 2009, Band 4.
Formation: Line of dancers, leader on R, high W-pos
Presented by Lee Otterholt in 2009. View pdf here.
La noce des oiseaux
The dance set to this song about the lark wishing to marry the finch is based on the basic widespread Quebec dance figure called Coupez par 6, par 4, par 2. Adapted by France Bourque-Moreau.
Translation: The wedding of the birds
Pronunciation: lah NOHSS dayz wa-ZOH
Music: 2/4 meter CD: Yves & France Moreau Stockton Folk Dance Camp 2009, Band 16.
Formation: Four (4) cpls in a square.
Presented by France Bourque-Moreau in 2009. View pdf here.
Les mains blanches
This dance is done in various regions of Quebec. This version is from the Lanaudiere region, northeast of Montreal. The "mains blanches" in this version, refers to the people forming a "trio." This is a shortened version of the complete dance in which all cpls become active.
Presented by France Bourque-Moreau in 2009. View pdf here.
Liljano Mome
A variation of the popular Širto type of dance common throughout the Pirin-Macedonia region of
Bulgaria. This version was introduced by Belčo Stanev from Varna.
Pronunciation: lee-LYAH-noh MOH-meh
Music:7/8 meter (SQQ) CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 9
Formation: Mixed open circle; hands in W-pos; face LOD, wt on L.
Presented by Yves Moreau in 2009. View pdf here.
Lilli Burlero
Lilli Burlero was published in Playford's, The Dancing Master, in 1690. Cecil Sharp published his
version in the Country Dance Book, vol IV in 1916. Shimer & Keller published their research on the
dance in The Playford Ball, 1990.
Music: 6/8 meter CD:English Dances presented by Bruce Hamilton, Band 5.
Formation: Longways duple minor set.
Presented by Bruce Hamilton in 2009. View pdf here.
Mali Izvorski Opas
A variation on the popular Opas dance type found throughout Dobrudža. From the village of
Mali Izvor near the town of Dobrič.
Translation: Opas from the village of Mali Izvor
Pronunciation: MAH-lee EEZ-vohr-skee OH-pahss
Music:2/4 meter CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 6.
Formation: Short lines , belt hold, L over R or front basket hold or optional V-Pos. Wt on L. Face ctr.
Presented by Yves Moreau in 2009. View pdf here.
Margot’s Valsen
Svein Olav Solli, Borghild Reitan (now Solli) and Margot Sollie introduced this dance at Scandia Camp Mendocino 1997. They said that the dance is quite popular in the Røros area and is referred to there as Margots valsen. I believe this dance is referred to as Kalle P’s vals in Sweden. The dance mixes at the beginning. Dance one time through the dance sequence with your original partner, progress for the next repetition.
Presented by Roo Lester in 2009. View pdf here.
Mazurca Di Sant’Andieu
This dance is a mazurka that originated in the south of France during the Occitan Kingdom and is now danced all over Piedmont. The song to this dance was written by Charloun Rieu, pioneer of the modern provençal literature and poetry, who covered on foot all the Alps to spread the provençal language and to delight with his songs “The Shepherds and The Peasants.”
Presented by Roberto Bagnoli in 2009. View pdf here.
Mazurkavariant från Sandviken—not taught
Ewa and Tommy Englund introduced this dance at Scandinavian Week, 1987. The sources for this
dance are Benno Eriksson and Tony Wrethling. It is a fun dance and you can even dance it on the lawn!
Pronunciation: ma-SUHR-kah VAHR-ee-awnt frohn SAHND-vee-ken Dalsteg: DAHL-stehg Tresteg: TRAY-stehg
Presented by Roo Lester in 2009. View pdf here.
Moneco—not taught
This dance from Emilia-Romagna in northern Italy is also called Muneco. It is a kind of Contradance very well known both in Emilia-Romagna and Polesine (Veneto). According to many researchers it comes from a French dance called Monaco brought into Italy by the French Napoleonic Army and danced in the territory of Ferrara.
Presented by Roberto Bagnoli in 2009. View pdf here.
Mori Shej
Mori Shej is a beautiful lullaby for a little Rom girl named Sabina. I learned these steps from Jimmy Drury.
Pronunciation: MOH-ree SHAY
Music: 4/4 meter CD: Balkan and Beyond – Stockton 2009, Band 2.
Formation: Line of dancers with leader on R. High W-pos.
Presented by Lee Otterholt in 2009. View pdf here.
Morpeth Rant
Morpeth Rant was published in Kennedy’s Community Dances Manual 1949-1967.
Music: 2/2 meter CD:English Dances presented by Bruce Hamilton, Band 9.
Formation: Longways duple minor set.
Steps: Rant Travelling Step. Rant Setting Step. (See “English Country Dance Glossary.”)
Swing and Change: Using Rant Travelling Step, in Ballroom or shldr/shldr-blade pos,
dance around other cpl 1½ times to end in progressed place.
Presented by Bruce Hamilton in 2009. View pdf here.
Na dvi strane
More than 70,000 Croatians inhabit the southern, central and western parts
of Hungary today, where they continue to preserve the heritage, language
and culture of their ancestors. Baranja is an area which straddles the border
between northeastern Croatia and southwestern Hungary. Croatians, who
have lived there for many generations, inhabit the villages in Hungary near
the town of Pécs. Their dances retain their Slavic character, with little or no
influence from the surrounding Hungarian culture. Željko was researching
Croatian culture in the summer of 1992 around the city of Pécs.
Presented by Željko Jergan in 2009. View pdf here.
Petite chaîne de Montmagny
Dance from the region of Montmagny learned from Quebec caller Erick Tarte.
Pronunciation: puh-TEET SHAYN duh MOHN-mah-nyeeh
Music: 2/4 meter CD:Yves & France Moreau Stockton Folk Dance Camp 2009, Band 15.
Formation: Four (4) cpls in a square.
Style: In this dance, M and W use a traveling two-step instead of regular walking steps.
Presented by France Bourque-Moreau in 2009. View pdf here.
Polka och Bakmes från Kall
Music: Slow polka
Formation: Dance CW & CCW around partner and as a couple LOD around the hall.
Presented by Roo Lester in 2009. View pdf here.
Polska från Järvsö
Music: relatively slow, moderately emphasized 16th note polka from the Järvsö area.
Formation: Dance CW around a partner, and as a couple LOD around the hall.
Presented by Roo Lester in 2009. View pdf here.
Pravo Čepelarsko Horo
A variation on the basic Pravo Rodopsko Horo from the region around the town of Čepelare. Observed by Yves Moreau at the Rožen Pee Festival in July 1972. The dance has a typical 10-meas structure which is typical of many Rhodope folk songs. The song used here is Pena e seno kosila.
Presented by Yves Moreau in 2009. View pdf here.
Prince William
Prince William was published Walsh, The Complete Country Dancing-Master, in 1731. Pat Shaw
published his version in the Holland as Seen in the English Country Dance, in 1960. Shimer & Keller published their research on the dance in The Playford Ball, in 1990.
Presented by Bruce Hamilton in 2009. View pdf here.
Quadrille de Saint-Basile
A quadrille from the village of St-Basile, Portneuf County not far from Quebec City. Learned from
Denis Côté and Normand Legault. Some recreational folk dance groups prefer to dance only parts 1-4 of the dance because of time limitations and also because the last two figures work out best with live music. This quadrille is traditionally not called.
Presented by France Bourque-Moreau in 2009. View pdf here.
Rugen
A “turdans” (“figure dance”) with “runddans” (“turning dans”) elements. Rugen (a Reinlender melody with special phrasing)
Pronunciation: ROO-gehn
Music: 2/4 meter CD: Balkan and Beyond – Stockton 2009, Band 8.
Formation: Couples in a circle, social dance position, M’s L shldr and W’s R shldr twd ctr. Ftwk
is for M, W use opp ftwk.
Presented by Lee Otterholt in 2009. View pdf here.
Slängpolska från Färnebo—not taught
Leif & Margareta Virtanen introduced this dance in Chicago in September 2000. It is also called
Fernbopolska. The dance is for two couples and should be danced in small circles on a spot as in a fläckpolska. Slängpolska från Färnebo is documented in Hopp Lustig. It is believed the book is out of print.
Presented by Roo Lester 2009. View pdf here.
Slunga
Slunga is one of many names for polka as well as the name for this polka variant. I learned this variant from Karin Olsson who learned it from her mother Ann-Marie Olsson in Värmland, Sweden. Doriz Zsiga later taught this polka variant in September 1990 at the Scandia D.C. weekend at Buffalo Gap, WV.
Presented by Roo Lester in 2009. View pdf here.
Smithy Hill
Smithy Hill was created by Tom Cook and published in his Hunter’s Moon collection, 1987. The tune is by Brian Jenkins.
Music: 6/8 meter CD: English Dances presented by Bruce Hamilton, Band 3. Note: Once through the dance is twice through the tune.
Formation: Longways set, duple, improper (1s dancing on the “wrong side” of the set).
Presented by Bruce Hamilton in 2009. View pdf here.
Spagnoletto
This dance is from Emilia-Romagna. The fiddle tune has been widely spread in Italy since the
Reinassance. Orally transmitted, it is still played in the Emilian Appennine area retaining the original name and melody. The name of the dance has no dance-related meaning. However, it means “spindle” and also is the name of a cigar.
Presented by Roberto Bagnoli in 2009. View pdf here.
Staro Bansko Horo
Dance from the region of Bansko in the Pirin Mountains of South-West Bulgaria. Observed by Yves
Moreau at a Folk Festival in the nearby town of Razlog, summer 1969.
Translation: Old dance from Bansko.
Pronunciation: STAH-roh BAHN-skoh hoh-ROH
Music: 7/8 meter (SQQ) CD: Yves Moreau Stockton Folk Dance Camp 2009, Band 2.
Formation: Mixed open circle or short line, hands slightly fwd in W-pos. Face slightly R of ctr,
Presented by Yves Moreau inn 2009. View pdf here.
Su Balitto
From the territory of Nuoro in Sardinia, Su Balitto is a dance done in all the north of the island. The
name means “the little dance.”
Pronunciation: SOO bah-LEET-toh
Music: 6/8 meter CD: Danze Italiane Vol. 1, Band 16 (“Su Falcittu”)
Formation: Closed circle for any number of people. Stand facing into the center, close to each
other, hands joined, forearms parallel to the floor. There is a designated leader that
calls the step changes. Change is indicated by the leader yelling “AYE-OH.”
Presented by Roberto Bagnoli in 2009. View pdf here.
Swedish/Norwegian Waltz
Gordon Tracie introduced this dance to the Scandinavian dance community and international folk
dancers during his teaching career. I had the pleasure of learning it from Gordon Tracie at one such workshop. The following information is taken from Dance a While 1978 and 1988 editions.
“This dance has been popular in the United States for at least fifty years. Gordon E. Tracie in his study of dances in Scandinavia in 1948 discovered that such a Swedish waltz was not danced in Sweden. However, an elderly couple from the country (Dalarna, Sweden) recognized it as the nearly forgotten "Norsk Vals" (Norwegian waltz), which they had danced in their youth. Scandinavian immigrants undoubtedly brought the dance to this country at the turn of the century.”
Presented by Roo Lester in 2009. View pdf here.
Tresso
This dance comes from Piedmont, Val Varaita. It is one of the most beautiful dances from the former Occitania region (which ranged from the Alps to the Pyrenees, from the Mediterrean Sea to the Atlantic Ocean) and typical of Val Varaita. It has been revived in recent years, because of its choreography and dynamic quality. It is the only dance that needs six people to be danced—three men and three women. Like other dances from the same valley, it is then followed by another sequence of figures, called "Balet." The name of the dance means “braid.”
Presented by Roberto Bagnoli in 2009. View pdf here.
Tyska Polskan – Schottis från Viksta
Music: Schottis played faily slowly.
Formation: Couples dance CW (Clockwise) around partner while dancing as a couple LOD (CCW - counter clockwise) around the hall.
Presented by Roo Lester in 2009. View pdf here.
Up With Aily—not taught
Up With Aily was published in Playford's, The Dancing Master, in 1703. Cecil Sharp published his
version in the Country Dance Book, vol IV in 1916. Shimer & Keller published their research on the
dance in The Playford Ball, 1990.
Presented by Bruce Hamilton in 2009. View pdf here.
V Goričani
This dance and song is from the region of Medjimurje from village of Goričani.
During the Austro-Hungarian occupation of this area, people were prohibited from
maintaining their customs and dances. For this reason, solo singing became the only
outlet for preserving the culture. Following WWII, those songs were used as a
foundation for the creation of many new national dances, rooted in the peasant dances
of other bordering cultures. Singing and orchestras comprised of cymbal, violin,
clarinet and bass, and the tamburitza orchestra accompanies dances. Željko Jergan
has done research throughout the Medjimurje region from 1972 until the present.
Presented by Željko Jergan in 2009. View pdf here.
Valle e Qemalit
An Albanian performance-style dance Lee Otterholt learned from Ben Koopmanschaap.
Pronunciation: VAH-leh ay kchay-MAH-lee
Music: 4/4 meter CD: Balkan and Beyond – Stockton 2009, Band 3.
Formation: Long line facing slightly R of ctr. Palm-to-palm, hands high, elbows straight and
locked. (If this handhold is too tiresome, a high handhold might be acceptable.)
Presented by Lee Otterholt in 2009. View pdf here.
Valse de l’Amitié
Adaptation of a French-Canadian waltz mixer by France Bourque-Moreau.
Transation: Friendship Waltz
Pronunciation: VAHLS duh lah-mee-tee-AY
Presented by France Bourque-Moreau in 2009. View pdf here.
Valse Lancier
A dance from the late 19th century influenced by the European Quadrille form. Learned from Guy
Thomas. This is a condensed version of the original dance.
Pronunciation: VAHLS lahn-see-AY
Presented by France Bourque-Moreau in 2009. View pdf here.
Yellow Stockings
Published in Neal's, Choice Collection, 1726. Reconstruction by George Fogg and Rich Jackson, 1990.
Music: 9/8 meter CD: English Dances presented by Bruce Hamilton, Band 6.
Formation: Longways set, duple.
Steps: Slip; Circular hey.
and Styling:
Presented by Bruce Hamilton in 2009. View pdf here.
Žensko za raka
A women’s dance from Western Macedonia with a 12-measure pattern. Originally taught by Saško
Anastasov.
Translation: Women’s dance using hand hold.
Pronunciation: ZHEHN-skoh zah RAH-kahA
Presented by Yves Moreau in 2009. View pdf here.
Zonaradikos
Zonaradikos is a very common line dance in the Thracian part of (Northeastern) Greece. (More or less the same dance is danced in the Thracian part of Bulgaria, where the dance would most often be called “Pravo trakijsko horo,” or simply a “Pravo.”) The dance has two different forms of the basic step, plus many variations on each, especially the second “in and out” basic step. The word “zonaradikos” derives from the Greek word for “belt.” This does not necessarily mean that it should be danced with a belt hold; the word refers rather to the “belt” of dancers following the leader.
Presented by Lee Otterholt in 2009. View pdf here.
