2010

Adanali

This urban Greek dance is performed to a Turkish song with the same name which became popular among Greeks and Armenians. The dance is a simple Sta Dyo (two step) Misirlou-type dance as seen on youtube.com. Presented by Stephen Kotansky in 2010. View the pdf here.

Aloniotikos

Aloniotikos is a three-measure dance from the Village of Alona in Northern Greece. It is also referred to as Cho Cho or Tso Tso and is essentially a Pousteno/Beranche/Leventikos-type dance in 4/4 time. Another common name is Armensko Oro. Presented by Stephen Kotansky in 2010. View the pdf here.

Bay Nian 拜年

The music of Bay Nian (拜年) creates the highly festive atmosphere of the Taiwanese New Year, while the dance movements emulate the actions the Taiwanese take when making ceremonial
calls or pasting couplets on the door (as in the photo) at the New Year. When dancers say "Gong-Xi" to each other they are congratulating each other on surviving the demons of the past year. This dance was choreographed by Si-Min Wang in 1989. Presented in 2010 by Fang-Chich Chen. View the pdf here.

Braşoveanca

Braşoveanca is a couple dance with variations, some of which - including the one presented here - are mixers, where the dancers change partners. Mixers are very rare in the Romanian repertoire. This feature - changing partners - together with the melody, lead us to believe that this dance is an “adopted child” among Romanian dances. Nonetheless, if you are lucky enough to visit Braşov and get invited to a popular festivity, the residents will ask you to join in their typical dances, and Braşoveanca is sure to be one of them.

Presented in 2010 by Sonia Dion & Cristian Florescu. View the pdf here.

Clopoţelul

Pronunciation: kloh-poh-TSHEH-lool “Clopoţelul” means little bell.
Music: 2/4 meter Sonia Dion & Cristian Florescu Romanian Realm Vol. 5, Band 3
Formation: Mixed circle of dancers facing ctr and hands joined in V-pos.
Steps & Styling: Grapevine:
Meas 1: Step L across in front of R (ct 1); step R to R (ct 2).
Meas 2: Step L across behind R (ct 1); step R to R (ct 2).
Meas 1-2 = one Grapevine.

Presented by Sonia Dion & Cristian Florescu in 2010. View the pdf here.

Csíkszentdomokosi Cepper

The Cepper could be considered a new-style dance, probably developing in the 19th or early 20th
century. While this dance is only found in the village of Felcsik, in all likelihood it developed from a dance or dances adopted from the urbanizing Saxon-Germans of the region; possibly brought from the city of Brassov, where lads learning a trade would follow their apprenticeship. Interestingly, one of the tunes played for this lively dance is also found in the Rábaköz region of Hungary, which borders Austria and has a large Schwab-Germans influence.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

Csíkszentdomokosi Csárdás

A new dance style known as the “Csárdás” swept through Hungary in the 19th century, a time when the countries of Europe were building the notion of a national identity and arrived later in Transylvania. As a new national dance, the Csárdás also went a long way towards homogenizing the dances of regions, and thus had a negative effect on the diversity of Hungarian dance. It is for this reason that remote regions are interesting. While the Csárdás ostensibly took over, wiping out the existing turning-style couple dances, in reality the elements and motifs of the more archaic dances merged with the new fashion, creating an interesting and no-less-diverse fusion of new and old. The Csíkszentdomokosi Csárdás, preserved to this day among the Szeklers of the Hargita Mountains, is a classic and beautiful example of this phenomenon.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

Csingerálás

There is a practice among Hungarian folk dancers to study dances from original recordings of villagers dancing. Partly due to the popularity of the world-renowned Szászcsavás Band, there are many recordings of gypsy dancing from that village. However, for this dance, we chose to teach steps exclusively from a recording that can be found on YouTube. We hope you refer back to that recording to learn and perfect this dance. The recording is of the musicians of the Szászcsavás Band dancing with their wives. In general, we are teaching the dance as done by Levente Mezei and his wife, found starting at 1 minute 50 seconds into the recording.
http://www.youtube.com/watch?v=R0swGFtHVaE&feature=related Please note that this physically and mentally challenging dance will be taught at an advanced level.Please note that this physically and mentally challenging dance will be taught at an advanced level.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

 

Devichya khorovodnaya – Девичья хороводная

In 1955 Lidiya Bogotkova published the book Dances and Games for Students and Working Class
Youth. In this book she collected dances, songs and games based on folkloristic elements, although the music was often newly written. This dance is an adaptation by Hennie Konings of the version of the song that can be found in Bogotkova’s book. The music was written by A. Novikov and the text by O. Fadeyeva. The dance is a lyrical round dance for girls. It was first presented in Germany in 1993.

Presented by Radboud Koop in 2010. View pdf here.

E Ku’u Aloha

Each Hula tells a specific story. E Ku’u Aloha tells about how Pele, the volcano goddess, falls in love with Lohiau, the prince of Kaua’i. The lyrics and music are by Blaine Kamalani Kia, Frank
Kawaikapuokalani Hewett and Michael Keala Ching.

Presented by Hilde P. Otterholt in 2010. View pdf here.

Gajda from Flambouro

This Gaida is from the Roma (Gypsy) town of Flambouro in the Serres region of eastern Macedonia in Greece. It has an interesting 14-ct pattern during the slow music, and adds 2 cts during the fast music. Source: Dancers from Flambouro, Joe Kaloyanides Graziosi, Yvonne Hunt.

Presented by Stephen Kotansky in 2010. View pdf here.

Gau Shan Ching ( 高山青)

The song “High Green Mountain” was written in 1949, the collaborative work of the famous poet Yu-Ping Deng as its lyricist, and Lan-Ping Jou as the composer. It is the theme song of the movie “The Magnificent Happenings on Mt. Ali, directed by Cheh Chang. The movie may be long forgotten, but the song “High Green Mountain” has spread all over the world and become a representation of Taiwan. It is also a song with which all Taiwanese are familiar. Based on the steps of the aborigines, the main ideas of the lyrics describe the beauty of the young ladies and the strength of the young men who are the aborigines on Mt. Ali. They are the Tzou tribe. This dance was choreographed by Chang-Shiung Yang in June 1989.

Presented by Fang-Chich Chen in 2010. View pdf here.

Glaviniška Kopanica

This Kopanica belongs to a group of well known Kopanici from western Bulgaria. Others in this family include: Lamba Lamba, Plovdiska Kopanica, Ludo Kopano, Bistrička Kopanica, et.al. Kotansky based the steps below on several versions of this dance learned over the past 35 years from Stefan Vaglarov, Georgi Kinski, Belčo Stanev, and others.

Presented by Stephen Kotansky in 2010. View pdf here.

Hanım Ayşe/Eski Kasap

Hanım Ayşe means “Lady Ayşe” and Eski Kasap means “Old butcher dance” and these are from the area northwest of Anatolia, called the Trakia region. The figures of the dance come from a dancer who happened to be a kasap (butcher).

Presented by Ahmet Lüleci in 2010. View pdf here.

Haste to the Wedding

This is a traditional contra. The music is from the operetta The Elopement (1767). This tune, known variously as “Haste to the Wedding,” “Come Haste,” “Rural Felicity” and even “The Rules of Felicity,” has had dozens of sets of dance directions paired with it. The set chosen here seems to fit the music best of them all. The tune appeared in America first in Aaron Thompson MS, 1777. Difficulty level: Easy.

Presented by Jerry Helt in 2010. View pdf here.

Hora pojorenilor

Hora (plural Hore; same as Greek Horae), is the name of an ancient circule dance which has
survived up to today in Romania. In the ancient times, naked women danced it. In Romania three
clay depictions of this dance were found, two of them showing five dancers and one showing six
dancers. The last one, the most famous, was found at Bodesti-Frumusica in Moldavia. All of them
date from 4000–3000 B.C. The village of Pojorâta is in the region of Bucovina, at the foot on Mount Raru, in the department (judeţul in Romanian) of Suceava. The village, seven kilometers west of the city of Câmpulung Moldovenesc, stretches along a valley of beautiful landscapes.

Presented by Sonia Dion & Cristian Florescu in 2010. View pdf here.

Hozanki

This is a Kurdish-style dance from southeastern Turkey, in the Halay style.
Pronunciation:  Hoh-ZAHN-kee
Music:  4/4 meter  Ahmet Lüleci Stockton 2010, Band 16
Formation:  Semi-circle, facing ctr, moving CCW, little fingers joined in V-pos.

Presented by Ahmet Lüleci in 2010. View pdf here.

Huan-Leh Ko （歡樂歌）

This is an aboriginal folk song from Eastern Taiwan in Taitung County. This dance was choreographed by Ching-Shan Chang in 1981.
Translation:  Happy Song
Pronunciation:  HWAHN-luh KUH
Music:  2/4 meter Folk Dances from Taiwan–Stockton Folk Dance Camp 2010, Band 1
Formation:  Open circle or mixed line, in front basket hold (L hand over R hand); or joined hands in V-pos.

Presented by Fang-Chich Chen in 2010. View pdf here.

 

I Am Hawai’i

A fun Hula that Hilde Otterholt learned from Kumu Blain Kamalani Kia. This song was written in 1966 for the film Hawai’i. Lyrics are by Mack David, and music is by Elmer Bernstein.
Pronunciation:  I Am Hawai’i
Music:  4/4 meter Moea by Blaine Kamalani Kia, Band 20
Formation:  Individually in lines, with arms-length distance between each dancer. All face the same direction.

Presented by Hilde P. Otterholt 2010. View pdf here.

Ina Ina

Pronunciation:  EE-nah EE-nah
Music:  2/4 meter  Sonia Dion & Cristian Florescu Romanian Realm Vol. 5, Band 9
Formation:  Open mixed circle; hands joined in W-pos extended slightly fwd, facing ctr.

Presented by Sonia Dion & Cristian Florescu in 2010. View pdf here.

Întoarsa de la Păuliş

Pronunciation:  eun-TOHAHR-sah deh lah puh-oo-LEECH
Music:  2/4 meter  Sonia Dion & Cristian Florescu Romanian Realm Vol. 5, Band 7
Formation:  Longways set. Partners facing each other holding hands; M’s R hand holding W’s L hand, straight arms down; M’s L hand holding W’s R hand, straight arms down.

Presented by Sonia Dion & Cristian Florescu in 2010. View pdf here.

Išu Byala Nedo

This women’s dance was learned from Belčo Stanev.
Pronunciation:  EE-shu BYAH-la NEH-doh
Music:  11/8 meter, counted 1 2 3 4 5 or Balkan I 2010 Steve’s Dances CD, Band 13
1 2 3 & 4 5, QQSS+ or QQQSS+
Formation:  Closed circle; hands joined in escort hold.

Presented by Stephen Kotansky in 2010. View pdf here.

Jocul soacrei

Pronunciation:  ZHOHK-ool soh-AH-kreh-(ee)
Translation:  Dance of the Mother-in-Law
Music:  2/4 meter  Sonia Dion & Cristian Florescu Romanian Realm Vol. 5, Band 12
Formation:  Mixed circle; hands joined in W-pos with hands close to shoulders

Presented by Sonia Dion & Cristian Florescu in 2010. View pdf here.

Kak na taluyu na zemlyu – Как на талую на землю

The title of this dance is taken from the first line of the accompanying song, meaning “As it happened, on the thawed earth.” It is a traditional dance song from the Ural region. The dance, a so-called parnaya plyaska (plyaska meaning “dance,” and parnaya “in couples”) was choreographed by Hennie Konings and is an example of basic elements of the Russian folk dance school. It was first presented in Langnau, Switzerland, in 2010. The typical “walking steps over the heel” during meas 1-2 of Figure I are thought to originate from the city quadrille dancing, where town folks wearing modern heeled shoes liked to focus the attention to this piece of contemporary costume, making full use of the possibilities these shoes with heels were giving over old-fashioned leather sandals. Tatyana Ustinova, former choreographer of the Pyatnitskiy Folk Ensemble, developed an academic style of staged folk dancing, and she often made use of this particular step.

Presented by Radboud Koop in 2010. View pdf here.

Kcim

This is a solo dance which can also be perfomed as a solo, duet, or in group form. It incorporates
movements out of everyday life in an aesthetically altered way. Learned from Janet Reineck, Dancers of Ensemble Shota, Kosovar Albanians. The title means “jumpy.”
Pronunciation: KTSEEM
Music:  2/4  Balkan I 2010 Steve’s Dances CD, Band 18 Balkan II 2010 Alternates CD, Band 10
Formation:  Open circle hands joined in W-pos. Arms bounce up on ct 1 and down on ct 2. There
can be a slight movement of the hips.

Presented by Stephen Kotansky in 2010. View pdf here.

Kerekes

The name of this dance is derived from the word “kerek” meaning round. This is one of a grouping of dances from Gyimes collectively known as the “Aprók” (little) dances. This kind of archaic circle dance can no longer be found in most of the regions where Hungarians live. Opinion differs as to whether it exists in Gyimes because the Csángo people learned these dances from neighboring Romanians or whether they kept this earlier style of dancing. In other Hungarian regions, this dance style was lost when the wave of couple dances arrived. The archival footage we used to recreate this dance was collected in 1980 in Gyimes by Gyorgy Martin, et al.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

Kırikcan

Kırikcan means “Broken soul/Hurting soul.” The dance comes from Gaziantep (southeast of Anatolia) and is in the Halay style.
Pronunciation: KUH-reek-dzhahn
Music:  Mixed meter  Ahmet Lüleci Stockton 2010, Band 7
Part 1 is 4/4, Part 2 is 10/4
Formation:  Semi circle. Handhold is R arm behind L, fingers locked together. Elbows are bent
so forearms are parallel to the ground, but tucked back between bodies.

Presented by Ahmet Lüleci in 2010. View pdf here.

Let’el golub – Летел голубь

This dance is a lyrical round dance for unmarried girls. The title is taken from the first line of the
accompanying song meaning “a pigeon flew.” The song is a traditional round dance song from the Ural region, telling about a pigeon that brings news about the unhappy girl who is married off far away, and the other girls advising her to reconcile to her fate. The dance is choreographed by Hennie Konings based on typical elements of the Russian folk dance school. It was first presented in Frankfurt, Germany, in 2010.

Presented by Radboud Koop in 2010. View pdf here.

 

Made în Romania

Pronunciation:  MAH-deh eun roh-MAH-neeah
Music:  4/4 meter  Sonia Dion & Cristian Florescu Romanian Realm Vol. 5, Band 6
Formation:  Individuals dancing freely in a circle; hands free, facing center and moving
generally CCW.

Presented by Sonia Dion & Cristian Florescu in 2010. View pdf here.

 

The Munichausen

The tune is Cantelo (1785). The title probably refers to one of the German mercenaries fighting for the British. Difficulty level: moderate-difficult.
Music: 4/4 meter
Formation: 32-bar duple-minor improper longways sets

Presented by Jerry Helt in 2010. View pdf here.

Na Lhu Uan （那魯彎）

The song is familiar to everybody in Taiwan, and the original songwriter is Tsu-Yang Gau from
Chihben in Taitung County. During the past era, when the Taiwanese were forbidden to hold an
assembly or form a union of any kind, Tsu-Yang Gau was taken into custody and severely disciplined because of this song. Na Lhu Wan belongs to Taiwan’s aboriginal language, which is a branch of the Southern-Pacific Island languages. While some people say it comes from the Tsao tribe on Mt. Ali, Na Lhu Wan may represent different meanings under different circumstances. For example, it may mean “I love you” in a love song, “How are you” in a greeting, or “Good bye” or “Take care” when meeting friends. Some also use it to stand for “hometown.” The dance, based on the steps of the aborigines, was choreographed by Fang-Chich Chen in 2004.

Presented by Fang-Chich Chen in 2010. View pdf here.

Ordu

Ordu is the name of a city near the Black Sea in Northern Anatolia from which this dance comes. The original name of the tune is “Ordu’nun isiklari”—the lights of Ordu. It is also known as “Vona’nin isiklari,” “Vona” being the Greek name for Ordu.
Pronunciation:  OHR-doo
Music:  4/4 meter  Ahmet Lüleci Stockton 2010, Band 9
Formation:  Semi-circle, standing close together. Clasp hands, elbows bent so forearms are less
than parallel to the ground.

Presented by Ahmet Lüleci in 2010. View pdf here.

Párnás (Elvesztettem zsebkendömet)

This dance is danced in a circle formation with one person inside the circle looking for a partner while waving the handkerchief. This person chooses a partner and they both kneel on the kerchief and kiss, at which point the musicians make funny sounds with their instruments. The newly formed couple now dances as described below in the center of the circle. The person who was chosen is then the next one to look for a partner while the first person joins the circle. The circle changes direction each time a new couple kneels to kiss.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

Polno vam, snezhochki – Полно вам, снежочки

The title of this dance comes from the first line of the accompanying song and translates as “Enough of you, snowflakes.” The song is a traditional marching or battle song of the Cossacks of southern Russia. In the traditional folk song repertoire of the Cossacks, many battle or marching songs can be found that are sung prior to war engagements. Their function is to prepare the men for the battle and to promote motivation and group cohesion. Also, in the Cossack folk dance repertoire examples can be found of men’s dances with a similar function, often comprising movements related to battle activities. This is an example of such a dance. It is a so-called pered boynaya plyaska, literally “prior-to-the-battle dance.” The dance is choreographed by Hennie Konings based on traditional Cossack dance figures and elements from the Russian folk dance school. It is first presented at Stockton Folk Dance Camp in 2010.

Presented by Radboud Koop in 2010. View pdf here.

Popova Kerka

Literally, “the Priest’s Daughter,” this dance comes from the area around Florina in Northern Greece. It was presented by Yannis Konstantinou who comes from a family of excellent dancers from Alona. It is an interesting 11-measure dance which reminds me of Zhenska Raka and parts of Nevestinsko Oro

Presented by Stephen Kotansky in 2010. View pdf here.

Porosya – Порося

“Pechenoye Porosya” is a traditional festive song from the Volyn region in West-Ukraine, close to the Polish and Belarussian border. The dance is a traditional couple progressive dance from the Volyn region. Hennie Konings learned this dance from Olga Melnik, choreographer with the Ozorniye Naigrishi Ensemble. It was first presented at a dance trip in Slavyanogorsk, Ukraine, in 2001.

Presented by Radboud Koop in 2010. View pdf here.

Rapatma

Rapatma is from an area northeast of Anatolia. It is from the Black Sea region and typical Horon style. Rahpet means “rat.”
Pronunciation: RAH-paht-mah
Music:  4/4 meter  Ahmet Lüleci Stockton 2010, Band 11
Formation:  Semi-circle. Arms bent at the elbows, holding hands at waist level, wrists relaxed.
Small steps. Light up-down bounce on each ct throughout.

Presented by Ahmet Lüleci in 2010. View pdf here.

Sántanémetes

The name of this dance, “Sántanémetes,” (a.k.a. Németes) literally means “Limping German.” This is one of a group of dances from Gyimes collectively known as the “Aprók” meaning “little” dances. Some of them, such as this dance, have Saxon origins. The archival footage we used to recreate this dance was collected in 1980 in Gyimes by Gyorgy Martin and others.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

 

Sârba Zărneştenilor

Pronunciation:  SUHR-bah zuhr-nehch-TEH-nee-lohr
Music:  2/4 meter  Sonia Dion & Cristian Florescu Romanian Realm Vol. 5, Band 16
Formation:  Mixed circle; hands in V-pos, facing and moving CCW

Presented by Sonia Dion & Cristian Florescu in 2010. View pdf here.

Shih Wu

The steps come from the “Wu Shih” (Dancing Lion) on the Taiwanese
New Year or other important festival days. Lion Dance competitions
are held in elementary schools every year. Teachers can arrange the
order of the steps and the formation to suit the number of dancers. This
dance was choreographed by Ching-Shan Chang. Fang-Chich Chen
added more steps and movements for the 2010 Stockton Camp.

Presented by Fang-Chich Chen in 2010. View pdf here.

Şinanarı

Şinanarı is from an area northwest of Anatolia. It is from the Romany region and a typical çöçek-style dance.
Pronunciation: shee-NAH-nah-ruh
Music:  4/4 meter  Ahmet Lüleci Stockton 2010, Band 12
Rhythm: SQQ SQQ SSSS
Formation:  Semi-circle. Hands joined in W-pos bouncing slightly, body facing R.

Presented by Ahmet Lüleci in 2010. View pdf here.

Tsae Shi Gua ( 採西瓜)

The music of the dance is a folk song from Hsiluo in the south of Taiwan. The song relates the mood of a woman who is picking watermelons by the creek and looking forward to someday meeting a man with whom she might fall in love and make a good marriage. This dance was choreographed by Ching-San Chang and Fang-Chich Chen in 1980.

Presented by Fang-Chich Chen in 2010. View pdf here.

Vallja E Osman Takës

This dance is also known as Osman Takas (Samandakis in Greek). These steps are based on steps from the Korce region of Southern Albania. Kotansky created this particular arrangement.
Pronunciation:  VAHL-yah EH OHSS-mahn TAH-kuhs
Music:  7/8 meter  Balkan I 2010 Steve’s Dances CD, Band 4
Formation:  Open circle; hands joined in W-pos.

Presented by Stephen Kotansky in 2010. View pdf here.

Vallja E Gjilanit

This crossing dance (Krsteno) also known as Gilanka was observed at a Rom wedding in “Sutka”
Skopje in 1987.
Pronunciation:  VAHL-yah EH GYEEL-ah-neet
Music:  6/8 meter Balkan I 2010 Steve’s Dances CD, Band 7 Counted as “1, and, uh, 2 and uh”
Formation:  Open circle, arms in W-pos. Leader can change steps at will and others can
choose to follow or not.

Presented by Stephen Kotansky in 2010. View pdf here.

Változtatós

This dance bears some resemblance to musical chairs. There is an odd number of dancers on the floor and one broom! While the music plays, couples dance as below. When the music stops, everyone must find a new partner as quickly as possible. The person left without a partner will have to dance alone with the broom. The person with the broom can dance a similar dance holding the broom upside-down, pretending the broom is his or her partner, or the person may choose to use the stomping steps described in the Cepper dance.

Presented by Dénes Dreisziger and Gissella Santayana in 2010. View pdf here.

Vasil’arhontissa

This is a Zaghorisios with a fifth measure added during the first two sung verses.
Pronunciation:  vah-seel-ahr-HOHN-tee-sah
Music:  5/4 meter  Balkan I 2010 Steve’s Dances CD, Band 3
Formation:  Circle; hands joined in W-pos.

Presented by Stephen Kotansky in 2010. View pdf here.

Vesyolaya kadril – Весёлая кадриль

This dance is known under different names, such as Vesyolaya kadril (the merry quadrille), Zadornaya kadril (the reckless quadrille), or Moskovskaya kadril (quadrille from Moscow). It was written in 1968 by Viktor Temnov (music) and Oleg Levitskiy (text). The song is well-known all over Russia, and different dances are done to it.

Presented by Radboud Koop in 2010. View pdf here.

Vo sadu li, v ogorod’e – Во саду ли, в огороде

The title of this dance is the first line of the accompanying song, meaning “In the garden, in the
vegetable garden.” It is a traditional dance song that was published in 1955 in the book Dances and Games for Students and Working Class Youth by Lidiya Bogotkova. In this book she collected dances, songs and games based on folkloristic elements. The dance is a so-called parnaya perekhodnaya plyaska, literally a couple dance with ptr progression, or more simply: a mixer. This is an adaptation by Hennie Konings. It was first presented in Frankfurt, Germany, in 2010.

Presented by Radboud Koop in 2010. View pdf here.

Volzhskaya kadril – Волжская кадриль

The name means “the Volga quadrille.” It is from the Volga River area of the Saratov region, southern Russia. As a dance type, the quadrille was first introduced in ballrooms in Russian cities in the nineteenth century as a result of upper-class connections with France and other Western European countries. Later it became popular among all parts of the population, in villages as well as in the countryside. Before the quadrille, with its fixed figures, sequences and dance and music forms, Russians always danced in an improvisational fashion. For them, the most remarkable element of a quadrille was the fact that the figures were fixed, not so much the quadratic shape of the original French quadrille. As a result, Russians named dances in other shapes, like couples on a line, also “quadrille.” Nowadays, even dances in a circle can be called quadrille. This Volga quadrille is a line quadrille (lineynaya kadril), learned from Olga Zolotova, who was a solo dancer with the Pyatnitskiy Folk Ensemble from Moscow, where she later became the director of the dance school. The dance is derived from a staged folklore performance and was first presented by Olga Zolotova at a dance trip to Russia in 1989.

Presented by Radboud Koop in 2010. View pdf here.

Who’s on First?

Created by Dan & Madeline Allen.
Music: “Take Me Out to the Ball Game” or any strongly phrased recording
Formation:  Standard American square. Four couples, each occupying one side of a
square, W on M’s R.

Presented by Jerry Helt in 2010. View pdf here.

Yolochki-metyolochki – Ёлочки-метёлочки

The song is a dance song from Siberia. It consists of so-called chastushki. These are four-line rhyming verses, often improvised by the singer on the spot (although many well-known and popular chastushki are written down and memorized by people these days). Sometimes, the chastushki in a song tell a complete story, but much more often the subjects of the verses have no relation to each other. Many chastushki are humorous and deal with current topics. In Communist times, chastushki were popular among common people to ridicule the leaders or the system, and were therefore not liked by the Party, but it was impossible to ban them from everyday life.

Presented by Radboud Koop in 2010. View pdf here.

Zajko Kokorajko

This version was learned from Dick van der Zwan and is an interesting Krsteno (crossing) dance form from Northern Greece which takes 10½ measures to complete. The music is a version of a famous Macedonian folk song about a foolish rabbit as sung by Alexander Sarievski.

Presented by Stephen Kotansky in 2010. View pdf here.