2012

Believe

Believe is a modern Japanese recreational dance done in pairs. If there are enough dancers, this can be done as a mixer; otherwise it can be a dance for couples who remain together. Because movements are not done in any traditional ballroom position, this is an ideal dance for two women to do together. Presented in 2012 by Iwao Tamaoki. View the pdf here.

Bukovinskii Tanets – Буковинський танець

Bukovinskii Tanets is from the Bukovyna region of Ukraine. This region lies in western Ukraine on the southeastern slopes of the Carpathian mountains and in the Bukovynian foothills. The territory of Bukovyna is now between Ukraine and Romania. Dances from this region are lively and energetic, and characterized by high stepping and intricate tight foot stamping combinations. This dance was choreographed by George and Irina Arabagi.

Presented in 2012 by George & Irina Arabagi. View the pdf here.

Cajun Dance

There are three basic Cajun dances popular now: the Two-Step (with arm figures, it is called Jitterbug), the Waltz, and a modern version of the Jitterbug (also known as the Cajun Jig). The Two-Step and the Waltz, which are older, are found in several rhythmic and stylistic variations. Dances presented in 2012 by Jerry Duke. View the pdf here.

Corrido

The Mexican Corrido is a true folk ballad. Historically this form descended from the Spanish romance which flourished most brilliantly during the 14th and 15th centuries in Spain. The earliest Mexican example that bears a date was issued in Mexico City on August 19, 1684. The music for secular folk dances is in the form of songs. This dance, Corrido, has developed from the ballad form. Three characteristic steps are noted in this dance: “soldado,” a soldier style of dancing from the revolutionary days; a dipping step commonly called the “grapevine;” and a typical sideward step-close. Avis Landis, a member of the Research Committee of the Folk Dance Federation of California, introduced this dance to the Federation. Avis, who has been an active dancer and leader in the local Mexican colony in Oakland, danced Corrido in various parts of Mexico.

Presented by Bruce Mitchell in 2012. View the pdf here.

Crnorečka Rumenka

This dance is from eastern Serbia.
Pronunciation: TSER-noh-rech-ka ROO-mehn-kah
Music:  2/4 meter  Serbian Folk Dance, Vol. 3, Track 9
Formation:  Open circle; belt hold or V-pos.
Styling:  Very small steps, with slight movement up and down throughout dance.

Presented by Miroslav “Bata” Marčetić in 2012. View the pdf here.

Cross-step Waltz Mixer

Like many folk dances, this dance is not about technique or complexity. The intent is connecting to each of your partners completely during the short waltz.

Presented by unknown, in 2011. View pdf here.

Dondokomonde moriagare

“Dondoko” is the onomatopoeic word for drumming, much like the English “ratta-tat-tat” or “rumpa-pa-pum”. “Moriagare” translates roughly as “Let’s have a Party!” This is a modern Japanese dance to modern music. It is done to a children’s song sung by a cartoon-like character who is a taiko drummer.

Presented by Iwao Tamaoki in 2012. View pdf here.

Etchu Ohara

Yatsuo is in the present-day Toyama prefecture (once known as Etchu prefecture) and is the hometown of this particular dance. It is a quiet place surrounded by mountains and water, and is famous for its silk-worm farming. The township goes back as far as 1636. The song was sung by young female workers during the thread-extracting process and was introduced at a Bon festival in July of 1702. This town had a rather a showy culture because, during the season, many of the woman worked at silk factories away from home and earned well. The women also brought back customs not found locally. From 1874 to 1885, the Owara festival was banned because it was considered an affront to good taste and the nights of sleep. In 1922, the Owara-Study Group was formed by people who loved and supported the festival. The group grew into the Toyama Minyoh (folk music) Preservation Society and, with their help, the Owara festival grew to become as big as it is today. During the festival, dancers wear concealing, low-
brimmed straw hats while dancing day and night. Lyrics to the songs then and now are written by famous poets, writers or by average citizens by open invitation. The preservation society tries to keep the original song’s simple but elegant singing style intact and has banned members from participating in any type of singing contests, and singing at other public events as well as by limiting and keeping the musical instruments to the original three.

Presented by Iwao Tamaoki in 2012. View pdf here.

Flor Amorosa

Flor Amorosa is a chorinho or blues song full of Brazilian emotion and wit. The choreographer is
Cristiana Menezes (2003).
Pronunciation:  flohr ah-moh-ROH-sah  Meaning: Flower of Affection
Music:  2/4 meter  Brazilian Soul , Track 5
Formation:  Dancers facing ctr of circle. Hands can remain free and moving freely, or may be joined in V-pos.

Presented by Lucia Cordeiro in 2012. View pdf here.

Góralski

This is a modern dance based on the folklore of the Tatra Mountains of Poland. The Górale (Mountain Folk) of Poland have a unique style and dialect of their own. To this day when traveling through this region, you will find the local people dressed in elements of the traditional costume. The young people continue the traditions and customs of their ancestors by taking their lyrics and melodies and adapting them to modern instruments. While you can find modern adaptions in other part of the country, the Górale ones have a special beat of their own. I usually don’t teach mountain dances in folk camps due to their intricate footwork and the uniqueness of the music, which at times can be quite repetitious and hard to listen to;
however, I believe that this modern version will be a blast of fresh air and will give dancers a taste of this special folklore. Although modern, the styling is still taken from the mountain regions of Poland, where men are proud and stand tall, yet the mountainous terrain often causes them to lean forward so as to keep their balance. They also wear wide heavy leather belts that give them stiff support around their midriff. Women may be used to hard work (indeed!), but they are very light on their feet.

Presented by Richard Schmidt in 2012. View pdf here.

Gujou Odori Harukoma

The "Gujo Odori” festival is one of the three most famous traditional dance festivals in Japan. The town of Gujo-hachiman (Hachiman is a town in the center of Gujo district in Gifu prefecture) is surrounded by mountains and the Yoshida River. There is no other town where folk music is so popular. From early July to early September, there are many folklore events almost every night. Especially at Obon festival (a traditional summer festival in which the Japanese honor their ancestors) from August 13-16, the people dance all night. The sight of more than 20,000 people dancing together in a trancelike state is a real thrill of folklore.
The people of this region have a special love for horses, and the lords encouraged horsemanship and horse trading among its population. The tradition is still alive today. This dance mimics the movement of horses while riding.
http://www.youtube.com/watch?NR=1&feature=endscreen&v=07U3rUadS7Y
http://www.youtube.com/watch?feature=endscreen&NR=1&v=5Yp47zd_NGQ

Presented by Iwao Tamaoki in 2012. View pdf here.

Hora din Giurgiuleşti

Hora din Giurgiuleşti is from the village of Giurgiuleşti in southern Moldova. Hora is a national dance that requires a relatively large group of people to hold hands and form a circle. There can be several circles one inside of the other, all moving in opposite directions. This dance was choreographed by George and Irina Arabagi.

Presented by George & Irina Arabagi in 2012. View pdf here.

Hora pe șase

Pronunciation:  HOH-rah peh SHAH-seh
Music:  Mixed 2/4 meter  Sonia Dion & Cristian Florescu Romanian
Realm, Vol. 6, Track 10
Formation:  Mixed closed circle facing ctr, hands in W-pos. A slight bounce with bent knees
can be done.

Presented by Sonia Dion & Cristian Florescu in 2012. View pdf here.

Hora veche

Pronunciation:  HOH-rah VEH-keh
Music:  4/4 meter  Sonia Dion & Cristian Florescu Romanian
Realm, Vol. 6, Track 9
Formation:  Mixed closed circle, body facing slightly diagonally to the right, hands joined in
W-pos. Joined hands make small, delicate circular motions throughout the dance.
Meas  4/4 meter  Pattern

Presented by Sonia Dion & Cristian Florescu in 2012. View pdf here.

Hutsulka - Гуцулка

Hutsulka is a popular Ukrainian folk dance from southwestern Ukraine. This dance has been a very
common participatory dance in villages in western Ukraine, from at least the 19th century to today. Hutsulka is related to kolomyika-type dances. There are many different variants of hutsulka in many different villages. All of them are typically danced in circles that break down into smaller circles and couples, circling to fast-paced music. The name of the dance refers to a girl form the province (oblast) of Hutsulshina. This dance was choreographed by George and Irina Arabagi.

Presented by George & Irina Arabagi in 2012. View pdf here.

Ijswals

Ijswals was written down by Mrs. A. Sanson-Catz in 1925 as one of the traditional dances of the
Netherlands. The music originally was called “Oude Passepie” and was performed in the theater in Amsterdam from 1696 to 1716. The dance reflects the skating of couples on ice. This dance was originally presented at Stockton Folk Dance Camp in 1984 by Jaap Leegwater. In 1996, Tineke Van Geel also presented the dance to a different version of the music that has a much longer introduction.

Presented by Bruce Mitchell in 2012. View pdf here.

Iyono Matsuyama Tsuzumi Odori

This dance has traditionally been performed at the Matsuyama Summer Festival, one of Shikoku’s largest festivals. “Iyono Matsuyama Tsuzumi Odori” has been deeply influenced by Noh, a formal theater art popular among the residents of Mastuyama. It traditionally was danced with a tsuzumi, a two-headed drum used in Noh. Recently, however, it was musically rearranged in the style of the Cuban dance, the mambo! This reinvention eventually became the Yakyu-ken Odori and Yakyu Samba, both of which are now popular at the Matsuyama Summer Festival in place of the traditional “Iyono Matsuyama Tsuzumi Odori.” [See full map of Japan at the beginning of this
section for location of this island.]

Presented by Iwao Tamaoki in 2012. View pdf here.

Jiffy Line Dance

Dance composed by Jerry and Kathy Helt.
Music:  4/4 meter  Windsor Records 4684 “Jiffy Mixer”
Formation:  Four-wall line dance. No partners. All dancers start facing the same direction in
loose lines.

Presented by Jerry Helt in 2012. View pdf here.

Joc în trei

This dance is from the mountains in Banat, Romania. It consists of two dances:  Brâul and De doi.
Pronunciation:  ZHOHK yoon TREH-EE
Music:  7/16 meter, 2/4 meter  Sonia Dion & Cristian Florescu Romanian Realm Vol. 6, Track 11
Rhythm:  First dance: 7/16 counted 1-2-3 1-2 1-2 or 1-2-3 or SQQ. Second dance: 2/4
Formation:  Scattered threesome sets (two women and one man in small closed circles) facing
center. Hands joined in V-pos.

Presented by Sonia Dion & Cristian Florescu in 2012. View pdf here.

Joc Mare

This dance is a traditional Moldavian dance where the dancers hold hands in a circle. Joc Mare is
popular during wedding celebrations and festivals, and is an essential part of the social entertainment in rural areas. This dance was choreographed by George and Irina Arabagi.

Presented by George & Irina Arabagi in 2012. View pdf here.

Kagoshima Ohara Bushi

The song is called simply “Ohara Bushi” by the locals but “Kagoshima” is added to differentiate it from other Owara songs such as “Etchu Owara Bushi” and “Tsugaru Ohara Bushi.” The origin of the song is “Yassa Bushi,” which was sung by samurais in Yasuhisa on the front lines during battles. In the Taisho Era (1912-26), a Geisha named Ippachi made this song
popular throughout the local Geisha community. Another Geisha, Kiyomi, recorded it around 1933 and it became quite popular all over Japan. At that time, a dance was choreographed for Geisha performance. The origin of the dance is unknown, but we do know it changed from an energetic, morale-boosting, battlefront song to a labor song sung during soil compacting to lay the foundation for buildings. The dance movements, opening hands from partially clenched fist, as well as the subtle kick steps, are mimicking the pulling and releasing of the rope to compact soil, and removing dirt from clothing. As a part of the preservation, this particular version is certified as the city’s official dance by Kagoshima City’s Department of Tourism and folklore division.

Presented by Iwao Tamaoki in 2012. View pdf here.

Ketsueki Gattagata

The word “Ketsueki” translates as “blood” and “Ketsueki Gata” as “blood type.” “Gattagata” means “not coordinated, or not organized.” See notes about the song under Lyrics.
Pronunciation:  keht-soo-eh-kee gah-tah-gah-tah
Music:  4/4 meter  Japanese Music CD, Track 11
Formation:  Individuals in a circle dancing freely, arms bent at the elbow, hands in loose
fists held at waist height.

Presented by Iwao Tamaoki in 2012. View pdf here.

Kievskii Hopak – КиеЬский Гопак

This dance is from the vicinity of Kiev in the central region of Ukraine. Hopak is the most famous and well-known dance form in the Ukrainian culture. This dance was choreographed by George and Irina Arabagi.
Pronunciation:  Kee-EFF-skee hoh-PAHK
Music:  2/4 meter  Ukrainian Dance Workshop, Track 9
Formation:  Couples in a circle facing CCW. M’s L arm supports W’s L arm extended in front. M’s R hand on W’s waist at the R. W’s R hand is on R hip, fingers fwd.

Presented by George & Irina Arabagi in 2012. View pdf here.

Kolomiyka - Коломийка

Kolomiyka is a dance from Western Ukraine, with its origins in the Carpathians. This version of the
dance was choreographed by George and Irina Arabagi.
Pronunciation:  koh-loh-MIGH-kah
Music:  2/4 meter  Ukrainian Dance Workshop, Track 1
Formation:  Mixed circle facing CCW. M’s hands are clasped behind his back. W’s thumbs are
in an imaginary vest.

Presented by George & Irina Arabagi in 2012. View pdf here.

Łysy

From the town of Biłgoraj (beehw-GOH-righ) in the southeastern part of Poland
comes the dance Łysy (WEE-see), which means “bald-headed.” A strange name
indeed, but the name is derived from the lyrics of the song that accompanies the
melody. This dance is also found in the Ukraine under the name “Marysiu.” The
lyrics of the song and the melody have a strong Jewish influence.
Biłgoraj folklore has only recently become popular in the Polish Folk world due to
the passion of one instructor who teaches this region at the “Instructors’ Course”
given in Poland each year to young students from around the world. I learned this
dance in 2010 from one of my students, Matt Malacha, who took the course and
returned with an abundance of notes in hand, full of eagerness to choreograph a
Biłgoraj suite.

Presented by Richard Schmidt in 2012. View pdf here.

 

Malowane Łoze (Żywiec)

In the Beskid mountains, the local folk (Górale) of Żywiec, like all mountain folk throughout the south of Poland, have a style of music and dance unlike other parts of Poland. I choreographed
this dance, which is a compilation of typical steps and movements, to a song recorded by the young singers of the Tatry Folk Dance Ensemble from Oshawa, Ontario, whom I have the
pleasure of teaching. I chose the name “Malowane Łoze” (mah-LOH-vah-neh WHAW-zeh) because of the lyrics, which means “painted bed,” and it seems to fit the youthful voices that are
singing. This is a progressive couple dance.

Presented by Richard Schmidt in 2012. View pdf here.

 

Manastirjanka

This dance is from the Vlach region of eastern Serbia.
Pronunciation:  mah-nah-steer-YAHN-kah
Music:  2/4 meter  Serbian Folk Dance, Vol. 3, Track 1
Formation:  Open circle, belt hold or V-pos.

Presented by Miroslav “Bata” Marčetić in 2012. View pdf here.

Mascaţii

Pronunciation:  MAHS-kah-tsee
Music:  2/4 meter  Sonia Dion & Cristian Florescu Romanian
Realm, Vol. 6, Track 12
Formation:  Individuals in a circle facing CCW; hands are free
Steps & Styling: Flat-footed and heavy.

Presented by Sonia Dion & Cristian Florescu in 2012. View pdf here.

 

 

Niška Rumenka

This is a dance from the city of Niš, southern Serbia. This used to be a women’s dance, with men joining for Fig II, but is now danced by all.
Pronunciation:  NISH-kah roo-MEHN-kah
Music:  2/4 meter  Serbian Folk Dance, Vol. 3, Track 8
Formation:  Open circle, belt hold or V-pos

Presented by Miroslav “Bata” Marčetić in 2012. View pdf here.

Pembe

This dance comes from the city of Vranje and the Vranjsko Polje region in southern Serbia.
Pronunciation:  PEHM-beh
Music:  4/4 meter  Serbian Folk Dance, Vol. 3, Track 3
Formation:  Open circle, hands held at shoulder height, slightly fwd, bent at elbows

Presented by Miroslav “Bata” Marčetić in 2012. View pdf here.

Pembe - Gypsy Variation

This dance comes from the city of Vranje and the Vranjsko Polje region in southern Serbia.
Pronunciation:  PEHM-beh
Music:  4/4 meter  Serbian Folk Dance, Vol. 3, Track 5
Formation:  Open circle of dancers; alternating M and W, M face out and W face in, holding hands at shldr height, arms almost straight, so that they form an inner circle of men and an outer circle of women. Turn body slightly twd LOD. Note: When a woman dances in the man’s position, she should dance the woman’s steps.

Presented by Miroslav “Bata” Marčetić in 2012. View pdf here.

Polomka

This dance comes from eastern Serbia.
Pronunciation: poh-LOHM-kah
Music:  2/4 meter (counted as 1-e-&-a-, 2-e-&-a-)  Serbian Folk Dance, Vol. 3, Track 4
Formation:  Open circle, hands in belt hold, or V-pos.
Styling:  Very small, light steps (not stampy)

Presented by Miroslav "Bata" Marčetić in 2012. View pdf here.

Powitalny Polonez

The Polonez (poh-LOH-nez) is the oldest of Poland’s five national dances. The “Powitalny Polonez” (poh-VEE-tahl-nih), which means Welcoming Polonaise, was composed by the Polish composer Karol Kurpiński in the 1800s. The Polonez itself has no set choreography. However, due to the slower tempo and the ease of the steps and movements, everyone can join.
Often done to signify the opening of a ball or festivity, one couple will lead numerous couples in a walking procession around the floor that will take them through various movements and combinations that are typical for this dance. As a national dance, many forms of the dance can be found in all the regions of Poland. The Powitalny Polonez has been choreographed to make it feel intimate, as couples begin the dance with three other couples in a small circle but soon open up the dance to join and welcome the rest of the dancers in four large circles covering the whole floor, only to end back with their friends in their original circle.

Presented by Richard Schmidt in 2012. View pdf here.

 

Powolniak Kurpiowska Puszcza Zielona

Powolniak is a dance found solely in the Green Kurpie (KOOR-pyeh) region and is by far its most important. The name is derived from the word “wolny” (VOHL-nee) which means “slow” and is quite misleading as this dance is one of the fastest, with quick spinning demanding a lot of energy and control. There are several tunes and, oddly enough, they are composed in either 2/4 or 3/4 meter, with each tune having 2 or 3 different melodies that can have different
meters. Although the steps always remain the same, the dancers have to adapt their speed to the chosen tune. I have chosen a melody in 2/4 meter with 3 distinct melodies; the dance is divided into three parts to match the music (1) a warm-up, (2) a forward momentum, and (3) turning. An interesting note is that the Kurpie region, throughout its history, has been influenced by other cultures, mainly the Dutch and Swedish, and this dance will make many of you think of the Swedish Hambo.

Presented by Richard Schmidt in 2012. View pdf here.

 

Resheto – Решето

This dance is from the Hutsul region of Ukraine and is a typical folk style dance. The dance was
choreographed by George and Irina Arabagi. The title “Reshet” means “sieve.”
Pronunciation:  reh-sheh-TOH
Music:  4/4 meter  Ukrainian Dance Workshop, Track 8
Formation:  Cpls face CCW in a circle, free arms at sides. M and W do same footwork.

Presented by George & Irina Arabagi in 2012. View pdf here.

Sado Okesa

The song and dance “Sado Okesa” are not only popular on Sado Island, but the song is one of the most famous Japanese folk songs among the Japanese and has even been introduced overseas. There are different styles of Okesa Bushi music on the mainland and on Sado, but the best-known bushi (song) is “Sado Okesa,” which can be categorized in three types; “Ogi Okesa,” “Aikawa Okesa” and “Senkoba Okesa,” which is considered the foundation of “Aikawa Okesa” music sung by gold miners of long ago. “Sado Okesa” is based on “Aikawa Okesa” and it is the most beautiful and popular of the three.

Presented  by  Iwao Tamaoki in 2012. view pdf here.

 

Sobótki

On the eve of June 23rd, the shortest night of the year, the Poles celebrate St. John’s Eve, or, as it was known in pagan times “Sobótki.” (The name is derived from the Polish word “Sobota,” meaning Saturday.) Many celebrations included music and dancing, fireworks, boat parades and the lighting of bonfires. In some regions women celebrated the shortest night separately from men. Women threw herbs into the bonfire, hoping it would protect them from evil. Single women made wreaths from herbs and floated them down the river hoping that their future husband would find it and fall in love with them. It was called the “Throwing of Wreaths” (Rzucanie
Wianków). Men jumped through the bonfire to test their strength and courage. Even today, traditional candle-lit wreaths are floated on the Vistula in Krakow during the St. John the Baptist feast, along with fireworks and bonfires to commemorate the holiday. This non-partner dance is done to a “chodzony” (walking) melody, the precursor to the Polonaise.

Presented by Richard Schmidt in 2012. View pdf here.

Soran Bushi

“Soran Bushi” is a one of the best-known Japanese folk songs and it is sung at Nishin (herring) fishing sites when moving the herring from large nets onto small boats with hand-nets. The fishing site moves from town to town and as a result, each town has developed its own dance in relation to it. There are currently about ten variations of “Soran Bushi.” Nowadays, some sites can no longer find even a single herring but despite the poor catch, this song is as popular as it
was in the early days. The name of this song/dance comes from shouting encouragement to each other as well as to express the joy of successful catches.

Presented by Iwao Tamaoki in 2012. View pdf here.

Souma Dozuki Uta

This song was sung as laborers packed soil, leveled ground and laid the foundations for buildings. The “Souma Dozuki Uta” has a beautiful melody which carries a unique intonation as the chorus is
sung in the dialect. “Dozuki” means “hitting the ground to harden it.” The movements in the dance mimic those of the laborers.

Presented by Iwao Tamaoki in 2012. View pdf here.

Stara Djurjevka

This dance comes from central Serbia. The name means “Old Djurdjevka's Dance.”
Pronunciation:  STAH-rah joor-JEHV-kah
Music:  2/4 meter  Serbian Folk Dance, Vol. 3, Track 7
Formation:  Closed or open circle, hands joined in V pos.

Presented by Miroslav “Bata” Marčetić in 2012. View pdf here.

Szot Madziar

Located in the south of Poland on the border with the Czech Republic, the town of
Cieszyn is on the trade route known as the “Amber Road” and has therefore adopted
the traditions of several cultures over the centuries. The dance known as Szot
Madziar is one such dance that has been adopted from Hungarian folklore. The
dance has become more and more popular in the Polish Folk community and has
been included into the repertoire of many performing ensembles.

Presented by Richard Schmidt in 2012. View pdf here.

Tajimi ko-uta

Tajimi is a city located in southern Gifu prefecture, close to the border of Aichi prefecture. It became a city in 1940 and the region has been known for Mino- yaki ceramics since the railway was opened in 1900. This city can be divided into four districts according to the type of ceramic product it produces. The song is about the birthplace of Mino-yaki ceramics. “Tajimi Kouta” is performed by the public each August on the anniversary of the city’s founding or at Bon festivals.

Presented by Iwao Tamaoki in 2012. View pdf here.

Totur

Totur is a folk dance from Vejle in Denmark. The name means “two figures.”
Pronunciation:  toh-TOOR
Music:  2/4 meter  Records: Imperial 1038; Kismet 135; Dancer 1021.
Music: “Singing Games and Folk Dances” p. 43, John C. Campbell, Folk School, Brasstown, S.C.; Special 2012 Camp CD, Track 3
Formation:  Single circle of cpls, W to R of ptr, all facing ctr. Hands are joined at shldr level (W-pos).

Presented by Bruce Mitchell in 2012. View pdf here.

Unagappa Ondo

[Cartoon Mascot of Tajimi City]. The name comes from Una or unagi (“eel”) and gappa or kappa, the name of a mythological creature. It was a long, long time ago, a time of endless sunny days, and the rice fields were close to drying out. Tajimi villagers began playing Taiko drums and prayed for rain day after day, asking for help from the blessed Kappa-sama, whom they knew to be a messenger of the God of Water. Much to their surprise and gratitude, it began to rain hard. The crops were saved, resulting in a good harvest that autumn.

Presented by Iwao Tamaoki in 2012. View pdf here.

Volynska Polka – Волиньська Полька

This dance is from the Volyn region of Ukraine. The region lies in the northwestern
Ukraine between the Podillia region in the west and Polissia in the north. The Volyn
dance traditions have been greatly influenced by the long Polish rule. The hopping
and spinning steps characteristic of these dances are emphasized by the swish of the
women’s skirts and the lower portion of the men’s jackets. This dance was
choreographed by George and Irina Arabagi.

Presented by George & Irina Arabagi in 2012. View pdf here.

Walc Kurpiowska Puszcza Zielona

The basic folk waltz or walc (“vahlts”) as it is known in Polish is a universal dance
done by many the world over at social gatherings and weddings. It is by no means a
ballroom waltz, but it does have its own character. What distinguishes the Kurpie
Waltz from that done in other Polish regions is the lightness and speed of the steps
along with the occasional pivoting with bending of a knee to throw the foot behind
the dancer. The title translates as the Green forest waltz form Kurpie.
Dancers should stay quite erect with shldrs back and arms extended out parallel to
the floor. They should also remain quite close to each to facilitate the quick
rotations. Choreographed by Richard Schmidt.

Presented by Richard Schmidt in 2012. View pdf here.

Xote das Meninas

The singer is Gilberto Gil and this Brazilian rhythm, Xote, has its roots in the Schottish step. The dance, choreographed by Lucia Cordeiro in 2004, is done to an irreverent song about teen girls longing for a boyfriend.

Presented by Lucia Cordeiro in 2012. View pdf here.

Zakarpatskii – Закарпатський

This dance is from Zakarpatia of Ukraine. The region of Zakarpatia (Transcarpathia) covers the present-day Zakarpatska Province. The dances of Zakarpatia are known for their moderate-paced beat. This dance was choreographed by George and Irina Arabagi.

Presented by George & Irina Arabagi in 2012. View pdf here.

Zi măi Văsăli

Pronunciation:  ZEE muh(ee) vuh-SUH-lee
Music:  2/4 meter  Sonia Dion & Cristian Florescu Romanian Realm,
Vol. 6, Track 16
Formation:  Close mixed circle, facing center, hands free.
Steps & Styling: Flat-footed.

Presented by Sonia Dion & Cristian Florescu in 2012. View pdf here.