2013

Ahava Ktzara

Ahava Ktzara was created in 1992 and is one of the first dances choreographed by Gadi Biton. Gadi is one of Israel’s most popular and prolific choreographers, with well over 280 dances created through 2012. The dance was presented by Erica Goldman in 2013. View the pdf here.

Ahava Pshuta

Ahava Pshuta is one of many Israeli dances that feature pivot turns. In Hebrew, this movement is called a lahatz or a press turn because you are pressed close to your partner, and it is found in a large percentage of modern Israeli couple dances. It was choreographed by Roni Siman-Tov in 1983. Presented in 2013 by Erica Goldman. View the pdf here.

Ai Giorgis

This couple dance version of Ai Giorgis is from the Ionian Sea island of Kythira in Greece. There is also a line dance version of Ai Giorgis. Kythira, along with the Ionian islands and some other areas, was never occupied by the Turks and was influenced by Venetians. Ai Giorgis is a dance unique to Kythira. Presented in 2013 by Lilian Vlandi. View the pdf here.

Cirandas

This dance was choreographed by Lucia Cordeiro in 2012 to six folk songs sung by Mariene de Castro (CD “Santo de Casa”). It is a kind of children’s play, done in circles and representative of Brazilian dances danced all over the country. It is also a collective dance performed by people of all ages and can be danced for hours. There are many variations to it, including the basic step, which imitates the waves of the sea, and the stamping of feet in front, which recalls the movements of indigenous native dances.

Presented in 2013 by Lucia Cordeiro. View the pdf here.

Dobbelt Kvadrille

This dance is from Sønderborg in the Sønderjylland region of Denmark.
Pronunciation:  DUHB-behl kvah-DREEL-leh  Translation: Double Quadrille
Music:  2/4 meter  Liflig Sang CD 2, Track #6
Formation:  Ideally a Double Sicilian Circle with two cpls side by side facing two cpls, arranged as spokes on a wheel. If the group is small, make a line of two cpls facing two couples up and down the hall.

Presented by Wolfgang Schlüter in 2013. View pdf here.

Dobro Ljo

This dance is a variation on the popular Pravo Trakijsko Horo. It was learned from Leo Waudman.
Pronunciation:  doh-BROH lee-oh  Translation: Oh, Dobra (woman's name)
Music:  2/4 meter  Yves Moreau Stockton FDC 2013, Track 5
Formation:  Mixed lines. Hands joined down in V-pos or belt hold, L arm over R arm.
Steps & Styling: Knees bent slightly in an “earthy” style.

Presented by Yves Moreau in 2013. View pdf here.

El Bailecito

This is a graceful couple dance with the dancers apart and independent with a swaying movement. Throughout the choreography, the gentleman genteelly expresses his admiration for the woman with smooth and expressive movements of his handkerchief. The final approach and the coronation symbolize his success in wooing her. Because the dance’s name is also a generic word for short dances (Little Dance), there is sometimes confusion. El Gato is called “El Bailecito” in some parts of Argentina. Even so, this particular dance has its own history and specific choreography. It arrived in Argentina via Bolivia, entering in the northwest of the country in the middle of the 18th century. It spread to the provinces of Catamarca, Tucumán, Santiago del Estero, and Córdoba. Its origins are obscure but it is supposed that it is from one of the dances brought by Spain to the New World in the colonial years.

Presented by Pampa Cortés in 2013. View pdf here.

El Chamamé

Chamamé is a baile popular, a social dance, and is not considered to be one of the folkloric dances of Argentina. It is a couple dance with a closed embrace. There is no set choreography. The man improvises according to his taste, both with dance steps and Zapateo (see end of this section of instructions on Zapateos). Chamamé is a fusion of many roots including the indigenous Guaraní, the baroque music of the Jesuit monks who arrived to the area in the 1600s, African rhythms of freed slaves from Brazil and then, in the 1800s, the European immigrants such as the Ukrainians, Italians, Germans, Russians, and Basques who brought their polkas and schottische, and the accordion – the instrument most associated with the genre. Chamamé has its deepest roots in the northeastern part of Argentina called the Litoral, the land close to the rivers (in between Uruguay and Paraná rivers). The town of Yapeyú is considered the birthplace of chamamé music. There the monks and the Guaraní built the largest instrument factory in all of Latin America. The music and dance were disdained by the middle and upper classes as music for country folk. It wasn’t until the 1980s that the music became a vehicle for social commentary and embraced by more of the population.

Presented by Pampa Cortés in 2013. View pdf here.

El Cuando

This beautiful courtly dance was danced in the first half of the 1800s throughout Argentina with the exception of Buenos Aires and el Litoral region. It is a derivation of the Gavotas that the Spanish brought to Argentina in the 18th century. These were French dances composed of two melodies – the Minuet and the other is what became El Gato. The Argentine military hero San Martin possibly first saw it in Mendoza and then took it to Chile on a military campaign along with other dances in 1817. It is a historical dance that is typically only performed in programs celebrating national days. The women wear long ball gowns with mantillas and combs and the men are dressed in tails.

Presented by Pampa Cortés in 2013. View pdf here.

El Gato

This lively creole dance is found throughout Argentina. It is possible that it arrived by the 1820s from Peru via Bolivia or Chile or perhaps both. It was also danced in Uruguay, Paraguay, Chile and Peru, though it is in Argentina that it had the strongest development and diffusion. Originally it was known by different names in various provinces and there are still some places where it is called “Bailecito,” which is now the name of a completely different dance. Suffice it to say that El Gato is what this dance is called in the majority of Argentina. There are several variations, including El Gato Cuyano, Gato Con Relaciones (couplets), Gato Polqueado (polka), Gato Encadenado (enlaced), and Gato Patriótico (danced with two couples and with handkerchiefs). El Gato uses a rhythm that is “ternario” – a measure of three parts (triplets) in 6/8 time, with the bass or drum percussion in 3/4 time.

Presented by Pampa Cortés in 2013. View pdf here.

 

El Remedio

El Remedio is a happy, lively dance of gallantry where the man and woman dance apart until the very end. It is generally danced with handkerchiefs waving overhead and dipping in salute. In the choreo-graphy, the man celebrates the woman and makes her the object of his attention, chasing her through the four corners and turns, showing off for her his best efforts in the Zapateo, hoping to win her admiration. The handkerchief plays a part in this dance and is important in the courtship as the dancers can express through its movements how they feel.

Presented by Pampa Cortés in 2013. View pdf here.

E Vamos à Luta

This samba was choreographed by Lucia Cordeiro in 2010 to music by Gonzaguinha (CD “De Volta ao Começo”). The composer is the son of Luiz Gonzaga, a popular Brazilian composer of the last century. Born in the city of Rio de Janeiro, he wrote some of the best songs in the Brazilian repertoire. This is one of his classics. The title of the song and the dance literally means “We will fight” but might better be translated as “Let’s Go For It!” It honors the Brazilian youth that has faith and works hard, even under difficult conditions. It is a hymn to the Brazilian spirit of joy of living and hope.

Presented by Lucia Cordeiro in 2013. View pdf here.

Festa do Interior

This dance was choreographed by Lucia Cordeiro in 2013. The music was composed by Abel Silva and Moraes Moreira, and this recording features the singing of Gal Costa, considered to be one of the best voices in Brazilian music. The rhythm is frevo, a street dance very popular in the state of Pernambuco, in the northeastern part of Brazil. Frevo means “boiling” in Portuguese and refers to the fast, intricate steps performed by the dancers. The dance has its roots in the Capoeira playing in front of the military band parades in the past. Some people believe this dance form was influenced by Russian dancers in Recife, the capital of Pernambuco, during the past century, as you see in some acrobatic movements. In fact there are more than 100 different steps. It all depends on each dancer’s skill and creative improvisation.

Presented by Lucia Cordeiro in 2013. View pdf here.

Fourlana

This dance is from the Ionian Sea island of Corfu. The dance originated in the Italian city of Firuli.
Islands in the Ionian Sea often have strong Italian cultural influences. Although not strictly necessary in the traditional form, dancers in Corfu today tend to follow a specific choreography. The dance is particularly happy and is a well-loved dance on Corfu.

Presented by Lilian Vlandi in 2013. View pdf here.

Francøs Kontra

This dance is from Stevning in the Sønderjylland region of Denmark.
Pronunciation: frahn-SOOS kahn-trah  Translation: Dance in French style
Music:  2/4 meter  Liflig Sang CD 2, Track #10
Formation:  Any number of couples in a big circle, hands joined in V-pos. All start with left. After the first time through the music, a designated leader (or leaders) calls variations to replace Fig I.

Presented by Wolfgang Schlüter in 2013. View pdf here.

Ikariotikos from Ikaria

Ikaria is an island in the east Aegean Sea. It derives its name from Icarus, the son of Daedalus who, according to Greek mythology, fell into the sea nearby. Τoday, Icaria is considered one of the world's five “Blue Zones” – places where the population regularly lives to an advanced age (one in three make it to their 90s). This is due to healthy diets and lifestyle.

Presented by Lilian Vlandi in 2013. View pdf here.

Ilumina

This dance was choreographed by Lucia Cordeiro in 2013 to a song by Noca da Portela, Tranka and Toninho do Nascimento from Rio de Janeiro, Brazil. The singer is Maria Bethania, a favorite Brazilian artists. The lyrics are a prayer to the Divine Lady.

Presented by Lucia Cordeiro in 2013. View pdf here.

I’m Busted

An easy 4-wall line dance choreographed by Jerry and Kathy Helt.
Music:  2/4 meter  BLUE STAR RECORD, 2219-B or any fun,
jazzy music with a 2/4 rhythm
Formation:  Individuals dancing in lines all facing the same direction. Begin facing the front of the hall.

Presented by Jerry and Kathy Helt in 2013. View pdf here.

Jiffy Mixer

Dance composed by Jerry and Kathy Helt.

Music:     Windsor No.4684, Music by the Pete Lofthouse Band.

Formation:      Cpis in Butterfly pos. M's back twd ctr of hall. Steps are described for the M, W dances opp ftwk.

Presenter not given, presented in 2013. View pdf here.

Kapetan Vojvoda

This is a type of Pravo Horo in ten measures that is danced to a popular folk song about Kapetan
Vojvoda, a man whose real name was Kostadin Nunkov, who fought the Ottoman Turks in the region of Blagoevgrad.
Pronunciation:  kah-peh-TAHN voy-VOH-dah  Translation: the captain, the leader
Music:  2/4 meter  Yves Moreau Stockton FDC 2013, Track 1
Formation:  Mixed lines. Hands in W-pos. Face R of ctr (LOD), wt on L ft.

Presented by Yves Moreau in 2013. View pdf here.

Kavodoritikos

This dance is from the Aegean Sea island of Evia in Greece and is a typical island-style syrtos dance with a couple dance variation included.
Pronunciation:  Kah-voh-doh-REE-tee-kohs  Translation: See the end of this dance description
Music:  2/4 meter  Timeless Sounds, Track 6
Formation:  Open circle, leader on R, front basket, L over R.

Presented by Lilian Vlandi in 2013. View pdf here.

 

Koljovo Horo

This dance is a variation of the popular Râka and Tropanka widespread throughout Dobrudža. This version comes from an area of villages west of Varna.
Pronunciation:  KOH-lyoh-voh hoh-ROH  Translation: Kolyo's (man's name) dance
Music:  2/4 meter  Yves Moreau Stockton FDC 2013, Track 3
Formation:  Mixed lines or open circle; hands joined up in W-pos; wt on L ft, face ctr.

Presented by Yves Moreau in 2013. View pdf here.

Kontra med March

This dance is from Stevning in the Sønderjylland region of Denmark.
Pronunciation:  kahn-trah mehd MAHRCH  Translation: Dance with March
Music:  2/4, 4/4 and 3/8 meter  Liflig Sang CD 1, Track #10
Formation:  4-couple square set; inside hands in W-position.

Presented by Wolfgang Schlüter in 2013. View pdf here.

La Chacarera

This dance is found in all parts of Argentina. It is lively and happy, expressing gallantry and romance. The man and woman dance apart. It is similar to other dances such El Gato, El Escondido and El Remedio, among others. Historically, first mention of it was made in the 1850s.
Chacareras use a rhythm that is “ternario” – a measure of three parts (triplets) in 6/8 time, with the bass or drum percussion in 3/4 time.

Presented by Pampa Cortés in 2013. View pdf here.

Maracá de Lelê

This dance was choreographed by Lucia Cordeiro in 2008 to music by Edgar Morais (CD “Naçao Canta Pernambuco”). The rhythm and the song are referred to as maracatu and it belongs to the Carnival parade in the northeastern part of Brazil. The roots of the maracatu are the processions of African royalty brought to Brazil as slaves. It’s like a street opera, with many figures and characters. Above all, the Queen of Maracatu, who reigns and leads all the parade, moves with her dance.

Presented by Lucia Cordeiro in 2013. View pdf here.

 

Momino Horo

This is an arrangement by Yves Moreau based on traditional Vlach women’s dance steps from the
region of Lom on the Danube in Northwest Bulgaria.
Pronunciation:  moh-MEE-noh hoh-ROH  Translation: Young women's dance
Music:  2/4 meter  Yves Moreau Stockton FDC 2013, Track 4
Formation:  Line or open circle with hands joined in W-pos. Face R of ctr, wt on L.

Presented by Yves Moreau in 2013. View pdf here.

Morena do Mar

This dance was choreographed by Lucia Cordeiro in 2007 to music by Dorival Caymmi (Bahia). The singer is Edil Pacheco. This is one of the classical pieces of “beach music” from Dorival Caymmi, a great Brazilian composer from the last century. It's a love song. This Afro-Brazilian rhythm is called afoxe and has a smooth, gentle beat that reproduces the ocean tides. The words refer to a man’s passion for a brunette. All the gifts he brings her are attributes of Yemanja, goddess of the sea.

Presented by Lucia Cordeiro in 2013. View pdf here.

Nar

This is a choreography by Ziva Emtiyaz that takes dance moves from the Sa’idi people and Raqs al Sharqui. Translation of the title: “Fire.”
Pronunciation:  NAHR
Music:  4/4 meter  Dance with Ziva Emtiyaz 2013 Middle Eastern Music Mix, Track 2
Formation:  Individuals

Presented by Ziva Emtiyaz in 2013. View pdf here.

Nikendre

This dance is a men’s dance from the Aegean Sea island of Amorgos. This island was featured in two popular films, The Big Blue (1988) and Ariadni (2002).
Pronunciation:  nee-kehn-DREH
Music:  2/4 meter  Timeless Sounds, Track 5
Formation:  Lines of dancers in T-pos.

Presented by Lilian Vlandi in 2013. View pdf here.

Oj Dimitro Le

This is a dance from Northwest Bulgaria that Yves learned from Belčo Stanev.
Pronunciation:  oy dee-MEE-troh leh  Translation: Oh, Dimitra (woman’s name)
Music:  2/4 meter  Yves Moreau Stockton FDC 2013, Track 2
Formation:  Mixed lines. Hands joined down in V-pos. Face ctr, wt on L ft.
Steps & Styling: Light and happy.

Presented by Yves Moreau in 2013. View pdf here.

Paerevals

This dance is from Rødding in the Sønderjylland region of Denmark.
Pronunciation:  PEH-reh-vahls  Translation: Pear Waltz
Music:  6/8 meter  Liflig Sang CD 1, Track #8
Formation:  3 or 6 couples forming a circle, or large circle mixer. Start with the left foot.
Steps & Styling: Walking steps; pivot turn.

Presented by Wolfgang Schlüter in 2013. View pdf here.

Perniška Kopanica

This dance is composed of two variations on the widespread Kopanica danced throughout the Šopluk region. It comes from the area near Pernik, southwest of Sofia, and it was learned from Ilija Rizov.
Pronunciation:  PEHR-neesh-kah KOH-pah-nee-tsah  Translation: Kopanica from the region of Pernik
Music:  11/8 meter. 1-2, 1-2, 1-2-3, 1-2, 1-2 or Q-Q-S-Q-Q, counted as 1-2-3-4-5 Yves Moreau Stockton FDC 2013, Track 6
Formation:  Mixed short lines. Hands joined down in V-pos or belt hold, L arm over R arm. Face
slightly R of ctr.

Presented by Yves Moreau in 2013. View pdf here.

Plataniotiko Nero

This dance is from the Aegean island of Samos and is typical of the island Syrto or Ballos style dance. The island of Samos produces very good wine, olives, and oil. Pythagoras, the famous mathematician, was from Samos.
Pronunciation:  plah-tah-nee-OH-tee-koh neh-ROH Translation: Water from Platanos Village
Music:2/4 meter (Slow-Quick-Quick)  Timeless Sounds, Track 4
Formation:  Open circle with leader on R, arms in a W-pos.

Presented by Lilian Vlandi in 2013. View pdf here.

Polsk Firtur

This dance is from Skærbæk in the Sønderjylland region of Denmark.
Pronunciation:  POHLSK FEER-toor  Translation: Polish-style four-figure dance
Music:  2/4 meter  Liflig Sang CD 1, Track #7
Formation:  2 couples in open handhold on the circle, one couple faces CW, the other CCW.
Start with the left foot.
 

Presented by Wolfgang Schlüter  in 2013. View pdf here.

Rancheira de Carreirinha

This is a traditional folk dance from Rio Grande do Sul, a southern state of Brazil. The music is from Barbosa Lessa’s CD “Danças Folcloricas Gauchas.” The dance shows Spanish influences from the border countries of Argentina and Uruguay and from the Polish mazurka brought by immigrants to Brazil. It is similar to a waltz, with the stress on the first beat. The lyrics are an invitation made by the gaucho to his gauchinha (lady) to dance the Rancheira in this specific way.

Presented by Lucia Cordeiro in 2013. View pdf here.

Rubjerg Firtur

This dance is from Rubjerg in the Sønderjylland region of Denmark.
Pronunciation:  ROO-byehrg FEER-toor  Translation: Four-figure dance from Rubjerg
Music:  2/4 meter  Liflig Sang CD 1, Track #6
Formation:  2 couples in open handhold facing each other on the circle line. One couple faces CW, the other CCW. All start with left foot.

Presented by Wolfgang Schlüter in 2013. View pdf here.

 

Shar

Shar was choreographed by Dudu Barzilai (see photo) in 2012. Video of the choreographer dancing this dance can be found at http://www.youtube.com/watch?v=Cov90idYllo
Pronunciation:  SHAHR  Translation: Sings
Music:  4/4 meter  Erica Goldman: Israel Dances, Track 11
Formation:  Individuals dancing generally in a circle.
Steps & Styling:  Yemenite: Step R to R (ct 1); step L to L and slightly bkwd (ct &); step R in
front of L (ct 2). Can be done with opp ftwk and direction.

Presented by Erica Goldman in 2013. View pdf here.

Shav El Admati

This dance was choreographed in 1981 by Gabi Moti and has recently experienced a recent revival when the song was re-recorded.
Pronunciation:  SHAHV ehl ahd-mah-TEE  Translation: Returning to my land
Music:  4/4 meter  Erica Goldman: Israel Dances, Track 13 and 14
Formation:  Hands joined in V-pos, moving generally CCW around the circle. This is a left-footed
dance, in that all the patterns begin with the left foot.

Presented by Erica Goldman in 2013. View pdf here.

Sheyavo

This dance is a waltz choreographed by Avner Naim (see photo) in 2010.
Avner has been choreographing dances for the Israeli dance community since
the early 1990s.
Pronunciation:  sheh-yah-VOH  Translation: Let it come
Music:  3/4 meter  Erica Goldman: Israel Dances. Track 1
Formation:  Couples begin facing each other, with M’s back to ctr. Hands are joined (W’s R in
M’s L, W’s L in M’s R) and down. W and M use opp ftwk throughout this dance.

Presented by Erica Goldman in 2013. View pdf here.

Syrtos Mykonos

This dance is from the Aegean sea island of Mykonos.
Pronunciation:  seer-TOHS mee-KOH-noo  Translation: Syrtos from Mykonos
Music: 2/4 meter  Timeless Sounds, Track 10
Formation:  Open circle, hands in W-pos.

Presented by Lilian Vlandi in 2013. View pdf here.

Syrtos Samothrakis

This dance is from the north Aegean sea island of Samothrakis.
Pronunciation:  seer-TOHS sah-moh-THRAH-kees  Translation: Syrtos from Samothrace
Music:
2/4 meter (Slow-Quick-Quick)  Timeless Sounds, Track 1
Formation:  Open circle, hands in W-pos, alternating W and M along the line of dancers.

Presented by Lilian Vlandi in 2013. View pdf here.

Tirkedi

This dance was created in 2000 by Gadi Biton. More information about Gadi is in the introductory
material for the dance Ahava Ktzara (page 40).
Pronunciation:  teer-keh-DEE  Translation: You (female) shall dance
Music:  4/4 meter  Erica Goldman: Israel Dances, Track 12
Formation:  Circle of dancers, hands remain free at sides. The dance moves generally CCW around the circle of dancers.

Presented by Erica Goldman in 2013. View pdf here.

Trite Pâti from Sliven

Trite Pâti is a very popular type of dance in Eastern Thrace and Strandža regions. The variations
described here are popular ones from the region of Sliven.
Pronunciation:  TREE-teh puht-ee from SLEEH-vehn
Music:  2/4 meter  Yves Moreau Stockton FDC 2013, Track 9
Formation:  Short lines. Hands in W-pos. Face LOD, wt on L. Face slightly R of ctr. Steps & Styling: Earthy feeling. Proud. Sharp movements.

Presented by Yves Moreau in 2013. View pdf here.

Tsirigotikos

These two dances represent first the original slow traditional syrtos and secondly an updated version which is a jumpy syrtos. The Island of Kythira is also known as Tsirigo, which gives this dance its name.
Pronunciation:  tsee-ree-GOH-tee-kohs
Music:  4/4 meter  Timeless Sounds, Track 7 and 8
Formation:  Open circle of dancers in T-pos.

Presented by Lilian Vlandi in 2013. View pdf here.

Tylette Polka

This dance is from Stevning in the Sønderjylland region of Denmark.
Pronunciation:  too-LEHT POHL-kah  Translation: Toilette Polka
Music:  2/4 meter  Liflig Sang CD 1, Track # 4
Formation:  Any number of couples facing each other without handhold on the circle, man facing
out, woman facing in.

Presented by Wolfgang Schlüter in 2013. View pdf here.

Varnenski Kjuček

This dance is from the region of Varna on the Black Sea coast. It is known under various names:
Varnensko Horo, Gagaužko, Varnenski Tanc etc. This version is typical of the variations among the
Gagauzi (Christian Turks) and shows a strong Turkish influence as well as general characteristics of Black Sea dance forms. The finger snapping represents wooden spoons.

Presented by Yves Moreau in 2013. View pdf here.

Večeraj Sino

This is a dance from the Pomak (Moslem) villages of the Western Rhodopes related to the Širto form.
Pronunciation: veh-CHEH-righ SEE-noh  Translation: Eat dinner, my son (Name of accompanying folk song)
Music:  3/4 meter  Yves Moreau Stockton FDC 2013, Track 8
Formation:  Mixed lines. Hands joined down in W-pos. Face slightly R of ctr.

Presented by Yves Moreau in 2013. View pdf here.

Vlacha Naxou from Kinidaros

This dance is from the biggest island of the Cyclades, Naxos. This is usually danced on Halloween.
Pronunciation:  VLAH-xah nah-XOO….Kee-NEE-dah-rohs
Music:  2/4 meter  Timeless Sounds, Track 12
Formation:  Open circle; hands in T-pos (shoulder hold).

Presented by Lilian Vlandi in 2013. View pdf here.

Vlasinka

This dance is from southeastern Serbia.
Pronunciation:
Music:  2/4 meter  Serbian Folk Dance, Vol. 3, Track 2
Formation:  Open circle, belt hold or V-pos.
Styling:  Light, flat footed, with knee flexes on each step.

Presented by Miroslav “Bata” Marčetić in 2013. View pdf here.

Você Endoideceu meu Coração

This dance was choreographed by Lucia Cordeiro in 2013. This is a forró, a very well-known type of music and a dance form that is popular all over Brazil. The steps are many. They can be sensuous and teasing, depending on the couple’s creativity. The music is by Nando Cordel, the singer is Fagner, and the title means “You made my heart go crazy.” The lyrics say: “You are like the spring water – clean, fresh, and tasty. Everybody wants to drink it.”

Presented by Lucia Cordeiro in 2013. View pdf here.

Ya Alam

This is a choreography by Ziva Emtiyaz that takes dance moves from the Sa’idi people and Raqs al Sharqui.
Pronunciation:  YAH ah-LAHM
Music:  4/4 meter  Dance with Ziva Emtiyaz 2013 Middle Eastern Music Mix, Track 2.
Formation:  Individuals

Presented by Ziva Emtiyaz in 2013. View pdf here.