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KENTUCKY DANCE INSTITUTE

MURRAY STATE UNIVERSITY

MURRAY, KENTUCKY

2012

Directors:

“Stew” and Kathie Shacklette

Troy & Dawn Schwartz

Steve & Jody Trautwein

Kentucky Dance Institute

Murray State University

Murray, Kentucky

Welcome to the 60th

annual Kentucky Dance Institute. While every year is different,

one thing stays consistent: Here you will find the friendliest people. KDI provides an

opportunity to meet old friends and make new acquaintances. Many traditions have

grown since Frank Kaltman founded KDI at Lee’s Jr. College at Jackson, Kentucky in

1953. First came the “Knob Tigers”, then came Knob Tiger Night, Flying Tigers, The

Ed Moody Scholarship fund, “Scrunch”, “Yahooo” and who knows what this year will

bring.

Our Staff is one of the finest available. Our goal is to provide you with an educational,

as well as enjoyable week of dancing. We know there is always room for improvement

and we do welcome constructive suggestions that would benefit the majority of the

participants. The Staff is always ready to assist you at any time, just ask.

We are looking forward to a GREAT week.

Have a wonderful week.

The Staff

Directors:

“Stew” and Kathie Shacklette

Troy & Dawn Schwartz

Steve & Jody Trautwein

Instructors:

George Fogg

Vicky Goodloe

Charlie Wheatley

Ed Austin

Brianna Lucas

Table of Contents

Kentucky Dance Institute 2012 Pg 3

Basic Fundamentals of Folk Dancing .............................................................................................................................9 Caller’s Workshop ......................................................................................................................................................... 18 Traditional KDI Dances ................................................................................................................................................ 27

The Chicken Dance ................................................................................................................................................... 27 Honeymoon Polka..................................................................................................................................................... 27 Knob Tiger (Jessie) Polka ........................................................................................................................................ 28 Jiffy Mixer ................................................................................................................................................................ 28 Mona’s Trip .............................................................................................................................................................. 29 Biserka ...................................................................................................................................................................... 30 Wandering Waltz Contra ......................................................................................................................................... 30 Salty Dog Rag ............................................................................................................................................................ 31 The Market Lass ........................................................................................................................................................ 31 Levi Jackson Rag ...................................................................................................................................................... 32 Ceresna ..................................................................................................................................................................... 33 Kentucky Running Set ............................................................................................................................................. 34

George Fogg .................................................................................................................................................................. 40 Auretti’s Dutch Skipper ........................................................................................................................................... 40 Christina .................................................................................................................................................................... 41 Draper’s Gardens ..................................................................................................................................................... 42 The Dressed Ship ..................................................................................................................................................... 43 Farewell Marian ....................................................................................................................................................... 44 Foula Reel ..................................................................................................................................................................45 Freeford Gardens ..................................................................................................................................................... 46 Handel with Care ...................................................................................................................................................... 47 The Hole in the Wall ................................................................................................................................................ 48 I Care Not for These Ladies ..................................................................................................................................... 49 Jacob Hall’s Jig ........................................................................................................................................................ 50 Lovely Nancy ............................................................................................................................................................. 51 Nottingham Swing, or ...............................................................................................................................................52 Philibelula All the Way .............................................................................................................................................52 The Physical Snob ..................................................................................................................................................... 53 The Ragg ....................................................................................................................................................................54 The Royal Albert ....................................................................................................................................................... 55 The Spaniard .............................................................................................................................................................56 Walpole Cottage ........................................................................................................................................................ 57 Yellow Stockings ...................................................................................................................................................... 58

Brianna Lucas ................................................................................................................................................................59 The Shim Sham .........................................................................................................................................................59 Swing Moves.............................................................................................................................................................. 61

Ed Austin ...................................................................................................................................................................... 64 Cūkas Driķos ............................................................................................................................................................ 64 Cumberland Square ..................................................................................................................................................65 Ffaniglen ................................................................................................................................................................... 66 Hora Medura ............................................................................................................................................................ 68 Jurelul ....................................................................................................................................................................... 69 Krivatvorena ............................................................................................................................................................. 70 Ljiljino Kolo ............................................................................................................................................................... 71 Robin Ddiog .............................................................................................................................................................. 72 Koza ........................................................................................................................................................................... 73 Margotsvals ............................................................................................................................................................... 74 t’Smidje ...................................................................................................................................................................... 75

Vicky Goodloe ................................................................................................................................................................ 76 Guide to Interpretation of Briefs for Scottish Country Dances .............................................................................. 76 Boston Two Step ....................................................................................................................................................... 77 Boots and Ghillies ..................................................................................................................................................... 77 Canadian Barn Dance .............................................................................................................................................. 78 Catching Fireflies ..................................................................................................................................................... 78 Cramond Bridge ........................................................................................................................................................ 79

Pg 4 Kentucky Dance Institute 2012

Eva Three Step .......................................................................................................................................................... 79 Ferla Mor .................................................................................................................................................................. 80 The Ferryboat ........................................................................................................................................................... 80 Happy Trails ............................................................................................................................................................. 80 Janet’s Delight ........................................................................................................................................................... 81 Let’s Have a Ceilidh .................................................................................................................................................. 81 Nimbus 2002 ........................................................................................................................................................... 82 Nineteenth of December .......................................................................................................................................... 83 Palais Glyde (or Glide) ............................................................................................................................................. 83 The Piper and the Penguin ...................................................................................................................................... 84 Progressive Gay Gordons ........................................................................................................................................ 84 Round Reel of Eight ................................................................................................................................................. 85 Sandy O’er The Lea .................................................................................................................................................. 85 Seann Truibhas Willichan ....................................................................................................................................... 86 Trip to Bavaria ......................................................................................................................................................... 86

Charlie Wheatley .......................................................................................................................................................... 87 Tea Cup Chain .......................................................................................................................................................... 87 Load the Boat ........................................................................................................................................................... 87

Jody Trautwein ............................................................................................................................................................. 88 The Bear Went Over The Mountain ........................................................................................................................ 88 Scratch ...................................................................................................................................................................... 89 Bluebird .................................................................................................................................................................... 90 Pop Goes the Weasel ................................................................................................................................................. 91 Bridge of Avignon .................................................................................................................................................... 92 The Bunny Hop ........................................................................................................................................................ 93 Hokey Pokey ............................................................................................................................................................. 93 Never on Sunday ...................................................................................................................................................... 94 Tennessee Wig Walk ................................................................................................................................................ 94 Gustav’s Skol .............................................................................................................................................................95 Paw Paw Patch ......................................................................................................................................................... 96 Alabama Gal .............................................................................................................................................................. 97 Goin’ Down to Cairo (Kay-ro) ................................................................................................................................. 98 Fireman’s Dance ...................................................................................................................................................... 99 La Raspa ................................................................................................................................................................. 100 Children’s Polka ...................................................................................................................................................... 101 Lottie Walked .......................................................................................................................................................... 102 Amos Moses ............................................................................................................................................................ 103 Patty Cake Polka ..................................................................................................................................................... 103 Cotton-Eyed Joe ...................................................................................................................................................... 104 Popcorn ................................................................................................................................................................... 105 Likrat Shabat For Children..................................................................................................................................... 106

Roland Forbes .............................................................................................................................................................. 107 Stella Di Maggio ...................................................................................................................................................... 107 Korcsardas .............................................................................................................................................................. 108 Two by Four ............................................................................................................................................................ 109 Ciganko .................................................................................................................................................................... 110 Hiatamadl Im Kreis ................................................................................................................................................. 111 Hora Ca La Caval ..................................................................................................................................................... 111

KDI Daily Schedule ..................................................................................................................................................... 112 Post Camp Errata ........................................................................................................................................................ 119

Index


Alabama Gal .................................................................................................................................................................. 98 Amos Moses ................................................................................................................................................................. 104 Auretti’s Dutch Skipper ................................................................................................................................................. 41 Basic Fundamentals of Folk Dancing ........................................................................................................................... 10 Biserka............................................................................................................................................................................ 31 Bluebird.......................................................................................................................................................................... 91 Boots and Ghillies ......................................................................................................................................................... 78 Boston Two Step ........................................................................................................................................................... 78 Bridge of Avignon ......................................................................................................................................................... 93 Caller’s Workshop ......................................................................................................................................................... 19 Canadian Barn Dance .................................................................................................................................................... 79 Catching Fireflies ........................................................................................................................................................... 79 Ceresna .......................................................................................................................................................................... 34 Children’s Polka ........................................................................................................................................................... 102 Christina ........................................................................................................................................................................ 42 Ciganko ......................................................................................................................................................................... 111 Cotton-Eyed Joe .......................................................................................................................................................... 105 Cramond Bridge ........................................................................................................................................................... 80 Cūkas Driķos ..................................................................................................................................................................65 Cumberland Square ...................................................................................................................................................... 66 Draper’s Gardens .......................................................................................................................................................... 43 Eva Three Step .............................................................................................................................................................. 80 Farewell Marian .............................................................................................................................................................45 Ferla Mor ....................................................................................................................................................................... 81 Ffaniglen ........................................................................................................................................................................ 67 Fireman’s Dance ......................................................................................................................................................... 100 Foula Reel ..................................................................................................................................................................... 46 Freeford Gardens ........................................................................................................................................................... 47 Goin’ Down to Cairo (Kay-ro) ...................................................................................................................................... 99 Guide to Interpretation of Briefs for Scottish Country Dances ................................................................................... 77 Gustav’s Skol ................................................................................................................................................................. 96 Handel with Care .......................................................................................................................................................... 48 Happy Trails .................................................................................................................................................................. 81 Hiatamadl Im Kreis ..................................................................................................................................................... 112 Hokey Pokey ................................................................................................................................................................. 94 Honeymoon Polka ........................................................................................................................................................ 28 Hora Ca La Caval ......................................................................................................................................................... 112 Hora Medura ................................................................................................................................................................ 69 I Care Not for These Ladies ......................................................................................................................................... 50 Jacob Hall’s Jig .............................................................................................................................................................. 51 Janet’s Delight .............................................................................................................................................................. 82 Jiffy Mixer ..................................................................................................................................................................... 29 Jurelul ........................................................................................................................................................................... 70 KDI Daily Schedule ..................................................................................................................................................... 113 Kentucky Running Set ................................................................................................................................................... 35 Knob Tiger (Jessie) Polka ............................................................................................................................................ 29 Korcsardas ................................................................................................................................................................... 109 Koza ................................................................................................................................................................................ 74 Krivatvorena .................................................................................................................................................................. 71 La Raspa ....................................................................................................................................................................... 101 Let’s Have a Ceilidh ...................................................................................................................................................... 82 Levi Jackson Rag .......................................................................................................................................................... 33 Likrat Shabat For Children ......................................................................................................................................... 107 Ljiljino Kolo ................................................................................................................................................................... 72 Load the Boat ................................................................................................................................................................ 88 Lottie Walked ............................................................................................................................................................... 103 Lovely Nancy..................................................................................................................................................................52


Margotsvals .................................................................................................................................................................... 75 Mona’s Trip ................................................................................................................................................................... 30 Never on Sunday ...........................................................................................................................................................95 Nimbus 2002 ................................................................................................................................................................ 83 Nineteenth of December .............................................................................................................................................. 84 Nottingham Swing ......................................................................................................................................................... 53 Palais Glyde .................................................................................................................................................................. 84 Patty Cake Polka .......................................................................................................................................................... 104 Paw Paw Patch ............................................................................................................................................................... 97 Philibelula All the Way .................................................................................................................................................. 53 Pop Goes the Weasel .................................................................................................................................................... 92 Popcorn ........................................................................................................................................................................ 106 Progressive Gay Gordons ............................................................................................................................................. 85 Robin Ddiog ................................................................................................................................................................... 73 Round Reel of Eight ..................................................................................................................................................... 86 Salty Dog Rag ................................................................................................................................................................ 32 Sandy O’er The Lea ....................................................................................................................................................... 86 Scratch........................................................................................................................................................................... 90 Seann Truibhas Willichan ............................................................................................................................................ 87 Stella Di Maggio.......................................................................................................................................................... 108 Swing Moves ................................................................................................................................................................. 62 t’Smidje .......................................................................................................................................................................... 76 Tea Cup Chain .............................................................................................................................................................. 88 Tennessee Wig Walk .....................................................................................................................................................95 The Bear Went Over The Mountain ............................................................................................................................ 89 The Bunny Hop ............................................................................................................................................................. 94 The Chicken Dance ....................................................................................................................................................... 28 The Dressed Ship .......................................................................................................................................................... 44 The Ferryboat ................................................................................................................................................................ 81 The Hole in the Wall..................................................................................................................................................... 49 The Market Lass ........................................................................................................................................................... 32 The Physical Snob .........................................................................................................................................................54 The Piper and the Penguin ........................................................................................................................................... 85 The Ragg ........................................................................................................................................................................ 55 The Royal Albert ............................................................................................................................................................56 The Shim Sham............................................................................................................................................................. 60 The Spaniard .................................................................................................................................................................. 57 Trip to Bavaria .............................................................................................................................................................. 87 Two by Four ................................................................................................................................................................. 110 Walpole Cottage ............................................................................................................................................................ 58 Wandering Waltz Contra .............................................................................................................................................. 31 Yellow Stockings ............................................................................................................................................................59

Country Reference


American Alabama Gal ..................................................................................................................................................................................... 96 Amos Moses .................................................................................................................................................................................... 102 Bluebird............................................................................................................................................................................................ 89 Cotton-Eyed Joe ............................................................................................................................................................................. 103 Fireman’s Dance .............................................................................................................................................................................. 98 Goin’ Down to Cairo (Kay-ro) .......................................................................................................................................................... 97 Hokey Pokey .................................................................................................................................................................................... 92 Honeymoon Polka ............................................................................................................................................................................ 27 Jiffy Mixer ........................................................................................................................................................................................ 28 Kentucky Running Set ..................................................................................................................................................................... 34 Knob Tiger (Jessie) Polka ................................................................................................................................................................ 28 Load the Boat ................................................................................................................................................................................... 86 Mona’s Trip ...................................................................................................................................................................................... 29 Patty Cake Polka ............................................................................................................................................................................. 102 Paw Paw Patch .................................................................................................................................................................................. 95 Pop Goes the Weasel ....................................................................................................................................................................... 90 Popcorn ........................................................................................................................................................................................... 104 Salty Dog Rag .................................................................................................................................................................................... 31 Scratch.............................................................................................................................................................................................. 88 Swing Moves ..................................................................................................................................................................................... 61 Tea Cup Chain .................................................................................................................................................................................. 86 Tennessee Wig Walk ........................................................................................................................................................................ 93 The Bear Went Over The Mountain ................................................................................................................................................. 87 The Bunny Hop ................................................................................................................................................................................ 92 The Chicken Dance ........................................................................................................................................................................... 27 The Market Lass ............................................................................................................................................................................... 31 The Shim Sham ................................................................................................................................................................................. 59 Two by Four ....................................................................................................................................................................................108

Danish Lottie Walked .................................................................................................................................................................................. 101 English Auretti’s Dutch Skipper .................................................................................................................................................................... 41 Christina ........................................................................................................................................................................................... 42 Cumberland Square ......................................................................................................................................................................... 66 Draper’s Gardens ............................................................................................................................................................................. 43 Farewell Marian ................................................................................................................................................................................ 45 Foula Reel ........................................................................................................................................................................................ 46 Freeford Gardens .............................................................................................................................................................................. 47 Handel with Care ............................................................................................................................................................................. 48 I Care Not for These Ladies ............................................................................................................................................................. 50 Jacob Hall’s Jig ................................................................................................................................................................................. 51 Levi Jackson Rag ..............................................................................................................................................................................33 Lovely Nancy ..................................................................................................................................................................................... 52 Nottingham Swing ............................................................................................................................................................................ 53 Philibelula All the Way ..................................................................................................................................................................... 53 The Dressed Ship ............................................................................................................................................................................. 44 The Hole in the Wall ........................................................................................................................................................................ 49 The Physical Snob ............................................................................................................................................................................. 54 The Ragg ........................................................................................................................................................................................... 55 The Royal Albert ............................................................................................................................................................................... 56 The Spaniard ..................................................................................................................................................................................... 57 Walpole Cottage ............................................................................................................................................................................... 58 Wandering Waltz Contra .................................................................................................................................................................. 31 Yellow Stockings ............................................................................................................................................................................... 59

French Bridge of Avignon ............................................................................................................................................................................. 91


German Children’s Polka .............................................................................................................................................................................. 101

Greek Never on Sunday .............................................................................................................................................................................. 94

Israeli Hora Medura ................................................................................................................................................................................... 69 Likrat Shabat For Children ............................................................................................................................................................ 106

Romainian Hora Ca La Caval ............................................................................................................................................................................. 111 Jurelul .............................................................................................................................................................................................. 70

Serbian Biserka............................................................................................................................................................................................... 31 Krivatvorena ..................................................................................................................................................................................... 71 Ljiljino Kolo ...................................................................................................................................................................................... 72

Scottish Boots and Ghillies ............................................................................................................................................................................. 77 Boston Two Step ............................................................................................................................................................................... 77 Canadian Barn Dance ....................................................................................................................................................................... 78 Catching Fireflies .............................................................................................................................................................................. 78 Cramond Bridge................................................................................................................................................................................ 79 Eva Three Step .................................................................................................................................................................................. 79 Ferla Mor ......................................................................................................................................................................................... 80 Happy Trails .................................................................................................................................................................................... 80 Janet’s Delight .................................................................................................................................................................................. 81 Let’s Have a Ceilidh .......................................................................................................................................................................... 81 Nimbus 2002 ................................................................................................................................................................................... 82 Nineteenth of December ................................................................................................................................................................. 83 Palais Glyde ...................................................................................................................................................................................... 83 Progressive Gay Gordons ................................................................................................................................................................ 84 Round Reel of Eight......................................................................................................................................................................... 85 Sandy O’er The Lea .......................................................................................................................................................................... 85 Seann Truibhas Willichan ............................................................................................................................................................... 86 The Ferryboat .................................................................................................................................................................................. 80 The Piper and the Penguin .............................................................................................................................................................. 84 Trip to Bavaria ................................................................................................................................................................................. 86

Spanish La Raspa ......................................................................................................................................................................................... 100

Swedish Gustav’s Skol ..................................................................................................................................................................................... 95 Stella Di Maggio .............................................................................................................................................................................. 107

Ukrainian Koza ................................................................................................................................................................................................... 74

Welsh Ffaniglen ........................................................................................................................................................................................... 67 Robin Ddiog ...................................................................................................................................................................................... 73

Other (See Dance Reference) Ceresna ............................................................................................................................................................................................. 34 Ciganko ........................................................................................................................................................................................... 110 Cūkas Driķos ..................................................................................................................................................................................... 65 Hiatamadl Im Kreis ......................................................................................................................................................................... 111 Korcsardas ......................................................................................................................................................................................108 Margotsvals ....................................................................................................................................................................................... 75


Basic Fundamentals of Folk Dancing

In the small amount of time available for the presentation of fundamentals at the Institute it is

impossible to cover all the basic fundamentals of folk dancing without giving each fundamental such a

superficial treatment that no benefits could be realized. Consequently, only those fundamentals

common to nearly all categories of folk dancing will be considered in the sessions of these knowledge

domains and skills. Additional terms, steps, figures, positions, etc., peculiar to a specific phase of folk

dancing will be covered in the sessions concerning those phases.

The Joining of Hands

When hands are joined, it is done for a purpose; to gain support, to lead another dancer or group of

dancers, to assist in moving, or in achieving concerted action. If joining hands cannot help in some

manner, or if dancers do not take advantage of the assistance that can be realized from joining hands,

there is little object in such joining.

When dancers join hands in a circle, men will offer their hand, palm-up, to the lady on either side while

ladies accept the men’s hands with a palm-down position. If two or more of the same sex are joining

hands in a circle, the general rule is for the right hand to be palm-up, and the left hand to be palm-

down. In either case, the joined hands are held at shoulder height of the shorter dancer or slightly

lower, with the elbows bent and pointing down.

When a man and a woman join inside hands, they join the hands on the side of the body nearer their

partner (generally the man’s right and the lady’s left), man’s palm up and lady’s palm down. When

two people face their partner and join both hands, right to left and left to right, the man again offers

His hands palm-up. When two people join right hands, and/or left hands, the hands are clasped as in

shaking hands, palms vertical and thumbs uppermost.

Regardless of the position of the hands, it is better to maintain contact by conformation of the hand

rather than through pressure. By this, it is meant that the fingers should be curled to form “hooks” and

these hooks then fastened, one around the other, to maintain the connection, rather than that the thumb

and fingers squeeze the adjoining dancer’s hand in order not to have the hand slip apart.

Means of locomotion There are two general means of moving. One way is to move a foot out from under the body, put it

down, and then drag the body along behind it until the weight of the body is supported on that foot.

This method is referred to as “leg dancing,” and is the normal procedure used in marching or walking.

A second way of progressing from one placed to another is to let the body lean slight in the desired

direction of movement, keeping the feet under the body, permitting gravity to pull the body forward.

The legs and feet then move to support the body and prevent it from falling over. This second was of

moving, together with a slight spring in the ankles, gives the lift and fall of dancing steps, and not only

appeals to the aesthetic sense but also requires much less effort than leg-dancing.

Style of movement One of the more important considerations of style is good posture. Dancers should stand tall, and fairly

straight, without stiffness. The entire body – head, chest, hips, knees and ankles -- should be in a

vertical alignment, and should not be permitted to sag leaving the body in a succession of curves. The

knees, particularly, should not be lo0cked, but should be kept loose and flexible.


Another major consideration of style is a feeling and an attitude of lightness, as if suspended by a string

attached to a point on the upper part of the chest. This feeling is best attained by good posture, a spring

or give in knee and ankle joints, balance over the supporting foot, a “readiness” for movement, a

complete relaxation of all body parts not being actively used, a knowledge of the techniques and

routines being danced, and a desire to enjoy the dancing.

Some additional considerations are: 1. Smile at your partner and/or the dancers around you, and enjoy the company. Do not watch

your feet or the feet of your partner. Even if it does not confuse you, it probably will affect

your timing, and it certainly will affect your balance, and you can’t watch two things at once.

2. Do not be afraid to make a mistake. Relax! Tenseness will cause you to take steps that are too

long (over-stride), will make it difficult to lead or follow, and will also affect your timing.

3. Unless at a point in the dance where no locomotion is required, keep the body and feet moving,

letting the weight of the body flow from one foot to the other. Do not step on a foot and sag,

only to have to pick the body up and get ready for the next step.

4. Use steps just long enough to complete the floor pattern in the allotted amount of music. Keep

the legs and feet as close together as the steps and figures permit.

5. Eliminate excess movement of the hips and arms. Hips that move sideways or excessively up

and down detract from style, as do ballet movements of the hands and arms. Unless the hands

are joined with another dancer, or otherwise used as designated in the directions for the dance

being executed, the arms should hang loosely from the shoulders except when necessary to

maintain balance or assist in turning movement.

6. Maintain body weight on one foot only. Standing on both feet prevents a good starting

position, causing dancers to lose rhythm, start late, or use the improper foot. Only on a jump

will the weight be on both feet, and on the rebound, or lift, or spring, following the landing of

the feet together, the weight should shift to one foot, freeing the other foot for the next

movement.

7. When not moving, and locomotion is necessary in the succeeding figure, take a bounce or two

in place before you are to move. This bounce will result in a slight lift of the body, permitting

you to “fall” onto the supporting foot on the first beat of the music.

8. Anticipate the succeeding movement, and be in a position for the next step or figure at the end

of the step or figure then being danced. For example: If a right-hand-start is to be followed by a

left-hand-start; or if a do-si-do with your corner is to be followed by a do-si-do with your

partner, the turn to face your partner should be made on the last two beats of the music allotted

for the do-si-do with the corner.

Timing In order for the dancer to “time” his dancing, he must know the form and shape of each figure and step

used in the dance, and he must know how much music is allotted to each figure, and portion of each

figure. A dancer should complete the figure and arrive at the designated place within the allotted

music, neither arriving ahead of time and then having to wait, nor failing to reach his place on time and

then being late in starting the succeeding figure. As long as he accomplished this end, he has a certain

amount of freedom in determining exactly how he gets there. He may move along a larger floor pattern

by taking longer steps, or decrease the normal movement by taking short steps, which choice would

determine to some extent the size of the path follower. Memorization, or at least the recognition, of the

number and length of the phrases of the tune being used assist a dancer materially in timing his

movements to the music. Arm and hand movements should also be made in time to the music, and the

moving parts should be at the necessary location at a specified time.


Phrasing Music is written with a number of beats (metrical accents) being grouped into measures and phrases,

defined by the periodic recurrence of stronger accented beats (rhythmic al accents). This grouping of

beats, together with the rhythmical accents, gives meaning to music, much as punctuation gives

meaning to the written word.

A dancer gets greater satisfaction and enjoyment when his steps and movements are phrased to fit the

phrasing of the musical accompaniment. This phrasing is accomplished in dancing by varying the

accents imparted to the steps, giving the strongest accent to the first step of the group and the weakest

accent to the last step of the group. The accents are imparted partly through spring in the ankle, but

mainly through the balance of the body. The spring gives greater elevation, and the inclination of the

body gives a greater momentum, resulting in more lilt and longer steps.

Continuity Although dance directions are divided in to figures and parts, and a dance is usually taught by figures,

or portions thereof, the dancer should attempt to conceal the ending of one figure and the beginning of

the next. A dance is a continuous rhythmical movement, which though broken into parts by proper

phrasing, flows from one part to the next part without unnecessary stops and starts, and which is

possible only through good timing.

To achieve continuity, it is necessary to understand the relation between the figure being danced, and

the figure to follow, and to understand how the transition is to be made from one to the other without

hesitation, undue haste, or loss of body balance.

Concerted Movement Folk dancing, for the most part, is a group endeavor, and such demands the consideration of each

dancer for the other. Dancers must know what the other dancers are doing, where they are, and how

the movements of all mesh into one smooth action. It is possible to over-emphasize this phrase of dance

to the point where it becomes stilted, and loses the carefree, enjoyable spirit. A wise choice might be to

choose a middle course and shy away from the extremes.

Some general principles which might assist in achieving concerted movement are:

1. In the movements involving two or more people, the dancers should travel nearly equal

distances, and when applicable, almost identical tracks, and should at all times do

everything possible to assist the other dancer(s).

2. In dances involving the movement of dancers in a line, each dancer should adjust his

position to the dance on either side, thus maintaining the line.

3. In forming rings, dancers should gradually move toward the center as they progress to the

left or fright, joining hands only when near enough to easily reach the hands of the dancer of

either side.

4. Be sure the movements are properly timed with the music.

Mutual Support Support is accomplished by leaning the body away from the person or persons with whom hands have

been joined. The body should be kept in a comparatively straight line with the upper part of the body

at a slightly greater distance from the other dancer(s) than are the feet. The support by leaning then

permits the execution of the figures with smaller steps than would otherwise be possible, since the feet

are nearer the other dancer’s feet, and the floor pattern is therefore smaller. Each dancer must adjust

the amount of lean and the resulting support to the other dancer9s) so that all exert the same amount of

force.


The Room The designation of the sides of a dancing hall or room is determined by the location of the music.

Unless otherwise designated, the top of the room is that side on which the music originates, and on

which the leader stations himself. The bottom of a room is that side opposite the top. The right wall is

that side on a dancer’s right when the dancer is facing the top. The left wall is that side on a dancer’s

left when the dancer is facing the top.

Terms

Break to release joined hands.

Cast Off to turn our and dance outside of the set.

Cast Down or Cast Up to turn out and move down or up.

Center middle of a set.

Clockwise and Counter-clockwise refer to circular movements in the same or opposite

directions respectively as the movements of the hands of a clock.

Contrary or Corner the person standing by a dancer other than his partner.

Cross Hands two dancers join hands, right to right and left to left, with the right hands

being uppermost

Designation of Dancers

In a square set:

Head couple --the couple standing nearer the top of the room with the back to the music and the

leader, and called Couple 1

Head Couples – Couple 1 and the opposite couple, Couple 3.

Side Couples – the couple standing to the right of Couple 1, Couple2; and the couple standing to

the left of Couple 1, Couple 4.

In a line:

Head Couple – the couple at the head of the set, the end of the line nearer the top of the room;

Foot couple – the couple at the foot of the set, the end of the line nearer the bottom of the room.

In a circle:

Head Couple(s) – the couple(s) in the circle nearer the top of the room;

Foot Couple(s) the couple(s) in the circle nearer the bottom of the room.

Side couples – the couple(s) in the circle nearer the right and left walls of the room.

Down and up refer to directions. To face or move up is to face or move toward the head of the

set or the top of the room. To face or move down is to face or move toward the foot of the set or

the bottom of the room.

Fall Back to dance backward.

Forward refers to direction. To move forward is to move in the direction one is facing. To

move forward around the room is to move in a counter-clockwise direction around the room,

also referred to as the Line of Dance (LOD) or the Line of Direction.

Free Foot the foot that is carrying no weight and which is free to move.

In toward the center of the set. To face In is to face center. To Turn In is to turn so that you

face the center.


Home or Places the original station of any individuals, couples, or group at the beginning

of a dance.

Inside if facing forward or backward around the room in a circle, inside refers to that part

of the body nearer the center of the set, Inside Foot, Inside Hand. More frequently the term

applies to a couple standing side by side, with inside referring to that side nearer the other

dancer.

To Lead to move with one or both hands joined with partner; to indicate b signal the next

move to our partner.

Leading Foot the foot which is the farthest advanced in the direction of movement whether

moving backward, forward, or sideward.

LOD see Forward

Maneuver a movement, used mostly by men to get into closed position that cannot be

described due to the many variations to which it refers.

To Move to dance forward without hands joined.

Opposite the dancer, couple, or group directly across the set.

Out away from the center of the set. To Face Out is to face the wall. To turn Out is to turn

away from the center of the set.

Outside if facing forward or backward around the room in a circle, outside refers to that

part of the body farthest from the center of the circle, Outside Foot, Outside Hand. More

frequently the term applies to a couple standing side by side, with outside referring to that side

away from the other dancer.

Partner the person with whom you are dancing. The woman on the man’s right or the man

on the woman’s left.

To Pass by the Right or Left is to pass right or left shoulders respectively with the dancer(s) in

front or behind you. When moving forward it is often referred to as a Pass Through.

To pass to the Right or Left is to pass left or right shoulders respectively with the dancer(s) in

front or behind you.

Places see Home

Progression the method of changing places with another dancer, another couple, or a group of

dancers, or of changing your position during a dance so that you finish in a different position

after dancing through the dance once.

Progressive Dance one in which the dancers are in a changed position after each repetition of

the dance.

Progressive Figure the figure which, when completed, leaves the dancers in a changed

position in the set after one repetition of the dance.

Reverse Line of Dance (RLOD) facing or moving clockwise around the room. Also referred

to as Reverse Line of Direction, and sometimes Back or backward.

A Round dancing through all the figures of a dance once and generally refers to progressive

dances only.

Separate to leave or move away from.

Set a group of dancers in any formation, or the floor area enclosed within the formation.

Supporting Foot the foot on which the body weight is placed, and, of necessity, is the one on

the floor.

Trailing Foot the foot which is in the rear of the other foot, or is following after the other foot.

Turn Whole, Half, Quarter refers to a change of direction through 360⁰, 180⁰, or 90⁰, respectively. Unless instructed otherwise, the turn will always be a whole turn.

Turn In to turn to face the center of the set.


Turn Out to turn to face away from the center of the set.

Up see Down

Double Circle usually consists of couples who are facing counter-clockwise around the circle.

Variations: partners face; all dancers face center; all dancers face toward the wall with backs to

center; men are in the outside circle with women in the inside circle; every other couple faces

clockwise while alternate couples face counter-clockwise, leaving a couple facing a couple.

Square or Quadrille four couples face the center of the set, with each couple having their

backs to the nearest wall.

Contra or Longways couples stand in two lines, men in one line facing the right wall and their

partners who are standing in another line and who are facing the left wall. Starting with the

couple at the head of the set, couples are numbered alternately 1 and 2 down the set, with the

size of the set limited only by the size of the room or the desires of the dancers; couples are

number in group of three (1,2,3; 1,2,3); active or number one couples may exchange places,

with the men in the women’s line and the women in the men’s line.

Miscellaneous Sets consist of two couples who face each other, sometimes referred to as a set “for four”.

Two couples form a line and face two couples in another line. These groups of four couples then stand

in one straight line, with the lines of four facing either up or down the set. The ends of the line of sets

of four couples may be joined to form a circle of these groups.

STEPS

Brush same as a swing with the toe brushing the floor at the lowest point of the swing.

Buzz or Pivot this step is used when the body is moving sideward to the left, but with the right

foot leading. Crossing the right foot over in front of the left, step to the left on it, and close the

left foot to the right. The rhythm is uneven with the right foot always stepping on the accented

beat. The weight of the body is kept on the left foot just long enough to move the right. The

same step can be used when swinging in the shoulder-waist or waist-swing position. The step

can also be used to move in the other direction by reversing the footwork.

Draw similar to the side step except that the trailing foot is close to the supporting foot with

the heel leading and the toe pointed to the side. The weight may be taken on the closing foot or

it may remain on the supporting foot, depending upon the next movement.

Gallop similar to the slipping step but executed forward. A step on one foot followed by a

quick closing of the trailing foot. It is danced in uneven rhythm. The same foot leads on each

step.

Grapevine a sideward movement in which the trailing foot may cross behind or in front of the

leading foot, or may alternate crossing in front and then behind or behind and then in front. The

number of steps taken depends upon the direction for the dance being executed, though the most

common numbers are either three or four. The step may be started with a sideward step moving

the body in the direction of the originating foot, or it may be started by crossing one foot over

the other, in which case the body moves in the direction the crossing foot moves.

Heel touching the floor with heel, toe raised, without taking weight, and usually executed

either forward or diagonally forward and to the side.

Heel and toe one heel step followed by a touching of the toe to the floor at any point called

for in the directions of the dance, and without taking weight.

Hop a spring from the ground on one foot, returning to the ground with weight on the same

foot.


Jump a spring from the ground on one or both feet, landing with the weight on both feet

temporarily, and with the ankle and knee bend absorbing the shock. It is executed in even

rhythm.

Leap a spring from the ground on one foot, returning to the ground with the weight on the

opposite foot, landing on the ball of the foot and absorbing the shock through ankle and knee

bend. The leap is executed in even rhythm, and may be made either forward or sideward.

Mazurka two steps with the free foot displacing the supporting foot on the second step,

followed by a hop on the new supporting foot. Left, cut (R), hop (R), or right, cut (L), hop L ().

It is danced in even time gut with three steps to the measure. On the hop, the heel of the free

foot is crossed over in front of the supporting leg.

Pas de Basque this is a variation of the two-step moving sideways. The timing is exactly the

same. To Pas de Basque left, leap onto the left foot, cross the right foot over in front of the left

foot and momentarily take the weight on it, then quickly step on the left foot in place. To Pas

de Basque right, reverse the above described footwork.

Pivot see Buzz

Point touching the floor with the pointed toe without taking weight. The toe may touch

backward, sideward, forward or across in front of the supporting foot.

Polka a springy two-step which is preceded by a hop on the supporting foot on the up-beat.

Running similar to the walking step but executed in a quicker temp and with more spring,

requiring that both feet be off the ground in the transition from one step to the next.

Schottische three steps followed by a hop on the supporting foot. On the hop the free foot

may execute a swing. It is danced in even rhythm, and may be executed forward, backward,

sideward, or turning. On the second step, the free foot may be closed to the supporting foot, or

may move past the supporting foot before taking the weight.

Side Step executed similarly to the slipping step but slower, in even rhythm, and with much

less spring.

Skipping a step taken on either foot followed quickly by a low hop on the same foot. This

combination, executed in an uneven rhythm, is then repeated on the other foot and, if continued,

alternated between one foot, then the other. The step is taken on the accented beat. When

beginning the skipping step, it is generally started with the hop on one foot followed by a skip

step on the other foot.

Slipping or Sliding a step to the right or left with the leading foot followed by the other foot

closing to it and taking the weight. The tempo is quick and uneven, with the leading foot

moving quickly to the side after the trailing foot has closed. The feet remain near the floor and

the legs are only slightly separated. The leading foot lands on the accented beat and the trailing

foot takes the weight only long enough to move the free foot out to the side again.

Step Hop similar to a skip step but executed in an even rhythm. A step on one foot followed

by a hop on the same foot.

Step Swing a step with one foot followed by a swing of the other foot. Successive steps begin

with alternate feet. May be executed either forward, backward, or sideward. It is danced in

even rhythm.

Swing a movement of the leg at the hip joint, either forward, backward, or across in front of

the supporting foot.

Two-Step a step with one foot, followed by a closing of the other foot, and again a step with

the originating foot. Left, right, left, or right, left, right. It is danced in uneven rhythm and may

be danced forward, backward, sideward, or turning. The rhythm is quick – quick – slow, quick

– quick – slow.


Waltz three steps in which the free foot is closed to the supporting foot on the third step. It is

danced in even time but with either three or six steps to the measure. It may be danced forward,

backward, sideward (seldom), or turning.

Figures

Allemande Left join left hands with the corner and turn once counter-clockwise in eight

steps, ending in starting position.

Arming, Arm Right, Arm Left two dancers hook designated elbow, turning once around, and

fall back to place.

Balance the balance may be performed in several ways, some of which are explained here.

Two dancers face and dance two step-swings, starting to the right first, either with or without

right hands joined.

One two-step, two walking steps, or a step and touch moving forward or back, and then repeat

the same steps in the opposite direction.

A two-step or Pas de Basque to the left and then to the right or to the right and then to the left.

Circle Left (Hands three, hands four, hands sixe, etc.) Circle Right the designated number of

dancers join hands and, unless directed otherwise, make one complete circle moving to the left.

If the circle left is to be repeated to the right it may be called “and back”. Infrequently the

circle will be formed with the dancers facing out, in which case the circle would still move to

the dancers’ present left or right as directed.

Do-si-do (Back to back) two dancers face, move forward passing right shoulders (unless

directed otherwise), move to the right passing back to back, and fall back to places, all in eight

steps. The direction of facing remains the same. There should be no spins. The same figure

may be danced passing left shoulders first and moving to the left.

Forward and Back designated dancers dance four short steps forward and four steps back to

place. In English dances this is a “double”.

Forward and Pass Through designated dancers, usually couples or lines, dance eight steps

forward, passing right shoulders with the opposite dancer.

Grand Right and Left partners face while in a single circle, men facing counter-clockwise and

women facing clockwise. Join right hands and pass right shoulders. Join left hands with the

next dancer and pass left shoulders. Continue, moving in the same direction and alternately

passing right and left shoulder, until back to place; until partners are met, or until music allotted

for the grand right and left is finished, as called in the dance.

Half Promenade this figure is danced by two couples facing. In promenade position, the

couples dance forward, men passing left shoulder, and turn counter-clockwise into the other

couple’s place, all in eight steps.

Ladies Chain this figure is danced by two couples who are facing. The women join right

hands and turn until they can join left hands with the opposite man. With left hands joined with

the opposite man, the women release right hands, and the men place their right hand around the

lady’s waist. In this side-by-side position the two dancers wheel counter-clockwise in place,

leaving the men in their original places and leaving the women in the opposite woman’s place.

This much of the figure is a half ladies chain. The right hand turn and wheel is then repeated,

returning to own partner and original position. On the wheel, the women customarily place

their right hand on their hip, palm out, and in the man’s right hand. The entire figure requires

sixteen beats to complete, four for the first right hand turn, four for the wheel, and eight for the

repeat back to place.

Right and Left this figure is danced by two couples facing, who dance forward four steps

passing right shoulder with the opposite dancer, join inside hands and wheel counter-clockwise


in place to finish in the other couple’s starting position. This much of the figure is called a Half

Right and Left. The movement is then repeated to places. The figure requires sixteen beats to

complete, four to pass through, four to wheel, and eight to repeat the movement back to place.

In square dancing right hands are generally joined with opposite on the pass through, and the

turn, and hand positions on the turn are the same as in the Ladies Chain.

Right-Hand Star (right-Hand Mill, Right-hands Across), Left-Hand Star the four dancers

(usually) join hands with the diagonally opposite dancer and move once round the circle

clockwise if right hands are joined, and counter-clockwise if left hands are joined. In either

case the dancers face in the same direction they are moving. If two men join hands and two

women join hands, the men’s hands are above those of the women.

Right-Hand turn or Left-Hand Turn two dancers join right or left hands as directed, turn once

round clockwise or counter-clockwise respectively, release hands, and fall back to places. As

soon as hands are joined the direction of facing is the same as the direction of movement.

Roll a turn to the right or left, progressing to the right or left respectively generally made in

four steps or three steps and a touch or swing of the free foot. In 3/4 or 6/8 time the roll may be

made in six steps or in four steps with a swing or touch.

To Set step R, close L, step R in place. Also with left foot.

Siding two dancers face, and dance forward and back, passing left shoulders as they dance

forward (turn to left on third step to continue facing partner), and right shoulders as they return

(turn to right on third step).

Turn Single one turn to the right in four steps, most often danced in place, but may be

executed while dancing back to place.

Twirl a roll made with leading hands joined. With the assistance gained through the joined

hands, the Twirl may be made in only two counts or steps, or as described in the Roll, above.

Two-Hand Turn two dancers face, and, joining both hands, turn once around clockwise,

release hands and fall back to place. It is necessary to cross the feet somewhat as the dancers

face during the entire turn.


Caller’s Workshop

INTRODUCTION

A complete discussion of all of the details of the caller’s responsibilities will be impossible

during this Institute due to the limited time that we have. We can only hope to discuss some of the

more important phases of calling, those which have the greatest effect on the comfort and pleasure of

the dancers.

During our discussions of the qualifications of a successful caller we try not to miss anything.

The caller that we will picture does not exist. He is a goal to shoot for. He is the “perfect” caller and

will never compete with you for your calling assignments. In short, don’t be discouraged because you

lack many of his qualifications. At the same time, don’t get too far behind your dancers.

The experience of educators down through time has proven that the teacher must first have a

clear understanding of the values of his subject. He must know why it is desirable for the student to

learn and must first convince the student that learning is desirable before an effective program of

teaching can be carried out.

The values have been established and recognized by all teachers and they undertake the

instruction of students with a clear understanding of why they are teaching and are therefore better

equipped to make decisions as to WHO, WHEN, and HOW. We must know why people come into the

program, what they are seeking, and then do everything we can to serve their needs. The successful

development of the square dance activity depends upon intelligent training of dancers in a manner that

will permit them to find what they need and want from the program. To be an intelligent instructor, we

must know the ingredients and then formulate a program that will provide the dancer with lasting and

enduring satisfactions.

THE CALLER

What is his place? What is he? To be an able caller he must first be an able dancer. He must

know his subject thoroughly. He must understand that square dance calling is a science -- there are

things a caller must do with his voice, his public address system and with his artistic and geometric

sense of design. He is a leader, and an instructor, a program director, as well as a caller and M.C.

Here are some qualifications for a good square dance caller:

1. He must have the voice to call.

2. He must have sufficient experience and training in public speaking and enunciation.

3. He must have an ear for music for all types of calling.

4. He must be thoroughly familiar with dances.

5. He must have an instinctive sense of rhythm.

6. He must have a strong geometric sense.

7. He must be a natural teacher.

8. He must be able to overcome embarrassment.

9. He must be clear headed.

10. He must like people.

11. He must be completely sold on square dancing.

12. He must have a proper mental attitude. “Love the people even after a rough day at the office.”


AN APPROACH TO SQUARE DANCE CALLING

Sincerity of Purpose

An evaluation of the activity.

The caller’s part

As a leader

As an instructor

As a program director

As a caller and M.C.

Talent

Natural

Voice

Sense of rhythm

Pitch

Geometric

Acquired

Disposition

Education

Knowledge

Of dancing, rhythm and music

General

American Folk

Square dancing

Contra dancing

Circle dancing

Couple dancing

Of the science of calling

Clarity. The caller must be heard and understood.

Public address systems

Acoustics

Voice

(1) Enunciation; (2) Breath control; (3) Command; (4) Use of patter; (5)

Pitch; (6) Choice of words; (7) Pre-command and post-command

insurance


Rhythm

Basic

Phrases

Relation to call

Relation to figures

Timing

Relation to sixes and eights

Comfort

Tempo

Dance Design Construction of a dance

Natural sequence

Hash. Comfortable variety vs. bafflehash

Singing calls

Program Design Variety

Timing

Opening and closing

Balance of old and new

Breaks or fillers

Of the people

Public Relations With dancers

With other callers

This is a caller’s tripod. It’s not original; it’s just the best way I’ve seen illustrated to explain the

abilities a perfect caller must possess:


Clarity: Being heard and being understood are two different things. The caller must be heard

and understood. He must understand:

a. public address systems

b. Acoustics

c. Voice: he must enunciate clearly, know how to control breathing and must be careful in

choice of words.

Rhythm: Rhythm is one of man’s inherent qualities but some can detect the beat of the music

more easily than others. Rhythm is the boom-boom-boom of the music. Most callers have a rhythm of

their own. Making their beat agree with the beat of the music is the problem. The two must coincide

in order that we may say, “He is in rhythm.”

Command: Be the Sergeant! Don’t ask “Please turn left. . .”, say “Left face!” Separate the

command words from the patter so your dancers can follow easily.

Pitch: Be able to hear the musical tone of the music and pitch your voice tone in harmony with

the music.

Timing: Callers often confuse tempo with timing. Tempo is the metronome beat whereas

timing is the amount of time the caller allows the dancer to execute the figures. The comfort of the

dancers is influenced more by correct timing (by allowing them sufficient time to do a figure) than by

any other phase of square dance calling. You can still rush at 124 beats per minute.

Pattern – Judgment: The caller has to be an architect. He needs to have some geometric sense to

visualize the design that he is going to call. Even before he calls, he has it in mind—all thought out.

The construction of the dance is like a balanced meal. Most dances follow a natural sequence that make

for comfortable dancing. The singing calls are of course more set in their patterns. The program should

be designed to give variety to the evening: dances with different timing, good opening and closing

dances, a balance of the old and the new and a proper amount of breaks and fillers. Learn to call basics

before you attempt the complicated squares. Judgment includes choosing the right call for the right

group.

Tang – Flavor: Develop your own talent. Use that tang and flavor which belong to you without

adopting some personality that belongs to another. “There is only one job is this world. . .to be your

own best self.” Develop the style that is most nearly you.

Excitement: Excitement is not necessarily achieved by “pouring it on” with furious intensity. More

often it is the result of sincere enthusiasm of the caller who loves the dance and wants the dancers to

have fun. A square dance call is not a lullaby. Demand the attention of your group. Keep them on their

toes by the contagious pulse of your calling.

Participation: Be part of the crowd. Enter into the spirit of the dance. Let the gang know that you are at

one with them and not pulling against them in some unexplained contest between the caller and his

“floor”.

Bubble Over: Bubble over quality is something that not all of us have. This is the ability to be the life

of the party.


THE CALLER AND HIS CLASS

Since a person’s first experience with square dancing is usually in a class, the caller’s attitude

toward his class will have a great deal to do with the future dancer’s attitude toward square dancing.

Careful attention to the following points will help to make a class the enjoyable and successful

experience it should be for both the dancers and the caller.

1. Be Patient. Never lose your temper or get impatient when the dancers do not seem to

understand. Remember, if they are not learning, the fault is probably with your teaching and not with

them.

2. Improve Your Teaching Technique Be constantly on the lookout for better methods of

teaching the various figures. If certain figures seem especially difficult to get across to the dancers,

discuss them with other callers to find out their methods. New callers especially can profit by attending

the classes of callers who are successful teachers and observing the techniques used in handling the

people and teaching the various figures.

3. Discourage Cliques Many successful caller-teachers use mixing; not allowing the

dancers to choose their own partner until as late as the third lesson. This prevents husband and wife

arguments, and also helps those few people who seem to be slow to learn.

4. Make It Fun The caller is a teacher and a friend and not “little Caesar.” Use jokes and humor

to put over your point whenever possible, but NEVER at the expense of the class or any individual.

5. Be Thorough Be sure the dances learn well what is being taught even if it means

getting behind in your planned program.

6. Promote Friendliness Name badges of some kind are almost a must. Make it a point to

mingle with the dances between tips and greet as many as possible.

7. The Caller’s Wife Wherever one finds a successful teacher in the square dance activity, one

usually finds a devoted wife, sharing many of the responsibilities in the activity of the class. The

attitude of the caller to the dancers is greatly enhanced when reflected by the caller’s wife.

She acts as a silent helper, the caller’s other half in a demonstration. During intermission she

can remind the caller of any announcements, and point out need for special emphasis on any particular

patterns. At the end of the evening her friendly “Good night”, her word of encouragement, mean much

to the class members.

At all times the caller and his wife should maintain a relaxed friendly attitude toward each

other. At no time should the dancers be made aware of any strained feeling between the two. We are

the apostles of an activity for fun and we must maintain a fun atmosphere.

Only one of the caller-taw team should do the teaching. The caller’s wife’s attitude, her

costume, her mannerisms, her dance styling, all have great bearing on the “tone” and conduct of the

class members. She should have no part of unpleasant personalities concerning either other dancers or

other callers. She should avoid entering into cliques.


8. Be On Time Precede the dancers by enough time to have your equipment set up and ready to

go before the time the session is scheduled to start. Encourage promptness among the dancers by

starting right on the dot, even if all the dancers are not there yet. By using the first portion of the

evening to review what has been taught previously you will avoid having to repeat instruction of any

new material scheduled for the session.

9. Prepare Your Program Have a definite program ready for each session and follow it.

However, don’t hesitate to change it when the class is not progressing as planned.

10. Give Them a Good Time Remember that the best way to sell square dancing to new folds

is to let them see how much fun it is while they are learning. Never let personal problems interfere

with your doing a good job. Nothing less than your very best is ever good enough for any class you

teach.

TECHNIQUES OF TEACHING

The importance of good teaching methods for the square dance teacher cannot be overly

stressed. In order to give the dancers an enjoyable experience, the caller must be sure that they attain a

feeling of successful learning and sense of accomplishment, which can come only if the teaching is

well done.

To teach successfully, the caller must first understand the general laws of learning. These are:

A. Readiness

Because people have come to a class and have gotten out on the floor at the caller’s request

does not indicate that they are ready to learn. The man who has come only to keep peace in the family

and who looks toward the caller with an “I’ll do what you say, but I’m not going to enjoy it” attitude,

or the woman in such an agony of shyness that she doesn’t really hear anything the caller says—these

people are not “ready” to learn. Be relaxed, project a spirit of friendliness and fun, make the class feel

that you are enjoying the evening with them. Do not be too “professional”, too precise. Cajole rather

than command. It takes a delicate touch, but how rewarding to see your class relax and start having

fun.

B. Progression

Teach from the known to the unknown, the simple to the more complex, the easy to the

difficult.

C. Learning Occurs in Spurts

Learning does not follow a smooth upward curve, but takes place in spurts, with intervals in

between during which the learner “consolidates his gains”. Remember this, when it seems that at one

time you are teaching fast, easily and well, and at another time, with the same group, nothing seems to

go right. Here is where patience and understanding will pay off, and where you will need all of your

skill in helping dancers maintain their enthusiasm.

D. Use of Identical or Related Components

If you say “The first part of this figure is just like the figure we did in _____,” or “This figure is

like the one we did in _____, except _____,” it helps to relate the unknown to the known, making

learning easier and giving added confidence to the dancer. Then in the walk-through of the pattern,

people can experience through movement, doing something they have already learned, and they will

grasp the total concept more rapidly.


E. Repetition

In an activity such as dancing, which involves both mental and physical learning, repetition is a

must if learning is to take place. It should be applied judiciously, in varied drill forms, with as much

vim, vigor, and enthusiasm as if one were calling it for the first time, so that the dancers are not bored,

but instead, experience pleasant moments of learning and have fun at the same time.

Analyze the material you will teach, being aware of the difficult spots and thinking through the

best possible way to teach in order to avoid or to anticipate these difficulties. It is difficult and

discouraging, as well as time-wasting, to straighten out a floor or a square, or even an individual, who

has become confused, whereas if you iron out the tricky places ahead of time, confusion is not nearly

so apt to result. Of the basic steps, only a few can be considered as being so elementary that they need

not be taught, or demonstrated. Most of them need step by step direction with complex explanation

and repetition. The caller should assume that everything should be taught and teach it. This is his

responsibility.

Instruction should be clear and concise. Cover the pattern thoroughly enough so that the dancers

understand exactly what you mean. At the same time your instruction should not be so long drawn out,

so wordy, as to bore or confuse the dancers. If too much instruction (to the point of boredom or

confusion)seems necessary, it is probably because your class is not yet ready for this particular

movement or figure. Here again, if the pattern to be taught has been analyzed and carefully though

through, it can be taught quickly, easily, and concisely. Conversely, if the caller is not too sure of what

he is trying to teach, he can expect confusion and frustration from the floor.

Stress key words and phrases in your instruction, as well as in your calling. Right, Left,

Partner, Corner, Face to the right or left, Join hands, When I say, When you hear.

Lessons should be planned in detail. Successful teachers’ lesson plans are usually written out.

Each lesson should be carefully studied in advance with consideration given to the method of

instruction of each movement and figure. Pre-planning will help the instructor to analyze the “trouble

spots” and be able to anticipate instruction necessary to cover these points.

Getting and holding attention is important and how one gets it is equally important. Care should

be taken not to be offensive to the dancers. Whistling, scolding, shouting, are not the best ways of

influencing people. There are more dignified and professional ways of getting attention. For example,

you may start with an opening statement whose content is not too important, pause until you have the

floor’s attention, then say what you have to say. Or, simply the request, “May I have your attention,

please?” in a firm but pleasant tone is excellent.

The steps of instruction found to be successful by many callers consist of short, simple

explanations, followed by the commands necessary for the execution of the pattern by the dancer. The

instructor observes and is able to ascertain whether learning is taking place, or whether further

explanation is needed. A demonstration may be in order. Repetition then helps to fix the pattern in the

dancers’ mind. Corrections should be made in a positive manner. Say “Do this,” not “Don’t do that”.

Accentuate the positive. Humor helps in getting a difficult point across to the dancer. Avoid sarcasm at

all costs. Any and all corrections should be made to the whole group, even though intended for only

one person, or one square. One of the quickest ways to lose a dancer forever is to make him feel

conspicuous by having his mistakes pointed out to him before the group.


Encourage the dancers to ask questions about anything which is not clear to them. Prefacing the

answer with “I’m glad you asked about that,” or a similar phrase will help bring out questions.

The caller’s voice is the principal link between him and his dancers and by its proper use he can

do much to add to their dancing pleasure. The voice should show command but must be pleasant. Used

properly, the voice will instill a feeling of friendliness toward the caller in every dancer on the floor.

Enunciate carefully. Even the best PA system cannot do much for swallowed or half-enunciated words.

Learn to project, do not mumble into your microphone, but speak as though the microphone was not

there, and you were speaking to someone a dozen feet in front of you. This does not mean shouting, but

it means usually that the pitch of the voice should be raised slightly, and the words and tones formed in

the front of the mouth rather than back in the throat.

The use of demonstration is often helpful and time-saving. Use it when description of a

movement is difficult to get across to the dancers in a few words. Use it when the dancers are having

trouble. Use it to teach proper styling, smoothness, and comfort. When demonstrating, be sure that your

dancers understand your relative position to the rest of the square (assuming that you alone, or you and

a partner, are demonstrating a figure or movement which normally takes place in a square.) Be sure that

all the dancers can see you. This usually is a problem only when you have to work from floor level.

Demonstrations of styling, smoothness, etc., can often be done between tips, with dancers seated

around the floor. This arrangement avoids keeping them standing for any long periods and makes it

easy for everyone to see.

Teaching styling is one of the first responsibilities of the teacher-caller. If left to develop their

own styling, most dancers would probably eventually acquire fairly smooth styling, if they were to

dance long enough, but most of them would give up the activity long before they reached the “smooth”

stage of their own accord.

Really, what we mean when we speak of styling is comfortable dancing. All good styling

contributes to comfortable dancing, and all our instruction in this phase of the activity has comfort as

its basis. Obviously, we teach styling from the first night on, since acquiring good habits and practices

at the outset is much easier than having to unlearn bad practices and re-learn good ones.

The caller should make clear to the dancers that comfort and rhythm are the reasons behind the

stress placed upon styling. He wants them to keep on dancing, and only if their dancing is comfortable

will they continue to dance.


CALLER’S CODE OF ETHICS

1. Aim primarily to give his group enjoyment.

2. Promote good fellowship.

3. Discourage Cliques.

4. Help Beginners.

5. See that the proper decorum is observed at a dance.

6. Maintain a professional attitude toward other callers.

7. Cooperate with other callers in exchanging calls.

8. Adhere to uniform nomenclature.

9. Maintain a good reputation for personal integrity.

10. Keep scheduled engagements.


Traditional KDI Dances

The Chicken Dance (Dance Little Birdy)

TYPE: No partners MUSIC: Dance Little Bird by “Whoopee”

MEASURES:

1 -2 Holding your hands in a “bye-bye” waving position and pretending they are your “beaks”, ratchet-saw them 3 times.

3 -4 With arms in wing position, flap them up and down 3 times trying to get airborne.

5 -6 Wiggle your tail feathers down to the floor – 3 wiggles side to side.

7 -8 Clap your wings (hands) 4 times

9 -32 This part is optional; if dancers are creative let them do their thing; if not, have them circle left 8 counts, then right 8 counts, or if in couples – turn with right wing (arm) then the left. Start dance at beginning and repeat entire routine until final “cheep”.

Honeymoon Polka TYPE: American Contra FORMATION: Improper duple minor, 1, 3, 5, etc. Crossed Over and active MUSIC: Honeymoon Polka BY: Stew Shacklette MEASURE: 1 – 8 HEEL AND TOE, HEEL AND TOE, SLIDE OUT, 2, 3, 4;

Using the gents left and ladies right, do two heel, toe steps and slide out four counts (step, close, step, touch).

9 – 16 HEEL AND TOE, HEEL AND TOE, SLIDE IN, 2, 3, 4; Repeat the heel toe steps with the other foot, sliding in (gents right, ladies left).

17 – 24 HEEL AND TOE, HEEL AND TOE, SLIDE OUT, 2, 3, 4; Repeat the heel and toe steps, and slide out again.

25 – 32 HEEL AND TOE, HEEL AND TOE, TURN LADY IN BACK TO BACK WITH OPPOSITE LADY. Repeat the heel and toe steps (gents right and ladies left) on the sliding steps the gent turns the lady with back to center (line of four).

33 – 48 REEL OF FOUR (HAY) (16 counts) 49 – 56 GYPSY (8 counts)


Knob Tiger (Jessie) Polka MUSIC: Folkraft F1093, Crystal 108, Jubilee 701 FORMATION: Couples or groups of any number in lines facing counter clockwise. Arms are placed

behind waist of dancer on either side, left foot free. MEASURES:

1 Place left heel diagonally fwd on floor, then step on L ft next to R ft. 2 Touch R toe in back, then touch R toe beside L ft. 3 Touch R heel diagonally fwd on floor, then step on R ft. next to L ft. 4 Touch L heel diagonally fwd on floor, then bend L knees, swinging L ft across in front

of R ankle. 5-8 Dance fwd with 4 two-steps or polka steps.

Jiffy Mixer By Jerry and Kathy Helt

TYPE: American couple mixer MUSIC: Record: Windsor 4684 FORMATION: Circle of couples in butterfly position, men’s back toward center of the hall. FOOTWORK: Opposite throughout the dance, steps described are for the men. MEASURES INTRODUCTION

1 – 4 WAIT: WAIT: BAL APART: TOUCH: BAL TOGETHER, TOUCH: Wait 2 meas; bal bwd twd COH on L ft, touch R toe beside L ft; bal fwd twd wall and partner on R ft, touch L toe beside R ft.

DANCE 1 – 4 HEEL, TOE, HEEL, TOE: SIDE, CLOSE; SIDE, TOUCH:

In Butterfly pos, strike L heel to floor fwd and twd L side, touch L toe beside R ft; repeat; step to L side in LOD on L ft, close R ft to L taking wgt on R; step again to L side in LOD on L ft, touch R toe to floor beside L ft, keeping wgt on L;

5 – 8 HEEL, TOE: HEEL, TOE: SIDE, CLOSE: SIDE, TOUCH: Repeat action of measure 1 – 4 starting R ft and moving in RLOD.

9 – 12 CHUG, CLAP: CHUG, CLAP, CHUG, CLAP; CHUG, CLAP; Releasing hands, partners do four “chugs” away from each other with weight on both feet, M moving bwd twd COH and W moving bwd twd wall, clapping hands on the upbeat of the music following each “chug”;

13 – 16 WALK TO THE RIGHT; --; TWO, --; THREE, --; FOUR --; (to Butterfly); Start L ft and take four slow, swaggering steps fwd and diag to R, progressing to new partner, ending in Butterfly pos, M’s back twd COH, ready to repeat the dance.

NOTE: “Jiffy Mixer” is also enjoyable to dance, especially for youngsters, in a single circle, all facing in with hands joined, all using the same footwork (starting with L ft), but not progressing to a new partner with each cycle of the dance.



Mona’s Trip (Grand tour of the Windmill Lancers)

Type: American Lancer

Formation: Four couple square set

Music: Sonderburger Doppelquadrille, Tanz Record #EP 58607

By: Stew Shacklette, June 2002

Intro:

1 – 16 Honor partner, honor corner.

1 – 32 Grand square

1 – 64 Ladies windmill

1 – 64 Grand Tour or (Blossom)


1 – 64 Men windmill

1 – 64 Grand Tour or (Blossom)


1 – 64 Grand windmill

1 – 64 Grand Tour


Grand Square

Sides face, heads go forward to center, while sides backup; Heads turn to face partner and back up 4

counts, sides turn to face the opposite lady and walk forward to meet at the head position, sides face

center. Head couples, who are now at side position will face and back up as the side couples walk

toward the center steps; The sides will face in the center and back away to original positions, heads

will face their home position and partner and walk forward to meet partner at home; (Total 16 counts)

This figure is repeated in reverse with the heads starting by backing up and the sides walk toward the

center to start. The figure is complete when everyone is at home. Total of 32 counts

Grand Tour

Ladies face their partner’s right shoulder, and back up to corner of square, face to the right and the next

position around the square and walk forward to the next position and face center. Meanwhile the men

will walk straight across the square to the place of the lady in that position; the men will face to the

right and walk the corners of the square as the ladies face in and walk straight across the square. This

is repeated until everyone is at home. Total of 64 counts

Grand Blossom

The couples at each home position will walk in toward the center four counts; back up two counts and

California twirl partner to face out at home, Each couple will separate and walk the corners of the

square to the next position around the square. Each gent, with a new lady, will repeat the same

movement three more times. All dancers will end in original position. Total 64 counts


Biserka (Serbian Line Dance)

Girl’s Name Meaning Pearl

Music: Record: Folkraft #1567

Rhythm: 3/8

Formation: Open circle. Joined hands held up and forward at shoulder level. Right foot free

Measures:

1 – 2 Facing slightly to the right

Two walking steps, right, left.

3 – 4 Two-step forward (right, left, right) – finish facing center.

5 Step forward toward center with left, drawing right foot to left.

6 Step backward on right drawing left foot to right.

7 – 8 Two-step sideward left (left, right, left)

Note: Same dance pattern to 6/8 – Bojerka.

Two measures of Biserka (3/8) = one measure of Bojerka (6/8). Biserka-count 123;

Bojerka – count 1 and 2 and.

Wandering Waltz Contra By Barry Moule England

Record: LP Cabbafe Records “None So Pretty”

Formation: Proper duple minor

Tune: “Wandering Waltz”

Measures Description

1 – 2 #1 man & #2 lady forward and back (diagonal)

3 – 4 #2 man & #1 lady forward and back

5 – 8 Repeat measure. 1 – 4 to original places

9 – 10 Active couples step to center, take closed position and take two canter steps down the

center, turn 1/2

Note: Inactive couples will cast out and up to #1 position

11 – 12 Active couples cast out and up top (original places. In-actives step to the center, take a

closed position and take two canter steps down center, turn ½ to end in second places in

partners original place.

13 – 16 Join hands and circle ½ in four waltz steps, waltz two steps toward center raising hands

to center, flair hands and cast to the right to original lines. Actives now have moved

down on place.

Repeat to the end of the Record.



Salty Dog Rag Description by Olga Kulbitsky

Type: American Round Dance

Music: Record: Decca #27981

Formation: Same as “Ostende”

Measures

1 – 2 Two schottische steps forward, starting with right foot (right, left, right, hop on

right foot brushing left foot forward; left, right, left, hop on left foot brushing

right foot forward)

3 – 4 Four step-hops forward starting with right foot.

5 – 8 Repeat pattern of measures 1-4. Finish facing partner with left hands joined.

9 One schottische step to own right, join right hands.

10 One schottische step to own left.

11 – 12 Four step-hops clockwise, once around.

13 – 16 Repeat pattern of measures 9 – 12

The Market Lass

Type: American Traditional

Formation: Proper triple minor, 1, 4, 7 active

Music: Glenn Towle, F & W Record

By: Researched by Ralph Page

1 – 8 Actives cast down outside below two

9 – 16 cross over and come up one place to a line

17 – 24 In your lines go forward and back

25 – 32 Actives turn right ¾ round (make new lines across the hall)

33 – 40 Lines go forward and back

41 – 48 Actives turn right ¾ round (back to original lines)

49 – 56 Top two right and left (boy, boy, girl, girl)

57 – 64 Right and left back


Levi Jackson Rag

An English Country Dance composed by Pat Shaw

Formation: A “square” dance for 5 couples – 2 couples on each side of a long-ways set with 1

couple at the top facing down the center of the set.

Counts Pattern

Part 1

1 – 8 Couples on the sides do a right and left across. As the man courtesy turns his lady, the

couple at the top promenade 4 steps going ½ way down the set.

9 – 16 The top couple pauses there until the side couples do right and left back home. The top

couple continues to the bottom as the sides do courtesy turn.

Part 2

1 – 8 After the top couple reaches the bottom, they separate and come up the outside of the set

to their home position, while the side couples circle 4-hands around to the left.

9 - 16 Everyone do-si-do their partner.

Part 3

1 – 8 5 ladies chain. This is a right hand star to 2nd

man beyond partner, who picks her from

the star with the left hand, courtesy turns her quickly around and immediately places her

back into the star.

9 – 16 5 ladies chain again to 2nd

man (in this case, one man short of her partner) who courtesy

turns her around. This is your NEW partner.

Part 4

1 – 8 Couples with new partners promenade 4 steps CCW (right) to next spot in the set. Do a

4-count balance (step R, swing L; step L swing R).

9 – 16 Everyone swing partner.

The dance begins again with a new partner and a new place in the set. When the dance is over, each

person should be back in original position with original partner.



Ceresna

Type: Macedonian Line Dance

Music: Record: Sperry E3-KB-6115, Folkraft 1631 x 45

Formation: Open Circle

Cross right foot over left foot, toe on floor. Walk five steps to the right (R, L, R,

L, R) and face center, raising on right top and lifting left foot across in front of

right leg. Step on left and touch right heel

Step on right and touch left heel

Walk backwards three steps (L, R, L ) moving clockwise.


Kentucky Running Set

References: Cecil J Sharp, The Country Dance Book, Part V, Novello and Company, Limited,

London, 1918. Handy Square Dance Book, Cooperative Recreation Service, Delaware,

Ohio, 1955.

Music: Sheet: Country Dance Tunes, Set IX, Novello and Company, Limited, London, 1918.

Record: Folkraft F1325 B. Folkraft F1327A

Formation: Usually a four couple square.

General

Sets of five to eight or more couples are not uncommon in some parts of the Kentucky mountains and

in other Appalachian areas, though there are usually only four couple to a set.

The Swing is always a two-hand swing or turn, and the step used is a fast smooth running step.

Economy of movement and clean-cut movement are characteristic of this type of dancing. Omit all

flourishes, arm swings and leg kicks, and dance as simply and easily as possible.

Little Promenade

(4) Join both hands with partner, arms bent at the elbow, and turn clockwise half way around.

Release hands, pass right shoulders with partner and

(4) Turn corner half way around. Release hands, return to partner and

(16) Promenade once around the set to place. Although you turn two dancers, there is only once

complete turn; one half with your partner and the other half with your corner. The movement is

much more smooth if the right hand is released first with the left hand being released as the

right-shoulder pass is made.

Do-Si-Do and Promenade Home

(8) The two couples dancing the figure join hands and circle left once around being sure to stop

with each couple having backs to own home place.

(16) Partners join left forearms (hand on inside of forearm and close to partner’s elbow) and turn

approximately three-quarters of the way around. men then cross to opposite lady, passing back

to back, and turn her with the right forearm, cross back to partner and turn with the left forearm,

cross back to opposite and turn with the right forearm, and cross back to partner. The turns are

made with bent arms and together with the succeeding crossing, are dance in only four steps.

(8) Partners join left HANDS and turn once around.

(8) Couples promenade once around each other, men keeping left shoulders almost touching, to

place.

Introduction

The introduction never varies and consists of:

(16) All join hands and circle left once around to place.

(24) Little Promenade

(40) First and third couples dance Do-Si-Do and Promenade Home.

(40) Second and fourth couples dance Do-Si-Do and Promenade Home.



Grand Promenade

The Grande Promenade, with one variation, is the Little Promenade danced twice through.

(4) Turn partner.

(4) Turn corner.

(8) Promenade partner half way around the set. Without releasing hands, dancers turn

(gents to right, ladies to left) to face clockwise and

(8) Promenade clockwise to place.

(4) Turn partner.

(4) Turn corner.

(16) Promenade partner once around the set to place.

Construction of the Dance

1. Introduction

2. Grand Promenade.

Figure No. 1 led by the first couple.

Little Promenade

Figure No. 1 led by the second couple.

Little Promenade

Figure No. 1 led by the third couple.

Little Promenade.

Figure No. 1 led by the fourth couple.

3 & 4 And succeeding figures are danced as in 2. But using a different figure. When dancing a two-

couple figure, it is customary for the visiting couple to dance a Do-Si-Do and Promenade Home

with the last couple visited after the concluding of the figure.

The dance is continued in this manner until the dancers no longer wish to, or are no longer able

to, continue. Since there is much time when only two couples are active, many dancers find the

repetition boring. If this is the case in the group with whom you dance, turn the following

construction.

1. Introduction.

2. Grand Promenade.

3. Figure No 1 led by the first couple

4. Little Promenade

5. Figure No 2 led by the second couple.

6. Little Promenade.

7. Figure No 3 led by the third couple.

8. Little Promenade.

9. Figure No 4 led by the fourth couple.

10. Grand Promenade and promenade off the floor.

Two possible practices make the “hashed” figure more fun. One is to have each couple dance a

different figure with each couple visited. The other procedure is to have each couple dance its favorite

figure. To accomplish this feat it is necessary that each set have a caller. The caller would then have to

know ahead of time what figure each couple desired to dance and call accordingly. It is possible to

have the active couple call its own figure and the succeeding binder (Grand Promenade or Little

Promenade). It is also possible to dance the figures, at least some of them, without them being called at

all or not more than once. The binders and the introduction, however, should always be called. Other

ideas might be incorporated without losing either the flavor or the style and still have fun.


Figure Eight

The first couple joins inside hands and move toward the second couple.

First woman, passing in front of her partner, moves counter-clockwise around second woman;

while first man moves clockwise round second man.

First man turns his partner with the right hand.

Passing in front of his partner, first man moves counter-clockwise round second woman; while

first woman moves clockwise round second man.

First man turns his partner with the left hand.

First and second couples hands-four.

The first couple repeats the same movements with the third couple and then with the fourth

couple.

First and fourth couples do-si-do and promenade home.

The Wild Goose-Chase

First man, taking his partner’s left hand in his right and leading her behind him, passes between

second man second woman, turns to his left and moves, counter-clockwise, round second

woman.

First man, still leading his partner behind him, moves in front of, and a step or two past, second

man, casts back, making a half-turn to his right, passes between the second couple, turns to his

right, moving round second man, and then goes hands-four with the second couple.

Releasing his left hand, first man breaks away from second woman and, followed by his partner

and the second couple, passes behind the third couple and repeats the same movements with the

third couple that he previously had danced with the second couple, concluding with the second

and third couples.

Releasing his hand, first man breaks away from third woman, and followed by his partner and

the second and third couples, dances the same movements with the fourth couple.

Upon the conclusion of the hands-eight, the first man breaks with his left hand, casts back,

making a half-turn to his left, and leading the other seven dancers behind him, moves round in a

circle (back to the center), counter-clockwise to his place. First man casts back, making a half-

turn to his right, and leads the other dancers round in a circle, clockwise, to places.

Wind Up The Ball of Yarn

All join hands except first man and fourth woman. Fourth couple makes an arch.

First man, followed by his partner, second and third couples, passes under the arch, turns to his

right and moves round in a circle clockwise. As the third woman passes under the arch, the

fourth man turns on his axis three-quarters round, clockwise, and places his right hand over his

left shoulder. The fourth man is now said to be “locked”.

Fourth man and third woman now make an arch under which the first man passes followed by

his partner. Second couples, and the third man, turning to his right as before. This locks the

third woman.

This circular movement is repeated until the first woman is locked.

Fourth woman places her right hand over her left shoulder, while first man makes a whole turn

clockwise; places his right hand over his left shoulder and clasps the fourth woman’s right hand

with his left.

All dance round, clockwise, to places and then counter-clockwise to places.

All raise right arm over their head to form a circle and dance once around, clockwise to places.



Shoot The Owl

First man, moving toward the center, turns his partner with the left hand.

First man goes hands-three with the second couple half-way round and, facing center, “pops

under” the arch made by the second couple, second man and second woman resuming their

places.


First man goes hands-three with the third couple and “pops under” as before; while first W does

the same with the second couple.


First man goes hands-three with the fourth couple “popping under” as before; while the first W

does the same with the 3rd

couple.


First and fourth couples hands-four.

First and fourth couples do-si-do and promenade home.

Ladies In The Center

Men turn partners three-quarters around to the right with both hands, leaving them back-to-back

in the center.

Men dance once and a quarter round the outside of the set to the right, turn the next lady (lady

of couple to their right) and leave her in the center as before.

Men again dance once and a quarter around the ladies, turn the next lady (original opposite),

promenade with this lady once around, then turn her and leave her in the center as before.

Men dance once and a quarter around the ladies to the right, turn the next lady (original corner)

and leave her in the center as before.

Men dance once and a quarter around the ladies to the right, turn the next lady (original partner)

and with this turn begin the Grand Promenade.

The figure may be repeated with the ladies putting the men into the center.

California Show Basket

First and second men join both hands, first and second ladies join both hands below the men’s

hands and all circle left once around.

The men raise their hands over the heads of the ladies and enclose them by lowering their arms

to the ladies’ waists and circle once around. The circle may move either to the left of the right.

The ladies raise their hands over the heads of the men and rest their hands on the men’s

shoulders while the men raise their hands to the level of the ladies’ necks and all circle left once

around.

The first man turns second woman into her place while first lady turns second man in to his

place.

Repeat the figure with the third and fourth couples in turn. First and fourth couples dance do-si-

do and promenade home.


Cutting Off Three, Two and One

The first couple dances forward and back, then dances forward, passes between the third man

and third lady, and casts off to place.

All partners turn.

The first couple dances forward and back, then dances forward, and casts off to place with the

first man passing out between the third lady and the fourth man and with the first lady passing

out between the third man and the second lady.

All partners turn.

The first couple dances forward and back, then dances forward, splits the corners (first man

passing between fourth man and fourth lady, lady passing between second man and second

lady) and casts off to place.

All partners turn.

Hands-Across

All partners turn.

First and second couples dance right and left-hands-across (eight steps each direction).

First and second couples dance Do-si-do

All partners turn

First and third couples dance right and left-hands across and do-si-do

All partners turn

First and fourth couples dance right and left-hands across and do-si-do and promenade home.

Chase The Squirrel

The first lady and the first gent join inside hands and, with the lady leading, dance between the

second man and second lady, around the second lady back to the center. At the same time the

second lady dances forward and back. The first couple releases partner’s hand and the first

lady, followed by the first gent, dance between the second lady and second gent and around the

second gent back to the center.

First lady and first gent turn each other with both hands.

First and second couples join hands in a circle and dance to the left once around.

First couple repeats all of the above movements with the third couple.

First couple repeats all of the above movements with the fourth couple. First and fourth couple

dance do-si-do –and promenade home.

Going Down Town

The first couple dance forward four steps and, followed by the third couple, fall back four steps.

The third couple falls back four steps while the first couple follows and passes between the third

couple. The first man casts to his left and the first lady casts to her right, both returning home.

All partners turn half-way round, turn corners half-way around, and promenade with corner to

man’s home place.

The above movements are repeated three more times with the ladies finishing each repetition

with the man on her right.



Treat ‘Em All Right

First man turns partner once around with the left hand and turns with the following women in

turn with the left hand (except for the two right-hand-turns); second woman, partner, third

woman, partner, fourth woman, partner, fourth woman, third woman with right hand, second

woman, partner with right hand.

Four Leaf Clover

Lead couple will lead out to the right and circle left (do not release hands). Opposite couple

will make an arch and the lead couple will duck under the arch, turn away from partner, face

back to the center with all hands held in a crossed position. Circle left once around then the

lead couple will make an arch and pull the opposite couple thru the arch. As the opposite

couple comes under the arch they will turn away from partner going under their own arch.

Hand never release during this figure. Circle left full around, lead on to the next.

Shoot the Buffalo

Lead couple lead to the right and circle left once around. On the call “Shoot the Buffalo” the

lead gent will arch his left hand up in the center and turn clockwise and back under the arch

between him and his corner and back out through an arch made by the opposite couple. The

lead gent will back around the opposite gent raising hands to go over the heads of the rest and

pull the rest thru the arch coming back to a circle. Circle four full around and move on to the

next.

Mountaineer Loop

Lead couple duck under arch made by opposite couple, release partner and gent turn to the left,

lady to the right. The couple making the arch will turn under their own arch. End facing in a

circle of four. The couple making the arch will not release hands. The only hands released will

be the lead couple after they dive thru the arch. Circle up four. Lead couple on to the next.

Lady Round the Lady

Lead couple will lead to the right and circle left once around. on the call “Lady Round The

Lady” the lead lady will split the opposite couple and go around the lady, the gent will follow,

as the lead lady gets back to the center she will split that couple again and go around the gent

but the lead gent will not go. Meet in the center and all circle left. Lead on to the next.


George Fogg

Auretti’s Dutch Skipper Formation: Longways - Duple Minor.

Source: Keller, Kate V. W., & G. Shimer. The Playford Ball.

Shaw, P. Holland as seen in the English Country Dance: 1713-1820.

Original: Rutherford’s Compleat Collection of Country Dances Vol 1 1756.

Thompson’s Compleat Collection Vol 1 (ca 1757).

Music: Barnes, Peter. English Country Dance Tunes I.

Keller, Kate V.W., & G. Shimer. The Playford Ball.

Shaw, Pat. Holland as seen in the English Country Dance: 1713-1820.

CD: Bare Necessities. Simple Pleasures. Vol 3.

LP: Canterbury Country Dance Orchestra. F-472-73

The Dance: AA BB 6/8

A1 First Couple lead down through the second couple & Cast Up back to place

& Two Hand Turn.

A2 Second Couple lead up through the first couple and Cast Off back to place & Two Hand Turn.

B1 First Corners (1M & 2W) Two Hand Turn; then 2nd Corners Two Hand Turn.

B2 Double Setting to Partners & Right and Left, three changes.

Notes from The Playford Ball:

“A couplet beneath a picture suggests that Miss Anne Auretti was involved in some sort of scandal.

With Measure and Swiftness

The Fair Auretti free from blame,

Received of Heaven and of Men,

The soul of Balls, and of the dance,

The Gift of Flying in Ballance.”

Ref: Highfill; 1: 176-177.

Presented by George A. Fogg Kentucky Dance Institute (KDI) July 15-21, 201

George Fogg


Christina

The Dance: 2/2

A1: With Partner Set & Turn Single & Right Hand Turn.

A2: With neighbour Left-Hand Turn & then Set & Turn Single.

B1: Circle Left 1/2 way & Fall Back, into 1/2 Right & Left

B2: Half Poussette (men push),

1's Lead Up & Cast Off

Presented by George A. Fogg Kentucky Dance Institute (KDI) July 15-21, 2012.


Draper’s Gardens

Formation: Longways – Duple Minor.

Source: Bentley, Bernard, J. Fallibroome 2.

Keller, Kate V. W., G. Shimer. The Playford Ball.

Litchman, W. English Country Dances.

Original: Young, H. The Dancing Master Volume 1, 17th

Ed.

Reconstructed: Douglas & Helen Kennedy, 1929

Cassette: Wild Thyme Plays Fallibroome. SDL 339

CD: Bare Necessities. Simple Pleasures, Volume 3. No. 7.


Bentley, Bernard, J. Fallibroome 2.

Keller, Kate V. W., G. Shimer. The Playford Ball.

The Dance: AA BB 3/4 [Preferred tune is “The Margravine’s Waltz”, Preston 1799, although not original.]

A1 1st Man & 2nd Woman Set Forward; Turn Single Back to place

& Two Hand Turn.

A2 1st Woman & 2nd Man repeat A1.

B1 Women Two Hand Turn halfway with neighbor,

Men Two Hand Turn halfway with neighbor,

Circle 4 Hands Halfway & Fall Back.

B2 Hey, two changes (or with Hands),

1st Couple Lead Up & Cast Off.

Notes from The Playford Ball: Drapers were cloth merchants in London & were chartered in 1364.

The “garden” was behind their hall & it was a fashionable promenade area.

The Margravine’s Waltz may have been named in honor of Lady Elizabeth Berkeley,

Margravine of Brandenburg-Anspach, composer herself. A Margravine (German) is equal to a

Marchioness (English).


George Fogg


The Dressed Ship


Original Source: Thompson, Twenty Four Country Dances. 1774.

Source: Keller, Kate V. W., & Genevieve Shimer. The Playford Ball.


CD: EFDSS, Country Dances Manual 5. EFDSSCD 15.

Bare Necessities. Simple Pleasures. Volume 3. No. 2.

The Dance: Music: AA BB – 3# ¢

A1 1-8 1st Man & 2nd Woman Set Forward, Fall Back & Two-

hand Turn.

A2 1-8 1st Woman & 2nd Man Set Forward, Fall Back & Two-

hand Turn.

B1 1-4 1st Couple Cast Off one place AS 2s Lead Up,

5-8 All Set Partner & take Right Hands & Men turn partner under CCW. (Do not change

places.)

B2 1-4 1st Couple Cast Up to top AS 2s Lead Down,

5-6 All Set Partner,

7-8 2nd Couple Cast Up AS 1st Man turns his Partner under his right arm down centre one

place.



Farewell Marian ( Ffarewel Marian )

Formation: Circle Mixer - Men with their backs to the centre facing partners.

Deviser: Gwyn Williams, Wales. 1967.

Source: Four Welsh Barn Dances - Pedair Dawns Twmpath.


CD: CD: Bare Necessities. Simple Pleasures. Volume 3. No. 3.

Tune: Farewell to the Shore – Ffarwel I’r Marian.

The Dance: AA B A 3/4

A1 With both hand joined, partners slide four steps to the Men’s left

(CCW); balance to partner (forward & back) and turn single away.

A2 All that again.

B1 Right hand to Partner Balance & change places:

Left Hand to Neighbour’s Partner & Balance & change places –

A3 Waltz on around the set.


George Fogg


Foula Reel

Formation: Longways Set Four Couples.

Source: Community Dances Manual 7.

Original Source: Collected by Pat Shaw from Mrs. Smith a school-teacher in Foula.

Music: Barnes, Peter. English Country Dance Tunes II.

Community Dances Manual 7.

Music: "The Shaalds of Foula" (1) and (2).

The Dance AA BB 6/8

A1. & A.2. 1st couple lead down the middle &"Strip the Willow" up

the set. [Need to move swiftly.]

B1. 1st couple (man inside) arch over men's line down the set and

over ladies' line up the set.

B.2. The Poussettes.

Poussette with partners (one of several variants).

Begin 1st man "pushing", all others "pulling", then

1st man pull between 2nd and 3rd couple (other men pushing),

1st man push between 3rd and 4th couple (other men pulling),

1st man pull into bottom place (other men pushing). (Progression.)



Freeford Gardens


Source: EFDSS Leaflet.

Devisors; Kathryn & David Wright.

CD: Bare Necessities: Simple pleasures, Volume 3. No. 9.


Tune: Edgeworth Bumpkins.


A1 1-4 All Set moving forward & Turn Single back to places.

5-8 Cross passing partner by the Right Shoulder, loop LEFT finish Improper.

A2 1-8 Repeat A1 to original places end Proper.

B1 1-4 1s Half Figure Eight Down through 2s.

5-8 2s Half Figure Eight Up through1s. (All Improper)

B2 1-4 Circle 4 Hands Left halfway & Fall Back,

5-8 All Forward & Two Hand Turn partner.

Note: Freeford Gardens was devised November 1980 when the Wrights moved to the estate of Freeford

Gardens in Litchfield. The dance is set to an 18th

century tune, “Edgeworth Bumpkins” from Wright’s

“Complete Collection of Celebrated Country Dances.”


George Fogg


Handel with Care

Formation: Two Couple Set – Facing.

Deviser: Gary Roodman.

Source: Roodman, Gary. Additional Calculated Figures. 1992.

Tune: Bouree from G. F. Handel’s “Water Music.” Suite 2.

CD: Bare Necessities. Simple Pleasures. Volume 3. No. 13.

The Dance: A BB 2/2

Presence

Part I

A Partners lead forward a double & fall back.

Partners lead away a double & fall back, turning at the last moment to face the other

couple.

B1 1-4 First man and second woman, followed by their partner,

cast off into a line of four facing up. W1 – M1 – W2 – M2

5-8 In line of four, go up a double & fall back, bending the line

into a circle as the phrase ends.

B2 1-2 Circle halfway around to the left,

3-4 All turn single, right. Face partner and go directly into,

4-8 Three changes of a circular hey to places beginning with right shoulder.

Part II

A Partners side-by-side Right shoulder. (Siding)

Partners side-by-side Left shoulder. (Siding)

B1 & B2 As in Part I.

Part III

A Partners arm with the Right.

Partners arm with the Left.

B1 & B2 As in Part I.



The Hole in the Wall


Original: Playford, John, The Dancing Master, 9th Ed., 2nd Part.1696.

Source: Keller, Kate V. W. & Genevieve Shimer. The Playford Ball.

Kennedy, Douglas & Helen. Country Dance Book, New Series.


Keller, Kate V.W & Genevieve Shimer. The Playford Ball.

Kennedy, Douglas & Helen. Country Dance Book, New Series.

Original Music: Henry Purcell. Published “Air VIII Hornpipes”. 1695.


The Dance: 27 3/2

A1 1-4 1s Cast Off one place and Lead Up Centre to place.

A2 1-4 2s Cast Up one place and Lead Down Centre to place.

B1 1-2 1ST

corners change places, (passing Right shoulder 3 counts

& fall back in 3 counts.)

3-4 2ND

corners change places, (as in B1, 1-2.)

5-6 Circle four-hands half way round,

7-8 1s Cast Off one place; 2s moving up.

Notes from The Playford Ball.

This lovely music was written by Henry Purcell and published in 1695 as “Air VIII

Hornpipe” in the incidental music for the 1693 revival of Mrs. Aphra Behn’s 1677

tragedy, Abdelazer, or the Moor’s Revenge”.


George Fogg


I Care Not for These Ladies Formation: Big Circle for as many as will.

Originally choreographed as Circle For Three Couples.

Devisor: Kitty Skrobela-Creelman

Source: Country Dance & Song 2.

Cassette: The Assembly Players. Playford From The Old World. APC 9701.

CD: Bare Necessities. Simple Pleasures, Volume 3. No. 10.

Music: Barnes, Peter. English Country Dance Tunes I & II,

Tune: A lute song by Thomas Campian.

The Dance: A B C 6/8

A1 Join hands, slipping Circle Left & Right.

B1 To your partner, Set and Turn Single.

C1 Two Hand Turn Partner left (CW) Half-way.

(I use Right Hand Turn Half-way.)

Two Hand Turn next person Right (CCW) Half-way.

(I use Left Hand Turn Half-way.)

Next Person (3rd

one) Two Hand Turn all the way.

A2 Siding twice with this new partner. (Sharp’s Siding).

B2-C2 Repeat as in B1 & C1.

A3 Arm Right and Left.

B3-C3 Repeat as in B1 & C1.

Note: Other English Country Danced figures which maybe introduced in A1 music are: Back to back,

Right & Left Hand Turns, Gypsies, Into the Center and Back.

George A. Fogg



Jacob Hall’s Jig Formation: Longways – Duple Minor.

Original: Playford, John, The Dancing Master, 9th Ed., 2nd Part.1696.

Source: Keller, Kate V. W. & Genevieve Shimer. The Playford Ball.

Sharp, Cecil, Country Dance Book, IV, p. 94. 1916.


Keller, Kate V.W & Genevieve Shimer. The Playford Ball.


Tune: Under and Over.


A1 1-4 1st Man turn 2nd Woman Right-hand, then his partner Left-hand

5-8 1st Couples & 2nd Woman Circle three counter-clockwise. (CCW)

A2 1-4 2nd Man turn 1st Woman Left-hand, then her partner Right-hand

5-8 2nd Couple and 1st Woman Circle three clockwise. (CW)

B1 1-4 1s Lead down the centre, & back into Line of Four facing up

5-8 Up a double, fall back a double ending with 1s in 2nd place.

B2 1-4 Circle 4-hand once around

5-8 1s Lead up through 2s above & Cast Off.

Notes from The Playford Ball –

Jacob Hall was a tight ropedancer. Pypys noted seeing him at various fairs, taverns, etc. C. Sharp

substituted the tune “Under & Over” for Jacob Hall’s Jig from The Dancing Master. “Under & Over”

is a completely difference dance as found in The Dancing Master.


George Fogg


Lovely Nancy


Source: Johnson, A Choice Collection of 200 Favourite Country Dances, Vol. 3 1744.

Reconstruction: Nicolas Broadbridge,


The Dance AA BB 3/4

A1 1-4 1st couple set forward to partner, turn single back to place;

5-8 1st woman cast, followed by, partner, finishing in 2nd place

improper (2's move up).

A2 1-8 2nd couple the same, all ending home improper.

B1 1-4 Men lead through women, cast back to place;

5-8 All clap on first beat of 5th bar, circle left once around.

B2 1-4 Women lead through men, cast back to place;

5-8 Clap as before, circle left half way, turn single left.

Notes from CD: The tune has had a long life, beginning as a song in early 18th-century England, reappearing as a

military fife tune during the American Revolution, and continuing into the 19th century for day's-end

ceremony of "retreat" (which usually required tunes in 3/4 time).



Nottingham Swing, or Philibelula All the Way


Source: CDSA. Country Dances of Today. 1951

EFDSS. Community Dances Manual 2 & 6.

Music "Philibelula All the Way" (see C.D.M.2) or "Paddy McGinty's Goat"

or "Kitty O'Neil's Jig" or any similar tune.

The Dance: A B

A 1-4 1st man and second girl link right arms and swing with a

*step- hop (as in "Drops of Brandy").

5-8 2nd man and 1st girl the same.

B 1-4 1st couple join inside hands and dance two steps down the

middle, (Chasse), back two Chasse and cast off 2nd

couple (progression).

5-8 Swing partners (step-hop or buzz-step)

Or Dance Around – CCW.

(Titchmarsh, one of several variants known in Northamptonshire.

Collected by Sibyl Clark)

*Step-hop or double step: (Hop-right, left, right).


George Fogg


The Physical Snob

Formation: Longways - Three Couples.

Source: Bentley, Bernard. J. Falibroome (1).

Original Source: Unidentified source ca.1800.

Music: Barnes, Peter. English Country Dance Tunes.

45 Recording: Heritage Plays Falibroome. HER 801

Cassette: Ring O’Bells. Ceilidh Saturday Night. BEE 004


The Dance AA BB CC 9/8

A1 1st Woman with hands Leads the Women around behind the men.

A2 1st Man Leads the Men around behind the Women. (*Skipping)

B1 Poussette. Top 2 couples being with a Half Poussette changing

places.

(1st Man pushing & 2nd Man pulling); then 1st couple Half Poussette with the bottom

couple. (1st Man pulling & 3rd Man pushing.)

B2 Poussette BACK. (1st Man pushing & 3rd Man pulling to complete a whole poussette),

then Half Poussette with top couple.

All back to original places

C1 1st Couple Cross over go down outside to middle place, cross again and go down to foot

place.

C2 1st Couple Lead Up to the top & Cast Off to the bottom.

(Skipping throughout C1 and C2.)

Note—Originally the last cast would have been only to the middle place.

A right and left allemande at the end has been omitted.

For skipping try: one skip-change followed by one skip step for each measure.



The Ragg


Source: Jackson, R. & George A. Fogg. A Choice Collection of Country Dances.

Original Source: A Choice Collection of Country Dances with their Proper Tunes whereof many never

before Published, and in an easier Method to be understood than every yet Printed. Gathered,

Composed and Corrected by Many of the Best Masters of this Kingdom. Dublin Printed & sold by

Iohn and William Neal in Christ Church Yard. Ca. 1726.

Reconstruction: George A. Fogg & Rich Jackson.


Barron, Marshall. Knives & Forks the Complete Neal Collection.

Jackson, R. & George Fogg. A Choice Collection of Country Dances.



A1 1st Couple Cross Over & go below (2s dance up) & Two Hand Turn once & a half.

A2 2nd Couple repeat A1.

B1 Right & Left Hand Star (hands across).

B2 Set Twice (double setting) & then Right & Left three (3) changes.

Original Text:

1st cu: cross over and turn in 2d. cu: place:

2d. cu: ye same in their own places:

All 4 right hands across half round, and left hands back again:

right and left:


George Fogg


The Royal Albert


Source: Community Dance Manual 7, No. 16.

Original Source: Reprinted from J. F. & T. M. Flett’s “Traditional Dancing in Scotland”.


Community Dance Manual 7.

CD: Community Dances EFDSS CD15

The Dance: ABCD 6/8

A 1st Couple & 2nd Lady make a three-person basket (pivot).

B Same three w/1st Man in the middle dance down the middle, turn

individually, and dance back to new places. (2nd Man moved up)

(End w/1st Couple face each other on Lady’s side & 2nd Couple on Men’s side facing each

other all dance into . . .

C1 Quadrille Setting to Partner. (Step right, left behind, step right, touch left toe in front). Repeat

starting with Left foot, Swing Partner.

C2 Ladies Chain with open hand turn – [North Country Ladies’ Chain] (Not a waste hold or

courtesy turn arm around) (skip-change suggested)

D A 3/4 Dance Round w/a flat setting step.)



The Spaniard


Source: Porter, W.S & M. & A. Heffer. The Apted Book of Country Dances. 1958.

Original: Thompson, Twenty Four Country Dances. 1777.




A1 1-8 1st Man set to 2d Woman & both turn single

1st Man two hand turns his partner.

A2 1-8 1st Woman set to 2d Man & both turn single

1st Woman two hand turns her partner.

B1 1-8 1s Lead down centre, back and Cast off.

B2 1-8 Circle – four hands L & R.


George Fogg


Walpole Cottage

Formation: Sicilian Circle - Threesome.

Source: Community Dances Manual 7.

Pat Shaw Collection Book 3 – Dances.

Devisor: Patrick (Pat) Shaw.


Community Dances Manual 7.

CD: The Assembly Players. Walpole Cottage. APCD 0202.

EFDSS. Community Dances. EFDSSCD15

Hold the Mustard. English Country Dance Favorites.

The Dance: A B C

Introduction: Forward and back.

Note: Introduction is played & dance each time.

A Middle persons turn right (halfway, short arm hold or elbow) Left hand turn right Contrary

Corner, each other right, left to left hand contrary corner, each other right, left hand to left hand

partner, each other right, & left hand to right hand partner.

B End persons Right & Left Hand Star.

(Right hand persons Cast Out Right into Heys (reels) of Three.)

Middle person begin Hey passing right shoulder.

C Forward, Back & Circle six hands halfway.

Forward, Back into Basket of Three, open basket in original line of direction to face new

threesome.

Note from Pat Shaw Collection Book 3 – Dances

This dance was commissioned for a farewell party given at Cecil Sharp House on 24

May 1963 for Miss Grace Meikle and Miss Leonie Morris. ‘Walpole Cottage,’ was the

name of their house in Chipstead, Surrey.



Yellow Stockings Formation: Longways – Duple Minor.

Source: Jackson, R. & George Fogg. A Choice Collection of Country Dances.

Original Source: A Choice Collection of Country Dances with their Proper Tunes whereof many never

before Published, and in an easier Method to be understood than every yet Printed. Gathered,

Composed and Corrected by Many of the Best Masters of this Kingdom. Dublin Printed & sold by

Iohn and William Neal in Christ Church Yard. Ca. 1726.

Reconstruction: George A. Fogg & Rich Jackson.


Barron, Marshall. Knives & Forks the Complete Neal Collection.

Jackson, R. & George Fogg. A Choice Collection of Country Dances.

CD: Bare Necessities: Simple Pleasure. Volume 3. No. 14.

The Assembly Players: A Neal Ball. No. 14


A1 1st Man Turn 2nd Woman twice (or more) with Two Hands.

(crossed hands suggested.)

A2 1st Woman Turn 2nd Man twice (or more) with Two Hands.

(crossed hands suggested.)

B1 1st Couple take both hands & Slip Down for 2 bars, Back & Cast Off.

B2 Right & Left (4) with hands.

Original Text:

1st ma: turn 2d. wo:

1st wo: turn 2d. ma:

1st cu: dance down & back taking both hands,

& cast off into 2d. cu: place:

right & left quite round.



Brianna Lucas

The Shim Sham

This is the structure of the Shim Sham and the list of the steps.

(R) = Right foot

(L) = Left foot

All the moves start on the 8

*First Half*

The Shim Sham

Stomp(R) Glide(R) Stomp(L) Glide(L) Stomp(R) Glide(R) Stomp(R) Glide(R)

Stomp(L) Glide(L) Stomp(R) Glide(R) Stomp(L) Glide(L) Stomp(L) Glide(L)

Stomp(R) Glide(R) Stomp(L) Glide(L) Stomp(R) Glide(R) Stomp(R) Glide(R)

Full break

Step(R) Touch(L) Step(L) Touch(R) Step(R) Step(L) Step(R) Step(L)

Pushes & Cross Overs

Step(R) Step(L) Step(R) Step(L) Step(R) Kick(L) Step(L) Step(R)

Step(L) Step(R) Step(L) Step(R) Step(L) Kick(R) Step(R) Step(L)

Step(R) Step(L) Step(R) Step(L) Step(R) Kick(L) Step(L) Step(R)

Step(L) Kick(R) Step(R) Step(L) Step(R) Kick(L) Step(L) Hold

Tacky Annie

[&]Ball(R) [8]Change(L) Touch(R) Step(R) Touch(L) Step(L) Touch(R) Step(R) Step(L)



Full break


Half Breaks

Step(R) Step(L) Kick(R) [&]Ball(R) [3]Change(L) Step(R) Step(L) Kick(R) [&]Ball(R) [7]Change(L)

Full break


Half Breaks

Step(R) Step(L) Kick(R) [&]Ball(R) [3]Change(L) Step(R) Step(L) Kick(R) [&]Ball(R) [7]Change(L)

Full break



*Second Half*

Repeat the first half with Freezes instead of the Full Breaks and add a shimmy to the shim sham

Boogie back:

Kick(R) [&]Ball(R) [1]Change(L) Kick(R) [&]Ball(R) [3]Change(L) Kick(R) [&]Ball(R)

[5]Change(L) Kick(R) [&]Ball(R) [7]Change(L)

Boogie forward

Brush(R) Step(R) Brush(L) Step(L) Brush(R) Step(R) Brush(L) Step(L)

Boogie back



Boogie forward

Brush(R) Step(R) Brush(L) Step(L) Brush(R) Step(R) Brush(L) Step(L)

Boogie back



Shorty George

Kick(R) [&]Ball(R) [1]Change(L) Step(R) Step(L) Step(R) Step(L) Step(R) Step(L)

Boogie back



Shorty George

Kick(R) [&]Ball(R) [1]Change(L) Step(R) Step(L) Step(R) Step(L) Step(R) Step(L)

*Today in the Lindy Hop scene, once the Shim Sham choreography is over, dancers typically grab a

partner and break into lindy hop for the remainder of the song. During this portion of the song, the band

or a DJ may call out "Freeze!" or "Slow!" instructing the dancers to either stop where they are or dance

slowly, then call out "Dance!" to tell everyone to resumes normal dancing.

*As a result of its conglomerate background, there is not one universal "shim sham" choreography -

there are several variations. When a group of people do the Shim Sham (especially a group of people

from different cities), their steps will be largely similar with some variation and even some

improvisation.

*The Shim Sham goes best with swing songs whose melody lines start on beat eight, as does the

choreography. An obvious choice is The Shim Sham Song (Bill Elliot Swing Orchestra), which was

written specifically for this dance and has musical effects (e.g., breaks) in all the right places. However,

today the Shim Sham—particularly the Frankie Manning version—is danced more often to "'Tain't

What You Do (It's The Way That Cha Do It)" by Jimmie Lunceford and His Orchestra, or "Tuxedo

Junction" by Erskine Hawkins. In fact, it is typical now at a Lindy dance party for dancers to start up a

Shim Sham whenever "'Tain't What You Do" is played. There is also a recording "Stompin' at the

Savoy" with the George Gee band where Manning himself calls out the moves.

Brianna Lucas


Swing Moves

East Coast Basics

1. Basic step

2. Left-handed arch turn

3. Left-handed loop turn

4. Right-handed arch turn

5. Right-handed loop turn

6. Follower’s free spin (rock step prep R)

7. Leader's free spin (rock step prep R)

8. Couple free spin (rock step prep R)

Leader's Turns

9. Liquid (shoulder)

10. Liquid (side)

11. Man in the Cellar

12. She goes/He goes Loop Turn

13. Back to Back Roll (rock step prep L)

Closed position

14. Closed position

15. Arch to closed

16. Loop to closed

17. Jockey

18. Arch turn exit

19. Tuck Turn exit

Cross-Hand

20. Liquid or Loop to cross-hand

21. Texas Tommy to cross-hand

22. Skin-the-Cat (basic)

23. Skin-the-Cat (basic with liquid)

24. Skin-the-Cat (behind the back)

25. Skin-the-Cat (double turn)

26. Pinwheel

27. Cross-Hand loop to shoulder liquid

28. Dbl Cross-Hand to tunnel

29. Dbl Cross-Hand to bull rider

30. High 5 turn

31. Catch Spin

32. Catch 22

33. Transition to Skaters

34. Dbl Cross-Hand to Under the Bridge with loop exit


Skaters

35. Basic

36. Tick Tocks (trading lead)

37. She goes/He goes to tunnel and tabletop

Cuddle Moves

38. Cuddle

39. Uncuddle (arch)

40. Walk out exit

41. Reverse Cuddle

42. Tuck turn exit

43. She goes/He goes Cuddle exchange

44. Follower’s Wrap pass

45. Leader's Wrap pass

46. Continuous pass

47. Whip out

48. Whip out and rewrap

49. Whip out and loop

Footwork

50. Heel rock

51. Kick step

52. Triple step

Armwork

53. Collegiate

54. Hammerlock

55. Reverse follow hammerlock

56. Dishrag

57. Two-Hand Turn

58. Egg Beater

59. Starburst

60. Back to Back slides

61. Reverse Starburst

62. Two-Hand turn to liquid

63. Basic Pretzel (lead)

64. Coninuous Pretzel

65. Pretzel with cuddles

66. Cuddle to follow's pretzel

67. Tuck free spin (double prep)

Side-by-side Charleston (lindy charleston)

68. Jockey

69. Basic

70. Basic with glide back

71. Travel Walks

Brianna Lucas


72. Circle Kicks

73. S-turn transition to Tandem

74. Tuck turn transition to Tandem

Tandem Charleston (lindy charleston)

75. basic

76. travel

77. 360

78. over the top

79. kick backs

80. around the world

81. Russian split

82. traveling 360

Dips

83. Final dip

84. Big dip

85. Hug dip

86. Tornado drop

87. Neck drop

Tricks and Flips

88. S-Drop

89. Rocket

90. Frog Jump

91. Straddle Jump

92. Double Coudle Jump

93. Under the Leg

94. Throw

95. Hip bump

96. Hip flip

97. Around the World

98. Back flip

99. Side Flip

100. Free back flip

101. Frankie

102. Soda Pop (from rocket)

103. Can Opener (flip)

104. Rollerblind

105. Layout

106. Heel Throw

107. Continuous Cartwheel

108. Pancake (or Waterfall)

109. Pendulum (SSCU)


Ed Austin

Cūkas Driķos Republic of Latvia

Cūkas Driķos is a popular dance for two couples learned by Ed Austin in 2006 while dancing with a

group of young people at a party held in a church in Riga, Latvia.

Pronunciation TSOO-kahs Dree-tchohs

Formation: 2 couples facing

Position: Hands on own hips

Steps: Skipping

Meter: 2/4

Measure Count Step

Intro. 1-8 No action

Part I S-S-Q-Q-S

1 1-2 (Slow) Jump to R leg fwd with L leg back, hold

2 3-4 (Slow) Switch/Jump to L leg fwd with R leg back, hold

3-4 5-8 (Q, Q, Slow) Switch 3 more times – hold

5-8 9-16 REPEAT meas 1-4

Part II R & L Hand Star

1-4 1-8 Skip CW (R-handed star)

5-8 9-16 REVERSE (L-handed star)

Repeat the entire dance until end of music

Note: As the dance proceeds dancers can put opposite hands in the air during part A which adds to the

energy and excitement. It also fun accent the first count of part B with a yell.

Mixer: During part B I like to have each couple find a different couple to face during the fifth

measure. This makes it just a bit crazier and allows for all the participants to dance with one another.

Notated by Edwin Austin

Brigham Young University

Presented at KDI, 2012

Ed Austin


Cumberland Square England

Cumberland Square was a popular folk dance throughout Cumberland, a county in the Northwest of England on the

Scottish border.

Formation: Four couple square, couples facing center of square.

Position: Couples in closed position

Meter 4/4

Measure Count Step

Intro. 1 Sustained note: Acknowledge your partner (Do this also at the end of the dance)

Part I Slide Across and Back

1-4 1-16 Head couples slide 8 to exchange places (M passing back to back)

Head couples slide 8 to return home (W passing back to back)

5-8 Side couples complete the same figure

9-16 REPEAT meas 1-8

Part II Stars

1-4 1-16 Head couples walk 8 forming a R-hand star (CW), Reverse (L-hand star)



Part III Basket

1-4 1-16 Head couples circle L with sixteen buzz steps, begin R (XIF). Form a basket with M

linking hands around W waist, W hands on M shoulders



Part IV Circle and Promenade

1-4 1-16 All join hands and circle with 16 skip or polka steps (CW)

5-8 Promenade partner home (CCW) with 16 walk steps (M offers arm to W, W's hand slip

into the crook of M's bent elbow).


Notes: The basket in part III can also be formed by: 1) W linking elbows with both M(hands on hips); and 2) M

with arms behind W, hands joined and W joining hands in front of M.





Ffaniglen Wales

Ffaniglen (fennel, the herb) belongs to the family of Tympath Dances (toom-path) or Barn

Dances found throughout Wales and danced in social settings. I first learned this dance in

Northern Wales from the dance group, Dawnswyr Mon, in 2005.

Pronunciation: FAA-nih-glehn

Formation: Double circle, couples facing LOD, M on the inside

Positions: Holding inside hands; closed position

Steps: Setting, Polka, Walk

Meter 4/4

Measure Count Step


Part I Setting and Walk

1 1-4 HoldigSet (or balance) away from partner (1-2-3), set towards partner (1-2)

2 5-8 Walk 4 steps fwd (1-2-3-4) turning towards partner to face CW on last step

(ct. 4)

3 9-12 Set (or balance) away from partner (1-2-3), set towards partner (1-2)

4 13-16 Walk 4 steps fwd (1-2-3-4) turning to face partner on the last step (ct. 4)

Part II Arming (Elbow turn)

1-2 1-8 Facing Partner: Arm R (8 walking steps CW, 1 full turn)

3-4 9-16 REVERSE

Part III Clapping

1-2 1-8 Facing Partner: (Clapping sequences described below)

3-4 9-16 Repeat

Part IV Polka (Closed position)

1-4 1-16 Couples polka LOD (turning CW)

REPEAT the entire dance until the music ends

Ed Austin


Ffaniglen cont.

CLAPPING SEQUENCES

SEQUENCE #1 (singles)

Counts Description

1 clap own hands

2 clap R to R (w/ partner)

3 clap own hands

4 clap L to L (w/ partner)

5 clap own hands

6 slap own shoulders (crossing arms)

7 clap both hands to both (w/partner)

8 hold

SEQUENCE #2 (doubles)

Counts Description 1 & clap own hands twice

2 clap R to R (w/partner)

3 & clap own hands twice

4 clap L to L (w/partner)


6 & slap own shoulders (crossing arms), clap own hands

7 clap both hands to both (w/ partner)

8 hold

SEQUENCE #3 (doubles, w/ knees)

Counts Description 1 & clap own hands twice

2 clap R to R (w/partner)


4 clap L to L (w/partner)


6 & slap own shoulders (crossing arms), slap above own knees

7 clap both hands to both (w/ partner)

8 hold

Notes: The sequence is repeated three times. Variations include: Couples skipping instead of walking

when arming. A clap is often also added when changing from R arm to L. The clapping sequences

above coincide with each sequence: 1, 2, and 3. Couples can polka anywhere on the dance floor as

long as they end in a new circle each time to begin the next sequence.

Notated by Edwin Austin Brigham Young University



Hora Medura Israel

Hora Medura is a well-known, popular Israeli dance translated as “Bonfire Hora” or “Dance Around the Campfire”. It

was choreographed by Yoav Ashriel in the 1960's to a popular pioneer tune by Meir Walbe. This version was first

introduced to Ed Austin by Liat Menahemi, November 9, 1982.

Pronunciation OH-rah meh-doo-RAH

Formation: Single Circle, facing center

Position: In “W,” hands palm to palm, fingers together

Meter: 4/4

Measure Count Step

Intro. 16 Techno version; other versions vary slightly

Part I “Side-Togethers”, Fwd & Bk

1 1-2 Step R to R, close L to R

3-4 Repeat

2 5-8 REPEAT meas 1

3 9-12 Into the circle: Step R-L-R-Hop

4 13-16 Reverse meas 3

5-8 1-16 REPEAT meas 1-4 (bring arms to low “V” when backing out, cts. 13-14-15-16)

Part II Mayim

1 1-4 Grapevine CW beginning with R ft (XIF): R-L-R-L

2 5-8 Three running steps R-L-R (facing CW, bending over low at waist), Leap to L

(ct 4, straightening up)

3 9-12 Repeat meas 1 (only XIB)

4 13-16 Touch R Heel (twice) Arm move: up-down-up-down (ct 1-2-3-4)

5-8 1-16 Repeat meas 1-4

Repeat the entire dance from the beginning until the music ends

Note: Put a slight bend in the knees keeping the dance light and fun. (An additional bending action is emphasized during

the heel touch, (weighted leg straightening on the heel-touch, and bending on each pause giving an up-down movement).

The MAYIM Step is also known as a GRAPEVINE Step. (The original version is slightly easier for beginners and

children.)




Ed Austin


Jurelul Romania

Jurelul was only recently introduced in Romanian repertoire and comes from Ukraine via the region Maramureş. Like

Brâul, the steps are sharp, quick and energetic. This version was introduced in 2004 at Stockton Folk Dance Camp by

Sonia Dion and Cristian Florescu.

Pronunciation: zhoo-REH-lool

Formation: Single circle

Position: Hands held in “V”

Meter: 4/4

Measure Count Step

Intro.

Part I Zigzag

1 1-4 Moving Diagonally R Fwd: R-L-R-Lift (R heel; raising L ft to R leg)


3-8 Repeat meas 1-2 three more times

Part II Step-scuffs

1 1-4 Beginning R: Step-scuff, step-scuff, step-both (jump on both ft together)

2 5-8 Repeat meas 1

3-4 9-16 5 Step-scuffs, then step L- Both-Both (jump on both ft together twice)

Count: 1 & 2 & 3 & 4 & 5 & 6, 7-8

5-8 Repeat meas 1-4

Part III Side-Together-Sides

1 1-4 Facing Ctr: Step R-L (close to R) R-R (lift R heel; a “lazy” hop)


3-8 Repeat meas 1-2 three more times

Sequence: Parts 1-2-3, 1-2-3, 1-2-2

Note: The fun and energy of the dance increases as” jumps, stamps and scuffs” are added/improvised into

the basic steps presented above.


Brigham Young University Presented at KDI, 2012


Krivatvorena Serbian-Roma

Krivatvorena or “twisted dance” is a Serbian style dance of the Romani people (gypsies) which was taught to Lee

Otterholt by Ben Koopmanschaap. I learned this version from Lee at the Laguna Beach Festival, 2005.

Pronunciation KREE-vah-TVOR-eh-nah

Formation: Open single circle

Position: Hands held in low “V”

Meter: 4/4

Measure Count Step


Part I Hop Step-Steps

1 1-4 Facing Center: Hop L-step R(on heel, XIF)–step L (in place)

Hop L-step R (on ball, XIB)-step L (in place)

2 5-8 Repeat meas 1-2

3 9-12 Jump on both ft, (shoulder width), Hop R, Jump on both ft, Hop L

4 13-16 Grapevine LOD (begin side behind): Step R-L-R-L-R-L-R (ct. 1 & 2 & 3 & 4) pause

5-8 17-32 REVERSE meas 1-4

Part II Vlach Figure

1 1-4 Facing LOD: Step R-Hop, Step L -Hop

2 5-8 Turning to face center, continuing to move LOD: Step R – L(XIB) – R-Hop

3 9-12 Step-Hop L (fwd), Step-Hop R (bk) (arms swinging slightly fwd and bk )

4 13-16 Moving CW: Step on L heel (1), XIB on R ball (&), cont: 2 & 3& 4 (ending on L)

5-8 Repeat meas 1-4

Part III Traveling

1 1-4 Moving LOD: R-L(XIB) - R (on the balls of the feet), L-R(XIB) - L

2 5-8 Hop L- Step R, Hop R- Step L

3-8 9-32 Repeat meas 1-2 three more times

Repeat the entire dance until the music ends

Notes: The styling is sharp, fluid, and energetic, typical of many Romani dances.



Presented at KD1, 2012

Ed Austin


Ljiljino Kolo Serbia

Ljiljino kolo is a simple dance that is great fun for groups of all ages. This dance was taught to

Lee Otterholt by Ciga Despovic. I learned it from Lee in Salt Lake City in March, 2012.

Pronunciation lee-lee-noh KOH-loh

Formation: Single Circle

Position: Hands held in low “V”

Meter: 2/4

Measure Count Step

Intro. 16 No action

Part I Center and Back

1 1-2 Step R-Hop (Lifting L; swing XIF)

2 3-4 Step L-Hop (Lifting R; swing XIF)

3-4 5-8 Moving into circle: R-L-R (1-2-3-pause), L-R-L (1-2-3-pause) (raising hands to

“W”)

5-8 9-16 Moving out of the circle: Repeat meas. 1-4 (lowing hands to the original “V”)

9-16 Repeat meas 1-8

Part II To the Sides and Skipping

1-2 1-4 Step R to R, Step L(close), Step R to R, Touch L (close)

3-4 5-8 Reverse

5-6 9-12 Repeat meas 1-2

7-8 13-16 (Hopping a little bkwds) Hop R-Step L, Hop L – Step R, Hop R- Step L-R-L

(count: & 1 & 2 & 1-2-3)

9-16 17-32 Repeat meas 1-8

Notes: In Part II, meas 1-6, double bounce Serbian style.

A fun addition to Fig I. is to occasionally use the steps of measures 3-4 to change places in the

circle. But, as Lee says, “not everyone at once!” Notated by Edwin Austin



Robin Ddiog Wales

Robin Ddiog (Lazy Robin) is a well-known and popular couple’s mixer belonging to the family

of Tympath (toom-path) or Barn Dances found throughout Wales and danced in social settings.

It was devised by Lois Blake in the early years of the Welsh Folk Dance Society (1949) and

introduced during a Christmas gathering in Pant y Fedwen. I learned this version from Owen

Huw Roberts when visiting the Isle of Anglesey in 2002.

Note: This is different from the circle, non-partner dance also devised by Lois Blake and

introduced to many in the United States by Vyts Beliajus or Michael and Mary Ann Herman.

Pronunciation roh-bihn THEE-ahg

Formation: Double circle, couples facing (couple #1 CCW, couple #2 CW), W on the R

Position: W on the R, no contact

Steps: Walk

Meter: 4/4

Measure Count Step

Intro. 1 sustained note

Part I Star R & L

1-4 1-16 Couples #1 and #2: Star R (8 cts), Star L (8 cts)

Part II Arches (The arch always moves CW)

1-2 1-8 Couple #1 dives, couple #2 arches (both couples turn inward to face

again), Reverse

3 9-12 Couple #1 dives, couple # 2 arches (both couples advance on to the next

couple)

Notes: The music typically gets faster and faster to add to the fun. When this happens, the walking

step often changes to a skipping step during the star, and a clap is added.

The Welsh love to sing. They will often sing all of this song’s verses while dancing—

only then will the music speed up. An easier alternativefor non-welsh speakers is to

sing the chorus only during. This is sung during the arch figure.

English: Hi, di-ho, di-hi-di-hi-di-ho … And the wind blows through the doorway

Welsh: Hi, di-ho, di-hi-di-hi-di-ho … A’r gwynt i’r drws bob bore



Ed Austin


Koza Ukraine

Koza, (the goat), is a dance devised by Colleen West, Brigham Young University. It is composed of basic steps from the Poltava oblast (province) of central Ukraine. It was first introduced in the mid 1990’s. Pronunciation KOH-zah Formation: Double circle, couples facing, M on inside with bk to the center Position: No contact, hands on waist Meter: 4/4

Measure Count Step


Part I Side-Together-Side-Stamp

1 2 3-4

1-4 5-8 9-16

Step R to R, close L to R ft, step R to R, Stamp L (next to R) Reverse meas 1 Repeat meas 1-2

Part II Toe-Heel, 1-2-3 (Prytup)

1 2 3-4

1-2 3-4 5-8 9-16

Hopping twice on L: Place R toe (toe turned in), Place R heel (toe turned out) Leaping to R ft: R-L-R (1-2-3) Reverse meas 1 Repeat meas 1-2

Part III Walking Turn (Holubchuk)

1 2 3-4

1-4 5-8 9-16

R sides, R arms around waists, L arms raised: 4 Walks making 1 full turn CW 4 walks away from partner (clap on ct 8) Reverse meas 1-2

Part IV Heel-step, 1-2-3 (Prytup)

1 2 3 4

1-4 5-8 9-12 13-16

Step R (heel)- L ft (XIB), R-L-R (1-2-3) Reverse meas 1 1 full CW turn: Step R-L (to face new partner), then R-L-R (1-2-3) Step L (heel) Fwd – Step R ft Bk, L-R-L (1-2-3)

Repeat the entire dance from the beginning

Notes: With hands on waist, fingers can be in “fingers-fwd” or “fists” position.


Margotsvals Norway

Svein Olav Solli, Borghild Reitan (now Solli) and Margot Sollie introduced this dance as Margotsvals from the Røros area during Scandia Camp, Mendocino, 1997. I learned the dance from Roo Lester who believes this same dance is called Kalle P’s vals in Sweden.

Pronunciation: mahr-goht-vahls

Formation: Double circle, couples facing LOD/CCW Position: Inside hands held at shoulder height, “W;” closed or equilateral position Music: 3/4 meter; any Scandinavian waltz with 8 meas phrasing

Measure Count Step

Intro.

Part I Waltz; Change Places

1-2 1-6 Beginning with outside ft (M’s L, W’s R): 2 Waltz steps fwd facing LOD

3-4 1-6 Turn towards each other to face RLOD: 2 Waltz steps bkwd facing RLOD

5-6 1-6 Partners facing (M’s bk to center): 2 Waltz steps to change places (M passes under W’s R and M’s L arm) End facing (M ends facing center)

7-8 1-6 Repeat meas 5-6 (M ends bk to center)

Part II Turn W Under; Waltz LOD

1-2 1-6 Turning W CW under M’s arm, inside hands joined: 2 waltz steps

3-4 1-6 Turning W CW under M’s arm, changing to outside hands: 2 waltz steps

5-8 1-12 Couple waltzes LOD, turning CW (closed position or equilateral)

Dance continues until music ends (M progress during first 2 meas, W hold bk to receive new partner)

Notes: 1) The closed position refers to a ballroom position. 2) The equilateral position refers to W’s and M’s hands at shoulder blades, R hand below,

L hand above.

3) Dance the dance once through in the beginning with your original partner. 4) M progresses 1 person LOD during Part 1, meas 1-2 of each successive repetition.

Notated by Edwin Austin Brigham Young University Presented at KDI, 2012 Special thanks to Roo Lester

Ed Austin


t’Smidje “Pan European”

This is a popular dance among youth groups in Europe today (2011) and has many north

European variants. It is mostly being done to the song ‘t Smidje by the Belgian folk/rock group,

Lais. The dance is nearly identical to the older folkdances, Allemannsmarsj (Norway), Humppa

Mixer (Finland), and Progressive Gay Gordons(Scotland).

Pronunciation

Formation: Double circle, M on the inside, W on the outside, facing LOD

Position: M and W hold inside hands

Meter: 4/4

Measure Count Step

Intro. 32 + Begin counting with the singing. At the end of 32 cts, count an additional 1-2-3-4

Part I Running

1 1-4 Beginning with outside ft, Run LOD: 1-2-3-hop (turning to face bkwd)

2 5-8 Moving bkwd: 1-2-3-4

3-4 9-16 Reverse meas 1-2

Part II Jump Together and Away

1 1-4 Partners jump on both feet: Together and Away

2 5-8 M and W change places: W turns in front of M with the M leading her across

3 9-12 Repeat meas 1

4 13-16 M and W change places again: W runs(turns) in front to original side only one partner

fwd. M runs(turns) L to original side, one partner bk.

Notes: This dance is done in so many ways. Usually M begin L foot, W begin R foot. The beginning step

often is seen without a hop but, sometimes with two hops. The “jumping” together and away is sometimes

more of a “side balance” step or 1-2-3 step. And the progression to a new partner is done with or without

turns, and sometimes with W turning under the M’s arm. Each “village” has its own style and method.



Taught at KDI, 2012


Vicky Goodloe

Guide to Interpretation of Briefs for Scottish Country Dances

l THE REEL OF THE 51ST DIVISION

lll lV V Vll

Bars 32/Reel for 3 couples Vl RSCDS Book 13-10

Vlll

1-8 1st couple set, cast off 2 places, meet below 3rd couple and lead up to face 1st corners.

9-16 1st couple set to and turn 1st corners once round, join left II hands with partner and balance in line; turn left hands to

face 2nd corners. 17-24 1st couple repeat set to, turn and balance in line with 2nd

corners;

turn left hands to finish in 2nd place on own sides.

25-32 2nd, 1st and 3rd couples dance 6 hands round and back.

l Name of dance.

ll

Dance is usually divided into phrases of 8 bars each. In this case, there are four major phrases. Except where slip step is used (as in bars 25-32 above), “bars” can be used interchangeably with “steps”. One travelling or setting step equals one bar of music.

lll Number of bars to complete the dance one time through.

lV Type of dance – reel, hornpipe, jig, strathspey or waltz.

V

Number of couples needed to complete the dance once through. This refers to the type of progression, not the number of couples needed to make up a set (AAll longwise sets consist of 4 couples unless otherwise indicated.) In a 2-couple dance, 2 couples are required to complete all the figures before beginning again. Thus, the top couple may dance 3 times through before they reach the bottom of the set. In a 3-couple dance, 3 couples are needed to complete the figure, and the top couple dances twice through before reaching the bottom. In a 4-couple dance, all couples are required, and the top couple dances once through to the bottom.

Vl All dances are in a longwise set unless otherwise indicated. Squares, circles and special instructions pertaining to the dance are usually given here.

Vll

Publication source of the dance. Most are from the Royal Scottish Country Dance Society, abbreviated RSCDS. Non-RSCDS publications are listed by the book name, or by the devisor’s name in the case of single leaflets. Unknown sources of dances in circulation are simply listed “Leaflet”.

Vlll

Instructions for the dance, given in 2, 4 or 8-bar phrases.

“Guide to Interpretation of Briefs…. “

by Vicky Goodloe, February,2003

Vicky Goodloe


Boston Two Step

Old Tyme Sequence

Couples with nearer hands joined facing counter-clockwise around the room Start with outside foot – instructions for man

Bars

1-2 Pas de basque away, together, 3-4 Walk 3 steps forward; turn inward to face other direction and

touch (L,R,L, touch). 5-8 Repeat 1-4, finishing facing partner with both hands joined. 9-12 Pas de basque L,R, two side steps along LOD 13-16 2 waltz turns along LOD.

Boots and Ghillies Bars 32-bar Scottish Line Dance John Rogers Leaflet, 9/2004

Clay City, Kentucky Introduction: Stand for 32 bars and feel the music!

1-8 Extend right foot to 2nd position (1), place right foot in 3rd rear aerial position (2),

place right foot on ball in 3rd position (3), extend right foot to 4th position (4); walk

forward 3 steps, R,L,R, touch left toe to 1st position (5,6,7,8). Repeat contra

(counts 9-16).

9-16 Repeat bars 1-8. 17-24 Pas de basque right, left (1&2, 3&4), Roll right 3 steps and touch (turn clockwise

and to the right once round with 3 steps, R,L,R, touch L toe to 1st position (5,6,7,8). Repeat contra: pas de basque L, R, roll 3 steps to left and touch (9-16). Note: Clap hands once on counts 8 and 16.

25-28 Point right toe to 2nd position (1), step onto R foot into 3rd rear crossed position

(2); point L toe to 2nd position (3), step onto L foot into 3rd rear crossed position

(4); repeat counts 1-4 (5-8).

29-30 Three paddle steps with right foot in 2nd position: Place R foot in 2nd position

with knee relaxed; push with extended R foot making 1/4 turn to left. Repeat push and 1/4 turn twice more, finishing with stamp on right foot placed slightly forward in 4th position (1,2,3,4).

31-32 Step forward left foot, rock back on right foot (5,6); step back left, step on right foot in 1st position, and step forward on left foot (7 and 8). Note: bars 31-32 is a slow, slow, quick, quick, slow movement.

Recording: “Traditional Jigs” on Tried & True by Clann An Drumma

Notes and presentation by Vicky Goodloe for Kentucky Dance Institute, July, 2012


Canadian Barn Dance

Old Tyme Sequence

Couples with nearer hands joined facing counter-clockwise around the room. Start with outside foot – instructions for man

Bars

1-4 Walk forward 3 steps and hop; back 3 steps and hop; 5-8 Walk 3 steps to the side away from partner (side, behind, side, hop –

clap may be added on hop); 3 steps and hop back to partner.

9-12 With nearer hands joined and moving along LOD, walk 3 steps and hop twice.

13-16 Man walk forward 3 steps and hop twice, while partner cast off round her right shoulder to meet next man behind her.

Catching Fireflies Bars 32/Reel for 3 cpls. Kim Jorgensen Leaflet, 7/10/1994

Kathy Wendell

1-8 1st and 2nd couples dance right hands half across and set; 1st

and 3rd couples dance left hands half across and set.

9-16 1st couple cast up behind the 3rd couple, dance into the centre and up to the top,

2nd couple stepping down; cast off into 2nd place and Petronella turn to finish in

lines of 3 across the dance, woman between the 2nd couple, and man

between the 3rd couple.

17-24 All advance and retire. 1st couple dance 1/2 Reel of Three across the set, giving

right shoulder to the person on their right to begin. 1st couple finish in 2nd place

own sides (or in the middle of the set if dancing the option below.)

25-32 2nd, 1st and 3rd couples dance 6 hands round and back.

Repeat from 2nd place.

OPTION: The first time through the dance, 1st woman is “caught” in the middle and can set, clog, or step dance for 6 bars as the others circle around her, and she dances to 2nd place on own side on bars 31-32. 1st man is “caught” the second time through and dances likewise. Circling dancers let go of hands in time to let the center dancer reach second place on the side lines.


Vicky Goodloe


Cramond Bridge Bars 32/Reel for 3 couples V. Farr, London Jubilee Bk.

1-8 1st couple, giving right hands, cross and cast off one place, 2nd couple stepping up; cross giving left hands, woman cast up and man cast down one place to finish in promenade hold facing the 2nd man.

9-12 1st couple dance 1/2 diagonal reel of three with 2nd man and 3rd woman,

giving right shoulders to begin. 1st couple finish facing 3rd man; 13-16 1/2 diagonal reel of three with 3rd man and 2nd woman, again giving right

shoulders to begin. 1st couple finish facing 3rd and 2nd men who are now are opposite side.

17-20 1st couple, dropping right hands, lead out between the 3rd and 2nd men; woman , crossing in front of her partner, cast up around the 3rd man while man cast down round the 2nd man. 1st couple meet in the center

21-24 1st couple turn one and 1/4 round with right to finish facing the top; at same time, 2nd and 3rd couples dance half rights and lefts to own side.

25-32 1st couple, with right hands joined, lead up to top and cast off one place on own sides; 2nd, 1st and 3rd couples turn partner once round with right hands.

Eva Three Step Old Tyme Sequence

Couples with nearer hands joined facing counter-clockwise around the room Start with outside foot – instructions for the man

Bars

1-2 Walk 3 steps forward and point (L,R,L and point R); 3-4 Woman crosses in front of her partner with 3 steps and point,

while man crosses behind woman 3 steps and point (R,L,R and point L). Rejoin nearer hands after crossing.

5-6 Repeat 3-4 with man crossing in front of woman (no turns on the crossings.) 7-8 Walk backward 3 steps and touch, finishing in ballroom hold. 9-12 2 side steps along LOD, 2 side steps back. 13-16 2 waltz turns along LOD.



Ferla Mor Bars 32/Reel for 3 couples John Drewry Deeside Bk 1

1-8 1st couple set, turn ½ round with right hands to 2nd place on opposite sides; set again and turn with the right hands to finish with woman facing her 1st corner and her partner behind her.

9-16 1st couple dance a Tandem Reel of 3 with 1st corners, giving right shoulders to begin. Finish facing the woman’s 2nd corner.

17-24 1st couple repeat bars 9-16 with the 2nd corners; finish by turning left hands to face own 1st corners.

25-32 1st couple turn 1st corners with the right hand; pass partner in the middle with right shoulder; turn 2nd corners with the right, and cross, giving right hands to finish in 2nd place on own sides.

The Ferryboat Bars 32/Reel for couples in a single circle Carolyn Hunt Let’s All Dance

1-8 Men advance to the center and retire; all circle to the left. 9-16 Women advance to the center and retire; all circle to the right. 17-24 Grand Chain, giving right, left, right and left hands; join 2

hands with the 5th person. 25-32 All slip to the center and back; turn right hands once round to finish with all

facing the center.

Happy Trails Bars 32/Strathspey for 4 couples Vicky Goodloe Leaflet

1-8 Reel of 4 on own sides of the dance, 1st and 3rd couples facing down and

2nd and 4th couples facing up to begin.

9-16 1st couple, followed by 2nd , 3rd and 4th, dance down the

middle and up, 2nd, 3rd and 4th couples dividing to let the 1st

couple lead up to original places.

17-20 1st and 2nd couples set on the sides and give right hands

1/2 across;

21-24 1st and 3rd couples set and give left hands 1/2 across;

25-28 1st and 4th couples set and give right hands 1/2 across;

29-32 All advance, using the 2nd step to turn 2 hands with partners

1/2 round to own sides, and all retire.


Vicky Goodloe


Janet’s Delight

Bars 32/Waltz for 4 couples in a square set

1st figure: 1-16 All 4 couples, with hands joined, dance 2 steps forward and 2 back,

dance back to back with partner passing right shoulders to begin; Repeat forward and back, dance back to back with corner, giving left shoulders to begin.

17-32 Repeat bars 1-16.

2nd figure: 1-16 4 women, giving right hands across in a wheel, dance 2 steps forward

and turn the next man once round with the left hand; repeat this figure

3 more times.

3rd figure: 1-16 With hands joined in promenade hold, all dance in counter-clockwise

direction 2 steps; men then waltz in front of partner (hands still joined) to change places. All dance 2 steps forward and ladies cross in front. Repeat men crossing and women crossing once again round to original places.

4th figure: 1-16 With hands joined in circle, all balance forward and back, then women cross in

front of man on their right to finish in his partner’s place. Repeat 3 more times.

5th figure: 1-16 In ballroom hold, all waltz with partner once round circle in counter-clockwise

direction.

Let’s Have a Ceilidh Bars: 32/Reel for 4 couples Robert Campbell, Glasgow Assembly

1-8 1st and 4th couples (working couples)cross over giving right hands; 1st couple cast off while 4th couple cast up, inside couples step up or down; working couples left hands across to finish facing corner dance they had just cast around.

9-16 All set to corner dancer they are facing and give right hands to change places; all set again and change left hands to finish with working couples facing clockwise in the middle and the corners back in corner places facing counter- clockwise.

17-24 Working couples dance 4 hands across and back to finish on opposite sides in 2nd and 3rd places. At same time, corner dancers chase counter-clockwise round outside of set to finish in corner positions.

25-32 With hands joined on sides, all set (2); working couples turn partners half round with right hand (2); releasing hands with partner, 1st woman and 4th man turn half round with left hands while their partners chase clockwise half round the turning dancers (2); working couples, giving right hands to their partners, cross over to finish on their own sides (2). Finishing order is 2,4,1,3.


Nimbus 2002

Bars 80-bar Reel for 4 couples in a square set Vicky Goodloe

1-8

9-16

17-24

All circle to left half-way with 8 slip steps; 4 women right hands half across and turn the opposite man once round with the left hand. 4 women right hands half across and turn partner with left hand to finish on his right; all circle to right half-way to finish in original places. 4 men left hands across half way; turn the opposite woman once round with right hand; repeat, men left hands half

across; turn partner 3/4 round with right hands to finish in own

place with men facing in and women facing out.

25-32 Half Schiehallion Reel with men leading; 4 men travel to next

woman’s place on their right while the 4 women dance

round their right shoulders into their partners’ place (2 steps); 4

women travel to next woman’s place on their right while the

men dance round their right shoulder into the man’s position

(2 steps); Repeat bars 25-28 to finish with the 4 men

dancing into the center ready to give left hands across, and

the 4 women turning by right shoulder to give left hand to

partner, all facing counter-clockwise.

33-40 Men dance left hands across twice round while their partners

dance forward for two steps, then cast off one place to finish

with left hand joined with the opposite man; forward for 2

again, then cast off one place and pass partner by the right

shoulder to finish with all in their partner’s place, women

facing in and men facing out.

41-48 Half Schiehallion Reel with women leading. Finish with women

into the center ready to give left hands across, and men

turning by right shoulder to give left hand to partner, all

facing counter-clockwise.

49-56 Repeat bars 33-40 with women dancing left hands across and men casting.

57-64

Finish with 4 women back to back in center of dance facing partners on outside.

1st

and 3rd

couples dance 1/2 reel of four and turn partner

right hands once round on opposite sides. At same time, 2nd

and 4th

couples turn partner right hands round on own sides,

then dance 1/2 reel of four to opposite sides.

65-72 Repeat bars 57-64 back to own sides.

73-80 All dance 8 hands round to the left. On bar 76, the first man,

releasing hands with the woman to his left, continue dancing

in front of that woman, leading the circle into a spiral with

himself at the core of the spiral figure. On the last count of the

last bar, he raises his left hand in triumph, having “caught” the

Golden Snitch.

Vicky Goodloe


Nineteenth of December Bars: 32/Jig for 2 couples RSCDS Bk. 27/2

1-8 1st and 2nd couples set to partners and cross over giving right hands;

clap 3 times and cross back to place giving right hands. 9-16 1st and 2nd couples dance right hands across 1/2 way and set; all clap

3 times and dance left across back to places. 17-24 1st couple lead down the middle and up. 25-32 1st and 2nd couples dance 1/2 rights and lefts; all clap 3 times and

cross back to own sides giving right hands.

Palais Glyde (or Glide) Old Tyme Sequence

Couple facing counter-clockwise around the room with hands in Varsouvianne hold. Instructions are same for man and woman.

1. Palais Glide step to right: Point left foot diagonally forward

(slow), step back on left foot (quick), step to side with right foot (quick), step left foot forward (slow).

2. Palais Glide step to left: Point right foot diagonally forward (slow), step back on right (quick), step to side with left (quick), step right forward (slow).

3. Palais Glide step to right. 4. Cross right foot over left and hop on right, cross left over right

and hop; 5. Repeat cross right over left and hop; cross left over right,

finishing with right leg extended to 4th rear aerial position. 6. Sweep right leg forward to 4th aerial position (slow); 3 quick

steps forward, right, left, right.


The Piper and the Penguin Bars 88/Reel for 4 couples in a square set Roy Goldring Scotia Set

1-8 4 women, passing right shoulders to begin, dance once round their

corner and into the centre of the dance to give right hands across once round.

9-16 Women dance left shoulders round their partners and give left hands across once round to finish in original places.

17-24 4 men, passing right shoulders, dance once round their partners and into the centre to dance right hands across once round.

25-32 Men pass left shoulders round their corners and dance left hands across once round to finish in original places.

33-40 1st and 3rd couples turn their partners 1 and 1/4 round with the

right hand; 1st man, followed by his partner, dance out between the

4th couple and back to places while the 3rd man does the same,

dancing out between the 2nd couple.

41-48 1st and 3rd couples dance rights and lefts.

49-64 2nd and 4th couples repeat bars 33-48. 65-72 4 women dance into centre for 2 steps, and turning right about,

dance out for 2 and cast clockwise round the outside of set to finish in opposite woman’s place.

73-80 4 men dance in for 2, turn left about and dance out for 2; cast counter-clockwise to opposite places.

81-88 All turn partners once round with right hands into promenade hold (4); all promenade half round the set to original places.

Progressive Gay Gordons Old Tyme Sequence Bars Couple facing counter-clockwise around the room with

hands in Varsouvianne hold. 1-2 4 walking steps forward, pivoting on last step to face against

LOD (stay on own side of dance.) 3-4 4 steps backward; 5-6 4 steps forward, pivoting on last step to face LOD; 7-8 4 steps backward, finishing with nearer hands joined. 9-12 Soft pas de basque together, away; cross, woman in front of

man with 4 steps to finish in each other’s place. 13-16 Soft pas de basque together, away; forming an arch

with inside hands, woman walks under the arch and back to the ext man ending on his right facing LOD, while man walks forward to meet the next woman facing LOD.

Vicky Goodloe


Round Reel of Eight Bars: 88/Reel for 4 couples in a square set RSCDS 27/7

1-16 All 4 women cast round right shoulders and chase clockwise round

outside of set; 4 men cast round left shoulders and chase counter-clockwise round outside of set.

17-32 All dance Grand Chain 1/2 across in 6 steps; meet partner and set; Repeat 1/2 Grand Chain and set in original places. 33-40 1st and 3rd couples change places, 1st couple dancing between the

3rd (3); repeat, 3rd couple dancing between the 1st (3); 1st and 3rd couples turn partners with right hands into allemande hold ready for promenade.

41-48 1st and 3rd couples promenade around inside of the side in a counter-clockwise direction.

49-64 2nd and 4th couples repeat bars 33-48, 2nd couple dancing between the 4th, followed by 4th couple dancing between the 2nd.

65-72 1st and 3rd couples 1/2 rights and lefts; 2nd and 4th couples 1/2 rights and lefts. 73-80 Repeat bars 65-72 to original places. 81-88 All dance 8 hands round and back.

Sandy O’er The Lea Bars: 32/S for 2 cpls. MMM 1

1-8 1st and 2nd couples 4 hands across and back.

9-16 1st and 2nd couples set and cross over to opposite sides giving right

hands;repeat back to places.

17-24 1st couple, followed by 2nd, lead down the middle and up, 2nd couple

dividing on bar 21 to let 1st couple dance through.

25-32 1st and 2nd couples change places with the Allemande.


Seann Truibhas Willichan Bars: 32/Strathspey for 2 couples RSCDS 27/9

1-8 1st couple cast behind own lines for 4 steps and cast back to places. 9-16 1st woman and 2nd man set and change places with right hands while

1st man and 2nd woman change places with right hands and set; repeat back to places.

17-24 1st couple lead down for 2, turn once round to face the top on own sides, lead up to the top and cast into 2nd place, 2nd couple stepping up.

25-32 2nd and 1st couples set on the sides, turn partner once round with 2 hands; 2nd and 1st couples 4 hands once round to left.

Trip to Bavaria

Bars: 32/R for 4 cpls. MacGregor-Brown

1-4 1st and 4th couples cross over giving right hands to partners while 2nd

and 3rd couples dance right hands across 1/2 way; top 2 and bottom 2 couples change places on the sides giving left hands.

5-16 Repeat bars 1-4 three more times to finish in original places.

17-24 1st and 2nd couples set facing up and down the dance, 1st couple cross

down to 2nd place on opposite sides, 2nd couple dancing up one place; 1st

couple set to 3rd couple, cross down to 3rd place on own sides, 3rd couple

dancing up;

25-32 1st couple set to 4th couple and cross down to opposite sides in 4th place,

4th couple dancing up; all advance for 2, 1st couple turn 2 hands to own

sides, and all retire for 2.



Charlie Wheatley

Tea Cup Chain Head ladies part: Head ladies move into the center and star by the right 3/4; walk out of the

star to their corner man for a left arm turn; drop hands with this man and move counterclockwise

to original opposite man for a right arm turn; move into the center and star by the left 11/4; walk

out to the side man for a right arm turn; drop hands with him and move counterclockwise to

partner for a courtesy turn.

Side ladies part: As the head ladies move into the center, the side ladies will move to the right

to their corner man for a right arm turn; move into the center and star by the left 11/4, walk out

of the star to original opposite man for a right arm turn; drop hands with this man and move

counterclockwise to head man for a left arm turn; move into the center and star by the right 3/4;

walk out of the star to original partner for a courtesy turn.

The ladies must remember to alternate hands- do not use the same hand twice. All four ladies,

working simultaneously, will reach their partner at the same time for a courtesy turn.

Head men's part: The head men will receive the ladies from the left and put them into the center

for a star

Side man's part: The side men will take the ladies out of the center and send them to the man on

the right.

The man must take whatever hand the lady gives him. This means that in some cases the men

will use the same hand twice, this is alright. The men must be sure to guide the ladies either to

the center or to the right, so the ladies will have no doubt as to the next direction they are to go.

Tea Cup Chain can also be called with the side ladies going to the center and the head ladies

going to the right.

Load the Boat From lines of four : Ends circulate on the outside passing three people right shoulders and 1/4

in to face the center immediately after passing the third person to stand beside them.

Centers pass thru, 1/4 out, partner trade and pass thru to end in a eight chain thru position.

From lines of four with ends facing out, centers facing in, you end in a static square with two

couples facing out.


Jody Trautwein

The Bear Went Over The Mountain

Type: Play Party – Singing Game

Formation: Single circle no partners, hands joined in circle facing center

Music: This dance is best done singing rather than using music so you can pace it to the

children.

The Bear Went Over the Mountain’, Folkraft 1337, also listed, “We Won’t Go

Home ‘til Morning”, English Folk Dance for Young People, EMI record limited

Vol. 4 – 7EG-8717.

WORDS TO SING ACTIONS

1

“The bear went over the mountain” Sing 3 times “To see what he could see.”

All skip, or walk, to the left while singing the words. Put the right hand up and look to the right.

2 Repeat 1, then add an additional “To see what he could see.”

Put the left hand up and look to the left.

3 Repeat 1 - 2, then add an additional “To see what he could see.”

Kneel on right knee


Kneel on left knee


Put right elbow on floor


Put left elbow on floor


Put forehead on floor

Jody Trautwein


Scratch

Type: American Play Party

Formation: Single circle, no partners, all face center. One player in center.

Music: Green Onions, Stax Record #S-127 or Tennessee Wig Walk, Decca 9-28-846

By: As Taught by Shirley Fort

COUNTS ACTION

1 – 8 Make a claw of the right hand. Bending to the floor, make like a chicken, and in 8 counts emphasizing each beat of the music, bring the hand up over the head. The body rises with the hand. (8 counts)

9 – 16 REPEAT WITH THE LEFT HAND. (8 counts) 17 – 24 REPEAT WITH THE RIGHT HAND. (8 counts) 25 – 32 REPEAT WITH THE LEFT HAND. (8 counts) 33 – 48 Tuck thumbs in armpits, flap elbows like a chicken flapping wings. Turn

around in place. (16 counts) 49 – 56 Player in the center will make some motion that all others must imitate. (8

counts) 57-64 Player in the center of the circle then chooses someone to take their place.

(8 counts) NO MOTION CAN BE REPEATED


Bluebird

Type: Play Party – Singing Game

Formation: Single circle, facing center. Hands joined and raised to form arches. One dancer,

the “Bluebird”, stands outside the circle.

Music: This dance is best done singing rather than using music so you can pace it to the

children. Folkraft F1180

By: Unknown

MEASURES WORDS TO SING ACTIONS

1-6 “Bluebird, bluebird, through my window” (total of 3 times)

The “Bluebird” weaves in and out of the circle through the arches

7-8 “Oh, Johnny, I am tired.” Arches close allowing the “Bluebird” to leave the circle and stop behind a dancer in the circle.

9-14 “Take a little boy (or girl), tap them on the shoulder” (total of 3 times)

The “Bluebird” taps the dancer lightly, in rhythm, on the shoulders, finishing with the hands remaining on the chosen dancer’s shoulders. The chosen dancer will be the next “Bluebird”.

15-16 “Oh, Johnny, I am tired.” Both “Bluebirds” enter the circle in the manner of a train, ready to begin the dance again.

REPEAT

Variations: Start with two or more “Bluebirds”, particularly if the group is large. Use the names of different birds that match the “Bluebird’s” clothing or that the children like.

Jody Trautwein


Pop Goes the Weasel

Type: American Play Party

Formation: Double Circle, Couple facing couple. Couples facing CCW are #1, couples

facing CW are #2.

Music: World of Fun M 104, RCA EPA 4138, RCA LPM 1623.

By: Unknown


1-2 “’Round and round the cobbler’s bench, The monkey chased the weasel,”

All join hands and walk once around to the left,

3 “The Monkey thought ‘twas all in fun,”

All step forward two steps and two back,

4 “Pop goes the Weasel!” Couple #1 pops under the arch made by couple #2 and faces a new couple. Start dance over.

ADDITIONAL VERSES TO SING:

Up and down the City roads

In and out the Eagle

That’s the way the money goes

Pop goes the weasel.

A penny for a spool of thread

A penny for a needle



Mary’s got the whooping cough,

Johnny’s got the measles



All around the vinegar jug

The monkey chased the weasel

The monkey though ‘twas all in fun


You may buy the baby clothes

I will buy the cradle



Round and round the market house

The monkey chased the weasel

The preacher kissed the peddler’s wife



Bridge of Avignon

Type: French Folk dance

Formation: Double circle, couples all facing counterclockwise, Lady on the right inside hands

joined.

Music: “First folk Dances” RCA LP 1625, FDCD-052, RCA EPA 4144

By: Michael Herman

PARTS WORDS TO SING ACTIONS

A “On the Bridge of Avignon They are dancing, they are dancing, On the Bridge of Avignon They are dancing in a ring.”

Skip counterclockwise.

B “Gentlemen all do this way, then they all do this way.”

Partners all face each other, and with great mimicry, make an elaborate bow. Then move one place to the right and bow to the next partner. Keep this new partner for the next round of the dance. NOTE: that girls bow like the men here.



C “Ladies all do this way, then they all do this way.”

Partners face and curtsy, the boys holding their trousers out, pretending to be girls. Again, this is done with a great dal of exaggeration. As before, do it once with one partner, then move to right and repeat with new partners. Retain new partner as you skip forward:



D “Soldiers all do this way, etc.”

Salute

E “Angels all do this way,”

Pray, fly

F “Street boys all do this way” Stick thumbs in ears and wiggle fingers as you stick tongue out, or thumb nose at each other or other rude gestures.

There is one additional repeat of music for teachers or dancers to improvise their own action.

Variation: Do the dance in a single circle varying the direction to keep the chilcren on their

toes. The dancers bow left and right.

Jody Trautwein


The Bunny Hop

Type: Novelty Dance

Formation: No partners. All join in a line behind the leader. Each person places their hands on

the hips of the person in front of them (conga line).

Music: LS E-47 or Capitol 6026 or Macgregor 6995 “The Bunny Hop”.

By: Unknown

Description: BEATS ACTIONS 1 – 4 All touch right heel to the right. Bring foot back alongside left foot.

Repeat and then finish with the weight on the right foot. 5 – 8 All touch left heel to the left. Bring foot back alongside right foot.

Repeat and finish with weight on both feet. 9 – 12 On both feet jump forward, pause, mump back, pause.

13 – 16 Then jump (quickly) forward 3 times and pause.

Hokey Pokey Type: Novelty Dance

Formation: Single circle, everyone facing the center. It can also be done in scattered groups.

Music: LS E-38 or Capitol 6026 or MacGregor 6005 “Hokey Pokey”.

Description: BEATS WORDS TO SING ACTION

1 – 8 “You put your right foot in, You put your right foot out.”

Each person turns to place their right foot toward the center of the circle and then turns halfway around to place the right foot away from the center of the circle.

9 – 16 “You put your right foot in And you shake it all about.”

Turn halfway again and place the right foot in and then lift the foot and shake it.

17 – 24 “You do the Hokey Pokey and you Turn yourself about.”

Hold your hands over your head and turn once around while shaking your hands in the air.

25 – 32 “That’s what it’s all About.”

Clap your hands 4 or more times.

Note: You may wish to reverse direction to keep from getting dizzy. In place of the Right Foot you can substitute Left Foot, Right Hand, Left Hand, Right Elbow, Left Elbow, Head, Whole Self and Backside. The Capitol Records version has a vocal. With young children, don’t emphasize right and left, for example, “Put your hand in.” Vary body parts to keep them listening.


Never on Sunday

Type: Greek Circle Dance

Formation: Single Circle

Music: United Artists Record No. 234.

By: Art Schrader (Buffalo, NY)

PARTS MEASURES ACTIONS

A 1 – 2 Step Right, pause, Point Left, Grapevine to Right (Step Left behind, right side, left front, Right swing around to face L)

B 3 - 4 Moving to the left, 2 step (R, L close, R) and backing up 2 step (back L, close R, back L)

Repeat as necessary

Variations:

For both variations, dance PART A the same as above.

For PART B:

Doubles: Cross Right, close Left, cross Right, cross Left, close Right, cross Left

Singles: Slow Crosses: R over L, L over R, R over L, L over R

Which variation is danced is determined by the leader who signals that there is a

change by shouting “Hopa!” Dancers follow what the leader does.

Tennessee Wig Walk

Type: American Novelty Dance

Formation: Couples in a ring facing partners. Gent’s back to the center, Lady’s back to the outside.

Music: Green Onions, Stax Record #S-127 or Tennessee Wig Walk, Decca 9-28-846

By: Unknown

PART I: Join Right hands. Point left toe to front, then to side.

(Cue: Point and a Point)

Move sideways to the Right with three steps (LRL). Left foot going in back of Right,

Right to the side, Left beside Right. Change hands as you take these three steps to left

hand hold.

(Cue: walk 2,3)

Holding Left hands, point right toe Forward and to the Right side.

(Cue: Point and a Point)

Take three steps sideways to the Left (RLR). Step on Right foot in back of Left, Left to

the side. Bring Right foot down beside Left.

(Cue: Walk 2,3).

PART II: Rejoin Right hands, bending elbow, to bring you closer to partner. Now turn clockwise as

a couple in place with three schottische steps: Walk, 2, 3, hop, Walk, 2, 3, hop, Walk 2, 3,

hop. You turn only once around.

Now with three walking steps. . . . . progress forward around the circle to the next person

(RLR).

Repeat dance from the beginning.

Jody Trautwein


Gustav’s Skol

Type: Swedish Singing Dance

Formation: Square set. Partners join inside hands, shoulder high, place outside hands on hips.

Music: Michael Herman Festival Folk Dances (57) “Gustaf’s Skoal”

By: Unknown

PARTS WORDS TO SING ACTIONS

A “A toast we pledge, To Gustav, who is brave and true.”

Head couples advance to the center of the set 3 steps, bow, and back to place.

B “A toast we pledge, To Gustav, brave and true.”

Side couples take 3 steps to the center, bow, and back to place.

A “A toast we pledge, To Gustav, who is brave and true.”

Head couples advance to the center of the set 3 steps, bow, and back to place.

B “A toast we pledge, To Gustav, brave and true.”

Side couples take 3 steps to the center, bow, and back to place.

C “Tra la la la, la la la la la la, Tra la la la, la la la la la la, Tra la la la, la la la la la la, Tra la la.” Repeat

Side couples form an arch with inside hands. Head couples move together in the center, partners separate to right and left, join hands with the opposite, and go under the arch formed by the couple on their side of the set. Through the arch active couples drop hands, separate to right and left again, returning to partners in original places. Both join hands with partner, lean away from each other, and swing around vigorously. While the “tra-lal-la’s” repeat, repeat the action, with the head couples forming the arches and the side couples active.

Variation: Stealing Partners. In PART C, extra persons may steal partners after the dancers have passed under the arch. Person who loses partner may steal another in the same manner. An extra couple may steal an entire space by joining hands and swinging in the home place of an active couple.


Paw Paw Patch

Type: Play Party Game

Formation: Longways set of six or more couples, facing head of the room.

Music: World of Fun

By: Unknown

VERSES WORDS TO SING ACTIONS

1 Where, O where, is sweet little. . . (use first name of head lady)? Where, O where, is sweet little. . . ? Where, O where, is sweet little. . . ? Way down yonder in the paw paw patch.

Head lady casts off and skips clockwise around the outside of the entire set and back to place.

2 Come on, boys, and let’s go find her, Come on, boys, and let’s go find her, Come on, boys, and let’s go find her, Way down yonder in the paw paw patch.

Head lady repeats her action as in Verse 1, followed by all the men in line led by head gent. All return to place.

3 Pickin’ up paw paws, put ‘em in her pocket, Pickin’ up paw paws, put ‘em in her pocket, Pickin’ up paw paws, put ‘em in her pocket, Way down yonder in the paw paw patch.

Partners join inside hands and skip around the same course as in 1. and 2, following the head couple, and back to place. As they skip they “pick up paw paws” with the free hand. As soon as all are back in place, head couple separates, casts off, and moves to foot of the set where they remain.

Variations: On VERSE 3, heads cast off and lines follow them. At the bottom of the set the

heads form an arch and other couples dance through to new places.

Jody Trautwein


Alabama Gal


Formation: Longways set, four to twenty couples.

Music: World of Fun

By: Helen and Larry Eisenberg, And Promenade All

VERSES WORDS TO SING ACTIONS

1 Come thru’ in a hurry, Come thru’ in a hurry, Come thru’ in a hurry, Alabama Gal.

Head couple joins inside hands and slides 8 steps down the inside of the set, then 8 steps back to the head of the set.

2 I don’t know how, how, I don’t know how, how, I don’t know how, how, Alabama Gal.

They reel down the set. When they reach the foot of the set, they take their places in their respective lines. The couple left at the head of the set becomes the new lead couple. They begin the action with the beginning of VERSE 1, even though the first couple may have not completed reeling.

3 I’ll show you how, how, I’ll show you how, how, I’ll show you how, how, Alabama Gal.

4 Ain’t I rock candy? Ain’t I rock candy? Ain’t I rock candy? Alabama Gal.

Variation: A longways set of four couples. Dance is the same through 3, which completes

the reeling. On 4, head couple walks to the head of the set, turns, and struts to the

foot.


Goin’ Down to Cairo (Kay-ro)


Formation: Single Circle of any number of couples, facing center, lady on man’s right.

Music: World of Fun

By: Handy Play Party Book

WORDS TO SING ACTIONS

Goin’ down to Cairo, good-bye and a bye bye, Goin’ down to Cairo, good-bye Liza Jane. Black them boots and make them shine, good-bye and a bye bye, Black them boots and make them shine, good-bye Liza Jane. (repeat as necessary)

1. Circle moves clockwise, single file, man in front of his partner (16 counts) 2. Men face partners for a grand right and left around the ring, each doing a complete circle returning to partner. 3. Each man swings each lady in the circle once around, beginning with his partner and moving counterclockwise around the circle. 4. Each man swings the partner he has ended with twice around, then promenades once around the ring and back to place.

Variation: To make the game more fun, the leader may shout “Kay-ro” at any time, which is

the signal for all dances to reverse the direction of whatever figure they are doing

and continue in reverse direction, until the leader again shouts “Kay-ro”.

Jody Trautwein


Fireman’s Dance

Type: Early American Dance

Formation: Two couples in a line facing two couples in a line, contra fashion, man with

partner on his right, to form a set of eight. One line faces clockwise, the other

counterclockwise. These sets of eight form a large circle about the room, wheel

fashion.

The two couples on the outside of the sets are designated the here couples,

probably because they are closest to the caller as the sets pass him by. The two

couples on the inside of the sets are designated the there couples.

Music: World of Fun

By: Unknown

Actions: 1. Here man and here lady move back a step and slide or gallop 8 steps down the

outside of the set toward the center of the circle and 8 back to place (16 counts).

At the same time, there man and there lady join hands and slide or gallop 8 steps

down the inside of the set to the outside wall and 8 steps back to place.

2. Reverse action 1 with here man and here lady sliding inside the set to the

center; there man and there lady sliding outside the set to the wall.

3. The two here couples do a ladies chain while the two there couples do a right

and left through (16 counts).

4. The two here couples do a right and left through, while the two there couples

do a ladies chain (16 counts).

5. Join hands up and down the lines. Sets move together with 4 steps. As the line

moves, joined hands are raised high as the dancers shout “Fire! Fire! Fire! Fire!”

The lines return to place with 4 steps, lowering hands (8 counts).

6. Drop hands and walk through the opposite line, passing right shoulders to meet

a new line of four and form a new set (8 counts).

Variations: For small groups have only 2 couples face and individual dancers do the here and

there movements.

Simplified version:

1. Only the here man and here lady gallop down the inside of the set and back to

place.

2. Only the there man and there lady gallop down the inside of the sets and back

to place.

3. All couples do ladies chain.

4. All couples do right and left through.

5. “Fire! Fire! Fire! Fire!” Back to Place.

6. Forward and pass through.


La Raspa

Type: Mexican Dance

Formation: Either free formation with couples around the room, or couples in a circle, the

men with their backs to the center.

Music: World of Fun

By: Unknown

Actions: Chorus:

Partners face each other and join both hands. Both hop on left foot, extend right

foot forward and touch heel to the floor. Both hop on right foot, extend left foot

forward and touch heel to the floor. Both hop on left foot, extend right foot

forward and touch heel to the floor, hold. Continuing, hop on right, extend left,

hop on left, extend right, hop on right, extend left, and hold. Repeat this entire

action three times. This is sometimes referred to as a shuffle step.

Figure 1:

Right hand swing. Left hand swing.

Chorus:

Figure 2:

Partners stand right side to right side, join hands with arms outstretched. They

skip around in place clockwise for 8 counts,. Reverse directions, left side to left

side, and skip 8 steps in counterclockwise direction.

Chorus:

Figure 3:

All partners join in a large circle, circle left.

Chorus:

Jody Trautwein


Children’s Polka (Kinder Polka)

Type: German Circle Dance

Formation: Single circle of couples, partners facing with hands joined and arms extended

sideways. Each boy’s left shoulder is to the center of the circle.

Music: Hoctor Record – HLP-4026; Victor 45-6179; RCA – EPA 4146.

By: Unknown

MEASURES FIGURE I

1-2 Two step-draw steps toward center of circle, ending with three steps in place (or three claps).

3-4 Two step-draw steps away from center ending with three steps in place.

5-8 Repeat pattern of Measures 1-4.

FIGURE II 9-10 Slap own knees once with both hands; clap own hands once.

Clap both hands with partner three times.

11-12 Repeat pattern of Measures 9-10.

FIGURE III 13 Hop, placing one heel forward- and shake forefinger at partner 3

times.

14 Repeat Measure 13 with other foot and hand.

15-16 Turn once around in place with four running steps, clapping partner’s close hand one time and stamp three times in place.


Lottie Walked (Lott’ Ist Tod)

Type: Danish Couple Mixer

Formation: Couples facing counterclockwise, men on inside of circle.

Music: “Lott’ Ist Tod” RCA LP 1622

By: Unknown


1-8 “Tra, la, la, la, la, la, la, la (slow) Tra, la, la, la, la, la, la, la” (faster)

Hold both hands with partner and slide four slow steps in LOD (gents left, ladies right) when music changes do 8 slipping steps in RLOD (faster)

9-16 “Tra, la, la, la, la, la, la, la (slow) Tra, la, la, la, la, la, la, la” (faster)

Repeat slow slides in LOD, followed by 8 fast slide in RLOD

17-24 “Lottie walked, Lottie walked, up and down the highway, For to see and be seen in the church on Sunday.”

Promenade with partner (16 steps) while singing.

25-32 “Lottie walked, Lottie walked, up and down the highway, For to see and be seen in the church on Sunday.” REPEAT

Men, turn and walk in opposite direction, while ladies continue walking forward (16 steps) while singing. At the end of Measure 32, men will turn back to place and dance with the lady who has walked up to them.

VARIATION 1-8 ALL do slides in LOD.

9-16 ALL do slides in RLOD.

Add the change of direction after the

children are fluent with the movement.

Jody Trautwein


Amos Moses

Type: Novelty Dance

Formation: No partners. All start facing the same direction in loose lines.

Music: RCA 447-0896 “Amos Moses”

By: Unknown

Description:

1-4 Touch the right heel to the floor and bring the foot back and stand on it. Touch the

left heel to the floor and bring the foot back and stand on it.

5-8 The general direction of the first 3 steps is forward from the starting point. The

following body movements keep your feet from getting tangled. Starting with the

right foot, step forward and turn your body left so the next step can be taken with

the left foot passing behind the right foot. The third step with the right foot moves

straight to the side. On the fourth step turn halfway around. The entire movement

finishes with everyone facing the original right hand wall.

Note: There are probably a dozen other variations to this dance. The two main rules are:

1) don’t interfere with anyone else and 2) everyone should end facing the same

direction.

Patty Cake Polka Type: Novelty Dance

Formation: Couples in a ring facing partners. Gent’s back to the center, Lady’s back to the

outside., holding two hands. Start with lead feet; gents’ left, ladies’ right.

Music: “Little Brown Jug”

By: Unknown

Description:

Heel & toe, heel & tow, Sashay gents’ left four steps.

Gents right, ladies left

Heel & toe, Heel & toe, Sashay gents’ right four steps.

Partners patty-cake as follows:

Clap own hands

Clap right hand with partner

Clap own hands

Clap left hand with partner

Clap own hands

Clap both hands with partner

Clap own hands and slap knees.

Hook right elbows with partner

Half circle clockwise. (Gents facing out, ladies in.)

Drop right elbow hook and hook left elbows with new partner, on the gent’s left.

Swing counter-clockwise one and one half turns into place.

Repeat above as long as music plays.

Variation: Start in ballroom position.


Cotton-Eyed Joe Type: Novelty Dance Formation: Any number of dancers, (no partners necessary) standing side by side, hands behind

each other’s backs, all arrange like the spokes of a wheel and facing counterclockwise. Music: Michael Herman Festival Folk Dances (55) “Cotton-Eyed Joe” By: Nelda Drury Description: Figure: All shake Left foot in air twice shouting “Ya-hoo”, take 3 steps in place, L,R,L. Do the same with Right foot and take 3 steps in place R,L,R. Repeat all. Chorus: Move forward around the ring with 8 polka or two-steps. Variations on Figure: (a) Place heel to the side, then forward and take 3 steps, alternating feet. (b) Touch toe to floor and do a high kick, and take 3 steps in place. (c) Slap foot down on floor twice, and take 3 steps in place. Make up your own Figure variations. NOTE: The Chorus comes after each figure. . . .note also that instead of moving straight ahead

around the circle, each line can turn in place, either clockwise or counterclockwise, with the 8 polka steps.

OR Partners can pair with another pair. First couple extends outside hands back to 2d

couple forming a box. Box travels together until last 8 counts, when 2nd couple forms an arch for the front couple to back under and couples re-form to start again.

Jody Trautwein


Popcorn

Type: Novelty Dance

Formation: Scattered, all facing music.

Music: “Popcorn,” (fast) Eric 4009; High/Scope RM3.7; Musicor 1458, 1959. “Alley

Cat,”DC 687, 73304; (moderate) Atlantic 13113.

By: Unknown

BEATS ACTIONS

Introduction: no action

1-4 Beginning right, touch right toe in front, then touch alongside left. Repeat.

5-8 Beginning left, repeat action of beats 1-4.

9-12 Beginning right, touch right toe backward, then touch alongside left.

Repeat.

13-16 Beginning left, repeat action of beats 9-12.

17-20 Kick right, knee up in front of left knee and return. Repeat.

21-24 Kick left, knee up in front of right knee and return. Repeat.

25-28 Repeat action of beats 17-24. Action is double time.

29-30 Clap both hands together once.

31-32 Jump and turn a quarter turn to right.

Repeat dance from beginning making a quarter turn to right at end of each

sequence.


Likrat Shabat For Children (Choreographed by Shirley Fort for K.D.I.)

MUSIC: “Likrat Shabat” TIKVA ALBUM T-69, Side 2, Band 2

FORMATION: Single circle of dancers, facing center of circle. Each dancer holds candle about

shoulder-high, in right hand. Each links left little finger with neighbor’s right little finger.

MEASURE: COUNTS: FIGURE I INTRO Stand in place facing center; on 4th measure, face CW.

1-2 8 Walk 7 steps to L (CW); turn to face center on count 8. 3 4 Walk 3 steps toward center, raising arms; hold 1 count. 4 4 Walk 3 steps backward from center, lowering arms; hold 1 count.

5 – 8 16 Repeat all of action of Measures 1-4.

CHORUS 1 4 4 steps toward center. (release finger hold) 2 4 Turn left in place in 3 steps (facing out); hold 1 count. 3 4 Rejoin finger-hold, step-close to R (2 counts); bend knees (2 counts) 4 4 Step-close to L (2 counts); bend knees (2 counts) 5 4 Walk forward 4 steps; release hands. 6 4 Turn (on the spot) in 3 steps; hold 1 count; rejoin hands. 7 4 Raise candles high (slowly) 8 4 Lower candles (slowly) FIGURE II

1 -2 8 Release hands; make loop outward to own left, in 7 steps, hold 1 count. 3 - 4 8 Rejoin hands, 3 steps toward center, raising arms; hold 1 count, 3 steps

backward, lowering arms; hold 1 count. 5 -8 16 Repeat action of measures 1-4

CHORUS 1 -8 16 Repeat CHORUS as described following Fig. I.

REPEAT DANCE FROM THE BEGINNING


Roland Forbes

Stella Di Maggio

Origin: Tessino (Tessin), the Italian-speaking region of Switzerland.

Source: Learned by Yves Moreau from Francis Febli of Zurich

Formation: Closed circle, hands in “V” hold, facing LOD.

Introduction: 15 measures. Start with singing

Circle version.

1-2 Begin to LOD. Four steps, start with right foot.

3-4 Two 2-steps, start with right foot.

4 Repeat 1.

6-7 Repeat 3-4

8 Repeat 1.

9 Step fwd on right, close left to right, turning to face RLOD.

10-11 Mirror image of 8-9, turning to face COH.

12 Step fwd right, left to center, arms coming slowly up.

13 Step fwd on right, touch left next to right.

14 Step back left, right, arms coming slowly down.

15 Step back on left, stamp lightly on right.

Couples version

Face LOD in Varsovienne position.

Same footwork as circle version, except:

Start on outside foot is recommended.

Back up during measures 10-11.

Spin out clockwise during measures 14-15.


Korcsardas

Origin: Hungary

Source: Choreographed by Andor Czompo.

Formation: Closed circle of couples, man on left, with back basket hold.

No introduction.

Circle

1 (Face center). Cross right in front of left, bending knees.

Step left to left, straightening (Down rida step).

Repeat.

2-6 Repeating 1, but at end swing left around in front of right to start back.

7-12 Mirror of 1-6, but at end face partner in shoulder-shoulder blade position.

Couples

1-3 (Csardas – sideways) Right, close, right; left, close, left; right, close, right.

4-6 (Right hips adjacent) Walk eight steps, beginning with left foot.

Stamp left, right, left, turning to place left hips adjacent.

7-9 Mirror image of 4-6. Do not take weight on last stamp, face partner.

10-12 Six down rida steps. Start by crossing right foot over.

At end, blend into circle formation to start over.

Do not return to circle formation at end of third round.

Roland Forbes


Two by Four

Origin: USA.

Source: Roland Forbes.

Music: 32-bar reel. Recommend no more than six rounds.

Formation: usually two men and four women, or vise versa, aligned as below, lines

facing each other:

W3 M2 W2

W4 M1 W1

1-4 Men pass by right shoulders, then

M1 & W2 two-hand turn CW. M1 ends between W2 & W1.

While M2 & W4 two-hand turn CW. M2 ends between W4 & W3.

5-8 Lines of three fwd & back.

9-12 Men pass by right shoulders, then

M1 & W3 two-hand turn CW. M2 ends between W4 & W1.

13-16 Lines of three fwd & back.

17-20 Each man right stiff-arm with (new) right-hand woman.

21-24 Each man left stiff-arm with (new) left-hand woman.

25-32 Left-shoulder heys for three: M1 (now on opposite side) with W4 & W3;

M2 with W2 & W1.

NOTE: “Stiff-arm” is like an allemande, but grasping forearm near elbow, arms straight.


Ciganko

Origin: Bulgaria, gypsy dance.

Source: Belcho Stanev.

Formation: Line dance, hands in “V” position, facing LOD.

1 Two walking steps, starting with right foot.

2 Facing COH, step right to right, LXIB, right to right, LXIF.

3 Sway to right and left.

4 Step right to right, LXIB, right to right, LXIB.

5-16 Repeat 1-4 three more times. Finish facing COH.

17 Hop on left, step right toward center, hop on right, step left toward center.

18 Four steps toward center, starting with right foot.

19 Hop left, step right in place, LXIF, step right in place.

20 Mirror image of 19.

21-24 Repeat 17-20, but backing away from center.

Roland Forbes


Hiatamadl Im Kreis

Origin: Austria

Source: Alpine Dancers (Maryland)

Formation: Couples facing center, man on left, holding hands in a circle, “W” position.

1 Tap toe of outside foot (man’s left, woman’s right) to center, return foot to place.

2 Tap toe of inside foot to center, return to place.

3-4 Drop h ands. In four steps, turn away from partner in a small solo circle and return to

place

5-6 Repeat 1-2.

7-8 Drop partners hand. Man’s new partner is to his left, holding his left hand.

In four steps, man turn partner under joined hands once, CW.

While man turns CCW, to stand in semi-open position with partner, facing LOD.

9-10 Repeat movements of 1-2, toward LOD.

11-12 In closed position, four rocking (pivot) steps to swing woman to man’s right side.

Face COH to repeat dance with new partner.

Hora Ca La Caval

Origin: Romania

Formation: Circle with arms in “W” position, facing COH.

Part 1

1 Step forward (to center) on left foot; lift.

2 Step backward on right foot; lift.

3 Step left with left foot, RXIB

4 Step left with left foot, touch right beside left.

5 Facing LOD, step forward on right foot, touch left beside right.

6 Repeat 5 with opposite feet.

7-8 Step forward right, left, right, touch left beside right, turning to face COH.

9-16 Repeat 1-8.

Part 2

1-2 Face slightly right. Step toward center left, right, left, touch right beside left.

3-4 Face slightly left. Step backwards right, left, right, touch left beside right.

5-16 Repeat 1-4 three more times.


KDI Daily Schedule

Sunday Schedule

July 15, 2012

4:00 Staff Meeting

4:30 – 6:00 EVENING MEAL

7:00 – 10:00 Welcome Dance

After Dance Get acquainted party and snacks at the dorm lobby

KDI DAILY SCHEDULE


Monday Schedule

July 16, 2012

7 – 8:30 BREAKFAST

8:30 – 9:30 GEORGE

9:40 – 10:40 ED

10:50 – 11:50 CHARLIE

12:00 – 12:30 JODY (Children Dances Ages 3 – 6/7)

11:00 – 1:30 LUNCH

1:30 – 2:30 VICKY

2:40 – 3:40 BRIANNA

3:50 – 4:30 JODY (Children Dances Ages 6/7 - 14)

3:50 – 4:30 FREE TIME


*** 5:30 ANNIVERSARY CELEBRATION ***

7:00 – 10:00 KNOB TIGER NIGHT (Wear Orange & Black)

After Dance Pizza party (your expense) at Mr. Gatti's Pizza

Immediately following the dance


Tuesday Schedule

July 17, 2012


8:30 – 9:30 ED

9:40 – 10:40 CHARLIE

10:50 – 11:50 VICKY


11:00 – 1:30 LUNCH

1:30 – 2:30 BRIANNA

2:40 – 3:40 GEORGE


3:50 – 4:30 Kentucky Dance Foundation Meeting

(Open to everyone who cares about Folk Dancing)

3:50 – 4:30 FREE TIME


7:00 – 10:00 ANNIVERSARY NIGHT

(Dress with an Anniversary Theme – Your Choice)

After Dance 60th year celebration at the dorm

KDI DAILY SCHEDULE


Wednesday Schedule

July 18, 2012


8:30 – 9:30 CHARLIE

9:40 – 10:40 VICKY

10:50 – 11:50 BRIANNA

11:00 – 1:30 LUNCH

1:00 – 1:30 PICTURES (BE ON TIME OR EARLY)

1:30 – 2:30 GEORGE

2:40 – 3:40 ED



6:30 – 10:00 DANCE & SCHOLARSHIP AUCTION

After Dance Adult social & conversation in dorm lounge

Some snacks provided, feel free to bring more to share


Thursday Schedule

July 19, 2012


8:30 – 9:30 VICKY

9:40 – 10:40 BRIANNA

10:50 – 11:50 GEORGE


11:00 – 1:30 LUNCH

1:30 – 2:30 ED

2:40 – 3:40 STEW – KENTUCKY RUNNING SET



7:00 – 10:00 KENTUCKY NIGHT

(Dress like you are from KY)



KDI DAILY SCHEDULE


Friday Schedule

July 20, 2012


8:30 – 9:30 REVIEW BRIANNA

9:40 – 10:40 REVIEW GEORGE

10:50 – 11:50 REVIEW ED

11:00 – 1:30 LUNCH

AFTERNOON SCHEDULES ARE AT DIFFERENT TIMES TODAY

1:00 – 2:00 REVIEW CHARLIE

2:10 – 3:10 REVIEW VICKY

3:20 – 4:20 ROLAND

4:20 – 5:00 GUEST TEACHERS


7:00 – 10:30 DRESS-UP NIGHT EVENING PROGRAM



Note: Saturday Breakfast is from 7 – 8:30am.

Everyone uses it as their final good-bye.

Knobby Seek’n’Find


K L G

T Y S P E J M S F

V I R L Y R A K L O P T R

E S L E R C H A R L I E R F R Z W

B A C O B I G B O O T Y V Y E P A N X

O M S H V A I F A M D O S I D O S B H S R

C W C O E Z I Y R T N U O C H S I L G N E

L U A R T N

Z X Z D P

T H E L V E

I Z L U T I

P Y I L J

Q N X E D I

K K Z T N I V S G G E D A N E M O R P G B K P T W

C R K Z C S E O Y E L C R I C T H G I N D O O G K

B A C Q H C P Q Y P H T E I T X I S P R A T T L O

K J T A Y U H A U S R X J E G R O E G M D X E R K I C

M J S L S O E R C K N O B T I G E R F Z P H I G N I A

R Q H B W W C G E F B R I A N N A H H O K W U K R L V

T A E N

V F F W O U C J A Y C T V P T

E C L H

R B A L

E N I N J A Z Y A R R U M

L E D O

H A S S L

Y R A S R E V I N N A

E M V Y Y

T L C E I

Y A I K L

B E I F R R

O N C C Y X

E L U W A D Y T R A P R E T F A D K U A U

P T G E A U A C V G N I W S Z E Y T H K U

C J H H I Q U F L Y G G K L J N O F J

W E T S Q S Q F E N G E Q E O N N

E C N A D K L O F G K O B

I X U V Q T O U J

L I Q

FOLKDANCE

KNOBTIGER

DOSIDO

SQUARES

ENGLISHCOUNTRY

SWING

GRAPEVINE

QUADRILLE

CIRCLE

ALLEMANDELEFT

SCHOTTISCHE

WALTZ

TWIRL

PROMENADE

POLKA

STEW

ED

BRIANNA

CHARLIE

VICKY

GEORGE

MURRAY

BLACK

SIXTIETH

ANNIVERSARY

HART

MAFIA

BIGBOOTY

NINJA

AFTERPARTY

LOVE

SLEEP

NAP

MORESLEEP

KENTUCKY

LIKRATSHABAT

YAHOOO

SCRUNCH

GOODNIGHTCIRCLE

Errata


Post Camp Errata

1. Mona’s Trip - Grand Tour and Grand Blossom changed from 52 counts to 64 counts.

2. Guide to Interpretation of Briefs for Scottish Country Dances - Roman Numeral II Moved to inside the circle diagram

3. Ljiljino Kolo – Added 9-16 Repeat meas 1-8

4. Robin Ddiog - Under Part II, Changed to read: 3 9-12 Couple #1 dives, couple # 2 arches (both couples advance on to the

next couple)

5. t’Smidje - Added dance.

6. Cumberland Square - Notes: The basket in part III (Changed from part C) can also be formed by:

7. Ffaniglen – New spelling for: Dawnswyr; Added to formation: M on the inside; Changed Part II, measure 1-2 to: Facing

Partner: Arm R (8 walking steps CW, 1 full turn)

8. Koza - Description change to: Koza, (the goat), is a dance devised by Colleen West, Brigham Young University. It is

composed of basic steps from the Poltava oblast (province) of central Ukraine. It was first introduced in the mid 1990’s.

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