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F D A |
Folk Dance Australia
FDA OBJECTIVES:
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| The President's Report | FDA News | |
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This month we mourn the sudden death of FDA's Vice President, Helmuth Aimann. Helmuth will be remembered for his warm and generous nature, his love of nature and interest in fighting to preserve the beauty of our world. He touched all our spirits, showing by example, that
by caring for others and for
the planet we enrich the fabric of our lives. On behalf of all our members, I wish to express our sympathy to Sandra, and all those who held Helmuth dear. Chris Wild, FDA President
HELMUTH, A MAN TO REMEMBER Helmuth has gone, but his spirit lives on. He was a tall tree, and, as a friend said, "He gave humanity a good name". His dedication to the environment and untiring commitment to the community in his quiet, gentle way, will always be remembered. He has touched the lives of many, being there when help was needed. Helmuth had a love and respect for all cultures and all creatures of the earth. Folk dance was an expression of these emotions. It was one of the loves we shared, and together we visited Bulgaria, Hungary, Germany, Turkey and Palestine, where Helmuth was born. This was a wonderful, but sad, journey, returning to the land he had to leave behind fifty years before. A dear friend, Ray, from the Blue Mountains, said, "You know, when you first brought Helmuth to folk dancing, he had no idea of the rhythms or steps, but he threw himself into it and worked hard, becoming a passionate and lovely dancer". I feel privileged to have spent time on earth with Helmuth. He had great wisdom, from which I learnt so much. We shared an appreciation of the simple things in life, having time to be with each other, to be with others, smelling the flowers, being with nature. Helmuth was a very special and beautiful man. ? Sandra Bassetti |
BON VOYAGE A group of 20 FDA and other dancers from the ACT, NSW and WA left Australia on 17 September, for a Romanian folk dance adventure, organised by Christine Battisson, to be followed with a visit to the Netherlands (and André's group) and other parts of Europe. We wish them safe travel and fantastic experiences. We expect Romania to be the favourite flavour of dances on their return. You'll be able to read all about their travels in the December edition of Footnotes! GET WELL SOON Diedre Kidd, an FDA folk dancer, and Bulgarian dancer extraordinaire, from French's Forest, NSW, has recently been through a very serious illness. If you would like to add your support, please contact her on 02 9451 8390.
DANCING DOWN THE COAST Having moved to Bateman's Bay a year ago, I went in search of a dance group. I found Scottish Country Dancing, Square Dancing, Appalachian Clogging and (oh no!, not …) Line Dancing, but no REAL dancing. This had to be remedied, and the quickest, easiest way to do this was to run a U3A (University of the 3rd Age) group. As a result, I have 17 very keen ladies coming along and we have a great time and lots of laughs together. We dance in a little CWA hall, which started life in 1889 (?) as the original Primary School overlooking the bay. Word gets around fairly quickly down here, so we have already done some performances for local Retirement Villages, etc!! I am also mentor and sometimes Guest teacher at the Milton-Ulladulla Group; and every six weeks or so, I travel to Braidwood to run a workshop there. The group consists of Folk Dancers / Belly Dancers who combine and dance at local "Happenings", and they are very appreciative of my input. After the session, Dianne Baker feeds me well and then we head for continued next page... |
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Nola's beautiful loft to dance the afternoon away! Bliss!! I have also become involved with the Bay Theatre Players and did the choreography for their production of "Mikado" … ever tried to get a bloke to do three things at once???! sing, dance and flap a fan about? Add to all of the above happy visits from my mate, Paula, et al., serene beach walks, swims, dolphin watching and even, this year, a close encounter with a mother whale and baby …it's great to be alive!! Happy dancing! ? Audrey Maher (NSW)IFJU SZIVEK COMING TO AUSTRALIA Representatives from this Slovakian/Hungarian group (6 musicians and 11 dancers) from Bratislava will be performing in Brisbane and Sydney (Sydney from the 7th to 18th October). They will be performing with the local Hungarian dance group, Kengugro, on the Sat 12th Oct and Sun 13th Oct at the Newtown Neighbourhood Centre, Newtown. Also there will be a Tanchaz (Hungarian dance house) where dances are taught all night by Ifju Szivek with live music by their band, Figur. The Figur band will also perform with the local band, The Transylvaniacs, on the 17th Oct at The Harp Irish Pub in Tempe. The group received funding from the Slovak Government to workshop and present this show in Sydney. It should be great. The theme is a wedding from the village of Szek in Transylvania. The audience will be surrounded by the dance and music throughout, there is no stage. There will be original footage of dance and music from the village projected on a big screen at the end of the hall and the hall will be set up as a wedding tent in Szek. Chicken soup will be served in the interval. The idea of the show is to give Australians a feel of where this dance and music has come from and how it fits into the daily lives of a village even now in Transylvania. The Saturday show is in the evening and Sunday is 4pm. I hope as many enthused dancers as possible are able to catch it. At the Tanchaz, the dancers are taught in an informal atmosphere with plenty of free dancing going at the same time. If you are interested in having the group give a workshop for your school, let me know and I can give you their availability and fees. They will have some days free but not many evenings now. It is school holidays though. They are the Slovak Government's State funded professional Hungarian dance group and there are some great teachers amongst them. As far as meeting with them, they will arrive in Sydney and the whole group will be at The Transylvaniacs performance at The Side On Cafe on the 26th September. This gig is to be confirmed, but the dancers will all be there even though they are not performing if it is on. Also the Tanchaz. Not everyone will be teaching at all times. ? Sally Corryszelicorry@hotmail.com continued next column => |
PERTH'S FIRST BAL FOLK is a BIG SUCCESS In France, a bal folk is a dance in the village square or in the local grange or hall with folk bands from the region taking turns to play for dancers who mass on to the dance floor until the small hours. Perth saw its first bal folk on August 10th at Dalkeith Hall put on by Laurel de Vietri and the dance and music group, "Souleiado". The bal, called NUIT DU FOLK, attracted 160 or more Francophiles, dancers, musicians and people from the French community. The evening commenced with Pernod and Kir with pissaladiere for aperitifs and music was provided during the meal by "On Raffole" with local musicians Raphael on diatonic accordion and Aimee on tin whistle with their guest, Andrew Muller, on violin. More French traditional music followed when "The Last Five Coins" and friends took the stage with their hurdy-gurdy, double bass, violin. mandocello, flute, cornemuse and recorder combination. The music obviously thrilled the dancers, for as midnight approached, the call was "une autre, une autre!" (another one, another one!). The most popular dance of the list of 32 was probably La Farandole, from Provence, which wound its way around the floor in a convoluted path that sometimes spiralled in and out, the dancers creating arches and tunnels as they went. This was closely followed by some of the 7 Breton dances, however, bourrées, courantes, branles and scottishes were all popular and waltzes and polkas drew big crowds to the floor. During the evening, dancers could refuel by visiting the crepes stand where Georges Jestin (from “Pierre's Kitchen”) and his family made crepes on the spot. Guests could also view the photo displays of festou noz of Brittany and bals folks in France, along with the display of regional flags and posters of folkloric dancing and costumes in different regions of France. Now, we rest our aching feet and legs and look forward to the next one! ? Laurel de Vietri (WA)INTERNATIONAL FOLKLORE FESTIVAL, ALBENA "Dobrudzha Sings and Dances" This annual 3 day festival was held in a beautiful location, at Albena, on the Black Sea. Countries represented were Bulgaria, Serbia, Romania, Macedonia, Greece and the Ukraine. Turkey and Russia were also mentioned in the programme, but I'm not sure whether they arrived. Several Bulgarian ensembles were present and as Albena is in the Dobrudzha region of Bulgaria, many dances typical of this region were performed. However, there was plenty of variety and folk ensemble "Balkan," who had invited me along, danced Zhenski Shopski, Severnyashki, Mladost, Varnenski, Ludetina and a Christmas dance, Kudi. continued next page... |
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Zhenski Shopski, Severnyashki, Mladost, Varnenski, Ludetina and a Christmas dance, Kudi. Not to be excluded, I was given a small walk-on acting part in Kudi, dressed in a costume from Sliven - so that was a thrill. Dancing in street parades, held prior to performances every evening, dressed in a beautiful Shoppian costume, was also fun. "Balkan" ensemble consists of dancers from as young as 8 years old. As with "Zornitsa," the degree of artistry in the choreography of the dances is portrayed when presented by such skilful and energetic dancers. Choreographers of the professional ensemble "Severnyashki," founded in Pleven, try to keep the folklore dancing authentic and the colourful national dresses contribute to the authenticity. This group was outstanding. In fact all five of the Bulgarian ensembles are intent on preserving their culture and were great to watch. The "Bosilche" ensemble from Romania is comprised of Bulgarians living and recreating customs, including dancing, in the Romanian town of Targovishte. It was their 3rd visit to the festival. It was really nice to meet up again with the teacher of Macedonian dances at Balkanfolk. His ensemble, "Tanets," is also professional and the dance Dracevka, performed at the opening ceremony, was very impressive. The musicians, dancers and singers of all ensembles presented wonderful displays, and combined with sun, sea, sand and parties amongst old and new friends, this was yet another memorable festival. ? Anna Travali (QLD)
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MEMORIES OF ANDRÉ AT BOWRAL, 2001
No – not an editing mistake; this wonderful review just missed the edition last year, and I'm sure you will enjoy it, as with the review of the 2002 weekend that follows. Friday evening: we arrive in the beautiful grounds of the Golfview Lodge, drink in the cool, clean air in anticipation of much dance, laughter and HOT showers. André had recently arrived from teaching folkdance in Taiwan. Relaxed dinner at the club avec log fire: chook raffle highlight. Saturday: Bowral High School hall is packed with eager dancers from near and abroad (New Zealand / Queensland). André, with his usual humour and expertise, soon has us executing intricate steps to complex rhythms (congratulations to the brave new males!) Dances vary from the elegant French Valse Ecossaise to the wild Bulgarian Makresko Horo to the buzzy Croatian Volim U Kolo; my favourite is Debka Ramot (Debka of the mountain fields), from Israel, with exciting middle-eastern rhythms, which has the straightest shoulders shimmying! Also great fun is the Festwaltzer, a progressive Swedish party waltz. Despite numerous efforts, there is general gender confusion, creating concerted chaos. One resourceful person has produced a perky plaits, Swedish-style wig to aid gender identification; alas! as André laughingly points out, in Sweden, the men wear their hair that way, too. In contrast, we have a lovely Israeli dance, Or Shivat Hayam (Light of the Seven Days), the arm movements depicting lighting of candles. Saturday Evening: Warmly showered and duly adorned, seventy of us catch the school bus to the Mittagong RSL for dinner and a party. Belle of the night is the perky blonde Swanhilda from Glenbrook, with whom everyone wants a photo. Maureen organised a formidable programme of requests, enthusiastically tackled: Ripna Maca, expertly executed by the veterans of Sedenka heydays; by popular demand, Turkish Kiss, accompanied by wolfcalls by the adolescent-regressing; rather exciting , a Croatian circle flying dance, where one dancer had lift off, spun impressively, then crashed, taking out the whole circle and setting off the security alarm. The school bus trip home continues in high-spirited singing of silly songs avec clever puns. Sunday: A chilled out morning of dance and review with new and old friends. Thank you André and Kaye et al for the dance and fun accomplished, and the Golfview Lodge caretaker (and his brother) for the lovely, warm accommodation. I'll be back. ? Doula Austin-Smith (NSW) |
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BOWRAL RESIDENTIAL WORKSHOP, 2002 In early August we dug out our winter gear and headed south to attend the Bowral Residential Folk Dance Workshop. And we're more than happy that we did. It was a great success, the weather was kind, we enjoyed great dancing, renewed acquaintances and made many new friends among the international folk dancing fraternity. The workshop, held on the weekend of 2 - 4 August, was organised by AVDP World Dance and featured André van de Plas as teacher. André is an experienced and accomplished dancer and teacher who has been coming annually to Australia to conduct these workshops for many years. Our transport between Como and Bowral was provided by Kaye and Bert Laurendet. Thank you Kaye and Bert for the seats in your van and your easy hospitality. Accommodation at the Golf View Motor Lodge was very comfortable, and the Bowral High School Hall was an excellent venue for the large group of dancers (about 95) from New South Wales, the ACT and Queensland. The weekend kicked off on Friday evening with tea and biscuits in Room 10 of the Lodge. After dinner in town an impromptu dance session was staged at the golf clubhouse. Serious dancing began at 9.30am on Saturday and continued to around 5pm, with lunch and coffee breaks ('well done' to the caterers). Teaching fairly intensively, André took us through eleven dances in that time. We found his quiet, patient style very effective and enjoyable. There was something for everyone in the package of dances, ranging from the contemplative mood of the simple and graceful Pravo Horo Na Pesenta (Bulgaria) to the fast, complex set of 13 figures in Karicka, from Slovakia. André's approach to Karicka (which we found the most challenging of the weekend) was very helpful, building up the dance by adding figures at intervals during the afternoon, rather than all at once. In Surchandaria we experienced our first dance from Uzbekistan - simple steps, but with interesting and unusual arm movements that, as André explained, are meant to exploit the wide skirts and long sleeves of the dancers' costumes. From Romania came Hora de la Tanacu, an exciting dance featuring fast two-steps, that are then combined with some quick stamping in the final figure. Hora in Doua, also from Romania, was simpler, but quite fast and good fun - a good warm-up dance. Greece contributed Gaitanaki Rodou, a simple dance about weaving work from the island of Rhodes. continued top of next column =» |
Light relief was provided by Belle of the Ball, a progressive English country dance for sets of three; and by Fitsko, a Serbian dance for couples that apparently has something to do with sheep - great fun! Israel was also represented, with Le'or Hatayalet and the more dramatic and complex Mizmor Layla. However our favourite dance of the weekend came from Turkey: Hopa Horonu. Great music, wonderful bouncing steps and challenging arm movements. Back to the motel at 5.30, we had just enough time for a shower and a snooze before dinner and social dancing commenced at the clubhouse. The social dance program was organised by Maureen Petherick, based on requests submitted beforehand, so it included many favourites of those attending the workshop. Some of these we were familiar with, such as Jove Malaj Mome, Bavno Oro, Cuileandra, An dro Retourner, Hora de la Tulnici and Th'filathi; and there were several that we wished we knew, such as Vidinsko Horo and Rustemul! We retired exhausted at around midnight, but we believe the dancing continued, led mainly by the exuberant Vas Aligiannis.
Sunday morning, and another session from 9.30 to 12.30 (with a slightly depleted group). All of the dances taught on Saturday were recapped, and one new dance introduced: Coklarska, from Slovenia - a dance combining quick stamping steps with slower travelling steps. Everything seemed to go off without a hitch, and our impression was that everyone spent a most enjoyable weekend. We were particularly pleased to be able to bring home a video and CD covering all the dances taught (as well as a few others), so that we can readily add to the repertoire of our Townsville Group. Congratulations to all involved. ? Sandra & Maurice James (QLD) |
| Post-Balkanfolk TOUR WITH "ZORNITSA" - 40th Festival "International des Pyrenees" | |
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The tour commenced on 23 July in the pretty little village of Limoux, near Quillan, in the Languedoc-Roussillon region of France. Four of us travelled down by autobus after the conclusion of Balkanfolk, directly from Pamporovo. A long trip, via Yugoslavia, Croatia, Slovenia, Austria and Italy, but some lovely countryside along the way - green landscape, farmlets, fields of red poppies and brilliant sunflowers, haystacks, rocky tunnels, gorges with streams, rivers, and always the beautiful variety of trees one finds in Europe. We met up with the rest of "Zornitsa" in Limoux and that first evening the ensemble performed in Quillan, along with a group from Kirghizstan. That was the beginning of an adventurous and exciting tour. "Zornitsa" danced in 15 places during the month, with populations ranging from 650 to 45.000. Most of the villages and towns were very picturesque, with their quaint architecture, colourful buildings, flowers everywhere including traffic roundabouts, hanging in pots from lamp posts and railings of bridges; and the characteristic faces and personalities of the local people. On the drive from Pleaux to Castres, we took a steep narrow winding road down through the Gorges du Lot into the village of Euntraygues, where slate-roofed stone houses hang on steep banks of the river - beautiful. We were housed in a variety of accommodation, including schools, a sports academy, an old farmhouse and a posh hotel with swimming pool. But the highlight was in Pujols where we were placed with families. One of the girls and I stayed with a very pleasant family in their beautifully renovated 160 years old farmhouse. More often than not, on arrival we were greeted and given refreshments, and sometimes after a performance, drinks, fruit and cake were provided. In Oloron Sainte Marie, there is a large chocolate factory (throughout the day, the smell of chocolate wafted through the streets) and on arrival there chocolates and dried fruit were supplied. "Zornitsa" danced splendidly throughout the tour, backed by the talented musicians, and performed the dances from their repertoire including Trakiycki Tantsi, Zhenski Shopski, Komitsko Libe, Trakiyska Mladost and Shopski Syouita. They danced on a variety of surfaces from well set up stages with good lighting and sound systems, to hastily erected stages with loose floor panels, to bitumen. Dressing "rooms" too were changeable. Once a spacious hall with makeup mirrors. Another time they were outside, behind the stage in the village square, in full view of passersby and residents peering down from windows of their apartments! The one I liked best was in the seaside town of Sete, the change "room" there being under the palm trees! At the conclusion of performances horos were danced and "Zornitsa" dancers encouraged members of the public to get up and join in. This spontaneity was well received. The majority of performances took place outdoors in delightful settings - a cliff in the background; a backdrop of palm trees etc. Continued next column => |
...continued from previous column A couple of times we shared the evening with another group, but on the whole were on our own with other countries visiting on alternative days (with the exception of Oloron Sainte Marie, where all the countries came together for a week). Oloron is a pleasant town of approximately 13.000 people, situated at the junction of Spain and the Atlantic. I loved the old quarters of Notre Dame and Sainte Croix and there are lovely cathedrals. We spent an exciting week here, with 1200 dancers and musicians from Republic of Mari-El (800 k's from Moscow), Armenia, Russia, Macedonia, Romania, Spain, France, Basque, Mexico, Haiti, Peru, Costa Rica, Canada, Kirghizstan, China, South Africa, Burkina Faso (Africa), Tunisia, Algeria and Morocco. Imagine a week filled with music, dancing and interaction with people from these Nations. There was something happening all the time, not only on the main stage in the Jardin Public Gardens but at smaller venues too. Despite the grey skies, there was colour everywhere with beautiful costumes and beautiful people, the happiness of this occasion reflected in their faces. The dancing was wonderful, impossible to detail everything, but I thought the performances of Mari-El were unique and inspirational. I was equally enthralled with the Armenians and the haunting music which accompanied some dances. I took part in the gaiety and particularly remember with pleasure the "Adieu Oloron" parade through the streets, everyone dressed in costumes and dancing with their respective musicians. We were given lights to carry and, with many of the onlookers holding sparklers, it must have been a spectacular sight, with a fireworks display as well. The final evening was preceded by an "all nations" religious ceremony in the morning, which was interesting as it was more of a cultural "coming
together" with a short speech, poem or song from just a few countries, as diverse as Africa and China. The entire tour was an absolute treat - sometimes it is hard to believe I am caught up in this wonderful region where so much happens in the world
of music and dance. Long may the opportunities - for me to be part of it - continue!
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| Greek Folk Dancing and Cultural Identity | |||||
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As the folk dancer grows older, they become aware of the repertoire of dances which they will dance throughout their life (as long as they remain a member of that community). These dances will not change. The young dancer begins by watching and listening, then timidly attempts to join in, and finally, participates in the dancing activity of the community as a member in full right. Tradition will place him as a child at the end of the line, as a youth, somewhere in he middle - an older member will usually determine the order of priority – and when he/she reaches maturity, will be entitled to a place a the beginning of the semi-circle in the group in which he/she dances.
The leader in Greek dance is the only dancer that can improvise. The dynamic elements influencing the improvisation is the space in which it occurs, in its twofold sense:
Folk dancing in Greece is a living tradition. The dances are closely connected with the folk song and costumes of various regions. There are well over 2000 dances and over 300 different folk costumes. People created dances for any important event in their lives. They expressed their feelings in folk song and dancing.
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Culture on a whole is a complex which includes knowledge, belief, art, morals, customs, etc., including habits acquired by a person as a member of society. Culture refers to the traditional ways of doing things in a particular society.
Traditions serve a purpose in society. In Greece, culture and dance go hand in hand. It is interesting to compare the function of both dance and traditions from the past to the present.
Compiled by Vas Aligiannis | ||||
RESOURCES for SALE by FDA
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FDA Workshop Videos
"More" New FDA Resources Anthology of Folklore Music – Greece, Volume 1 (Folkraft CD 2901) Zorba's Dance, Pogonisios, Syrtos Pyleas (an old favourite of mine) and Gerakina are four of the 27 Greek dances on this value-packed CD. The music on this CD has been especially selected to represent many areas of modern Greece, from Macedonia to Epirus in the north to Peloponnese and Crete in the south, from the Ionian islands in the west to the Dodecanese in the east. Descriptions of the dance steps and musical notation may be found in the book, Greek Folk Dances, by Rickey Holden and Mary Vouras, available from Syncoop Produkties or Folkkraft-Europe (or order through our Resource Manager, Kaye, for a discount). Anthology of Folklore Music - Croatia and Slovenia, Volume 3 (Folkraft CD 2903). Croatia has several stylistic regions – the eastern region of Slavonia is rich in folklore, but not so complicated in choreographed forms of dance, where most dances are performed in an open or closed circle (kolo) with two parts: the drmeš (shaking) and šetnja (walking), eg, Ciro, or Nebesko Kolo. Next to Slavonia is Posavina, along the river, Sava, in central and eastern Croatia. Several songs and dances from this region are included on this CD, eg, Drmeš iz Zdencina and Drmeš od Posavina. continued next page... |
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...continued from previous page The region of Baranja lies between the Dunav (Danube) and Drava rivers and the border with Hungary. The folklore from this area is rather unique, with great variations in tempo, and includes many couple and threesome dances. Examples are Jabucica and Šokacko
Slovenia marks a transition area between the Alpine / Austrian style in the north and the Slavic styles to the south. Dances in the northwestern region of Gorenjska (eg, Svatovska Polka) are characterised by powerful jumps, and carrying of wine and wedding cake on the head; the southern style is best represented by the Bela Krajina region (dances include Zaplet Kolo). Anthology of Folklore Music - Hungary 1, Volume 6 (Folkraft CD 2906) and Hungary 2, Volume 7 (Folkraft CD 2907). The music on these CDs is presented in the traditional manner, where dances are played in a strictly defined order in dance "programmes" or "cycles" (táncrend) or dance series (táncok). The always mesmerising music covers the regions of Marosmente, Szatmár, Mezôség, Rábaköz, Kalotaszeg, Bihar and Dunántúl (south-western Hungary in the Danubian basin) as well as dances of the Palóc people.
You can order your copies of one or more of these CDs through our FDA Resource Manager (Kaye Laurendet, okaye@optusnet.com.au or 02 9528 4813) for $22 each (plus postage). ? Maureen Petherick |
"New Wave" Folkdancing Resources
- variety of dances for various ages. Order through Kaye Laurendet, okaye@optusnet.com.au or 02 9528 4813).
Keklik Aile, "Songs from the Kitchen" CD Keklik Aile (Turkish for partridge family) transports the listener on a journey around the world, sampling the music and culture of places along the way. Feast on the exotic musical delights of Eastern Europe and the Middle East, with a taste of African, Latin American and Asian spice thrown in. The chefs – errrr - musicians serve up lashings of plucked oud, hot bagpipe, devilled darabukka and honey-glazed vocal guaranteed to stimulate the digestive juices! Linda Marr, founding member of an internationally acclaimed a cappella group, "Blindman's Holiday", and pioneer of the exotic music group, Nakisa, sings lead vocals and plays oud, guitar, frame drums and tapan. Linda also performs with Tokakros, Global Roots and The Far Seas. Yuri Halay is a sought-after specialist in Eastern European and Arabic music, playing strings as well as wind instruments including oud, saz, domra, Bulgarian bagpipes, clarinet and shepherds flute. Soloist with the now defunct ensemble Drum Arabic, he performs with street theatre troupe Zaffa the Alchemist. Elias Ellis plays a variety of drums including darbuka, frame drums, djembe and congas. He has performed and recorded with Voices from the Vacant Lot, Toni Nation, Tiramisu, Brassov and Wak Attack and tours internationally with the Stalker Theatre. Look out for Keklik Aile on December 1st at the inaugural Sydney Folk Gala at Eastside Arts in Paddington (markets site). Their new CD release "Songs from the Kitchen" is now available at concerts and through http://www.folktrax.com |
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...continued from previous page Kim Sanders and Friends, "You Can't get There from Here" CD Kim Sanders has performed with Gypsy brass bands in Macedonia, at mosquito-infested nightclubs in Gambia, tavernas in Greece, weddings in Turkey, festivals in Indonesia and at Bulgaria's first-ever World Music concert.
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Tapes can be bought and videos can be ordered on the day.
Spend 18th – 31st July, 2003, in the sunny Bulgarian resort of Pamporovo, situated 200km from Sophia, hidden in the heart of the Rhodopes mountains. The experience will include learning Bulgarian, Greek, Serbian, and Turkish folk dances, with an opportunity to learn to play the gaida, kaval, voyanka, duduk, gadoulka, tamboura, tapan, tarambouka, or accordion and to try Bulgarian folk singing and learn a little of the Bulgarian language – accompanied by traditional Bulgarian cuisine. The teachers are specialists from the respective countries and dance sessions are accompanied by live music. Cost for full period, and all activities = US$810; deposit of US$100 payable by 30/6/2003 to United Bulgarian Bank, A/c No: 1117043218, Name:
Balkanfolk Ltd. The cost includes transportation to and from Sophia, full board, audio tapes and CD, a visit to Plovdiv and the monastery of Batchkovo,
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Balkanfolk 2002 Dear Maureen, The problem with the latter, I had so many new dances going around in my head, they took priority over language! We had a nice group of people, three of whom I knew from last year, and including two Japanese who are super dancers. Some Footnotes readers may know Seki and Shiro, they have previously been in Bulgaria. People came also from U.K. Holland U.S. France, Israel Croatia and four Bulgarian women who have lived in Hungary many years, and do Bulgarian dancing there. Two Australians from Sydney (one a musician, the other a painter) came for the last two days and tried their hand at dancing, and loved it. They were sorry they only found out about the workshop at the last minute. Possibly because I am now more used to the tempo of Bulgarian dancing, I found that whilst the dances taught were still challenging and stimulating, I didn't make as many mistakes as last year. Until the time came to video the classes, that is! I think the programme for next year looks exciting but it's going to be hard to choose which courses to take! There will be Bulgarian, Serbian, Greek and Turkish dance classes; musical instrument, singing, language, I think embroidery, and cuisine! Best wishes to everyone. I read in Footnotes there are exciting things happening in Australia too, so I shall close by saying the all important words, "Happy Dancing"! ? Anna Travali (QLD) Incorrect Terminology in Article! The Folk dancers web page had the following comment :- ".....The Macedonian dance workshop presented by Yorgo in early May was well attended and certainly lots of fun. My preference for Macedonian dances is really not a secret and I did enjoy learning lots of new dances from such an accomplished teacher and dancer. Yorgo told me that they were the same dances he taught at the National Folk Festival in 2001 and 2002, but my memory of them from the festivals was not very detailed. ........" (Chris Wild, FDA President) Can you take more care with your terminology on your web site, as it is incorrect. The correct term is for the people in the group you mention is Skopjan Slav. Todays' so-called Macedonians are not Macedonians. The only people that can lay claim to "Macedonia" are the Ancient Greeks. Todays' Skopjan Slavs are cultural thieves. They are not recognised by the UN, The Orthodox Church, or any educated person. continued top of next column => |
...continued from previous column As president, to fully understand dance you need to get your history right. Yorgo and the Ilinden Skopjans are not Greeks. They are Skopjan Slavs. Could you please pay more attention to getting your history correct. ?Mavros Kleitos or Klitos Editor's response: Even though my father was born in England, of English and Irish stock, and my mother having some tenuous connection to Russian nobility, I was born in Australia – therefore, I am Australian. Dances that developed here are also Australian (although they may have characteristics of English and Celtic origin). Likewise, dances that come from the region of Macedonia are Macedonian, whether they may have Turkish, Greek and Slavic influences and , perhaps, even Celtic – as some Celtic tribes inhabited the area now called Macedonia before the Dorian Greeks arrived there about 7th century BCE. "Macedonian" works just fine for me in describing Yorgo's dances. Yorgo's response: My letter is in response to a gentleman's recent comments regarding a Macedonian workshop which I conducted for the FDA back in May. I believe that the said individual is upset about the fact that the FDA referred to it as a Macedonian workshop and should have called it a "Skopjan" workshop, as the only people who have claim to the name, Macedonian, are the ancient Greeks. Dear sir, your views are biased, uneducated and archaic. Do you really consider yourself to belong to a country who founded democracy? If you state that the so-called "Slav Macedonians" should call themselves "Skopjans" because the capital of the Republic of Macedonia is Skopje, and you lay claim that the name rights of Macedonia belongs to the Ancient Greeks, then shouldn't you call yourself "Athenian" or "Spartan" rather than Greek! And, if we are to consider historically who should lay claim to the name "Macedonia", then the rights should lay in the hands of the Celts, whom, it is noticed historically, were the original inhabitants of the whole Greater Macedonian region even before the time of Alexander the Great. As most "educated" people are aware, Macedonia was carved up and divided (unequally) between the three neighbouring countries of Serbia, Greece and Bulgaria in 1913. Prior to this , the whole Balkan region, including Greece, was under Turkish or Ottoman occupation for a period of 500 years. Do you really believe that there is such a thing as a pure Greek, Serb, Bulgarian or Macedonian in the region of the Balkans? Is it not a fact that the Greeks identify themselves as Greek because they come from a geographical area known as Greece - likewise can be said for the Serbs, Bulgarians, Australians, etc, etc. continued next page... |
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...continued from previous page So, why is it, that as soon as a person identifies themselves as Macedonian, because they themselves, or their ancestry, is of that geographical area, they are scorned and ridiculed? Furthermore, the United Nations formally recognises the Republic of Macedonia. The only known country which does not is the Father of Democracy – Greece! My views on this matter are unbiased and factual. If anyone can call themselves a "Greek / Macedonian", it is me. My father is Greek (from the Peloponnese) and my mother is Macedonian. Thankfully, my father is an educated Greek man, who understood the importance of me knowing, not only my Greek heritage, but also my Macedonian heritage. I speak, read and write both languages, and feel privileged that I have the best of both cultures. I find it surprising, however, that the Macedonian Community accepts me with open arms, whilst the Greek frown on me for siding with the Macedonians. In today's modern world, with all the heartache, pain, anguish and war, I find it disappointing that such pettiness still occurs. After all, don't we live on the planet Earth, and are, by definition, Earthlings? Isn't the Human Race the one and same Race, despite religion, geography, colour or creed? Let's make peace, not war, and, in Australia's multicultural society, let's learn about each
other's culture, rather than ridicule and criticise.
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The development of the distinctive movements of folk dances was greatly determined by the kind of ground from which they originated. In rich agricultural plains or river valleys, as the Danubian Plains and parts of France, Denmark and parts of the Balkans, movements are accented downwards, as if the whole body were being drawn towards the soil. Usually large numbers of dancers gather to perform at the same time, keeping close together and using identical steps. This is particularly noticed in the kolos of Serbia and Croatia. Sometimes the dancers continue to do the same series of simple steps for hours at a time, working themselves into a frenzy – their bodies shaking from head to toe as the movements ripple through their arms to their neighbours (eg, the Croatian drmeš). In pastoral areas and rolling countryside, such as the lower slopes of the mountains in Greece, Romania, the Alps and the Pyrenees, the dancers travel much more, cover more ground, directing their movements along the surface of the ground (this is especially noticed in fast tempo Romanian dances). Their bodies move both upwards and downwards and the dances appear buoyant and easy. As in the richer areas, comparatively large groups perform together, but not always so tightly linked, often as an "open" circle with a leader, who may break away to perform individual steps (as in the Greek Kalamatianos or the Provençal Farandole) Movements of all mountain people are easily recognised. Being confined to smaller areas and hard ground, the dancers utilise every bit of space by performing exciting high leaps, which are accurately placed and accompanied by neat stepping. The accent of such steps is nearly always upwards. These intricate dances are usually "set", but only very small groups dance together at a time. There is a great deal of individual display, and the easily carried body is usually balanced by upheld arms and a head that is continually keeping eyes alert to the difficulties of moving in such areas. Examples of these dances come from Scotland and the Tatra and Carpathian mountains. The movements of desert dwellers (both in the heat of Asia and Africa, and the cold of tundras of northern Russia) show a constant change of weight from foot to foot, as if the ground were too hot or too cold to allow a pause (which can be observed in Aboriginal dances). There is usually a great deal of arm movement, with clapping and slapping to accent the rhythm, especially in colder areas, or shading the head and eyes in hotter areas (as in Bedouin dances). Human migrations have, of course, blurred some of the distinctions. However, sometimes the physical features of a land have helped to preserve ancient traditions. The very difficulty of getting into the mountainous or desert areas has prevented a conquering people from occupying all but the sea-ports and easily accessible river valleys or lower mountain slopes. The Basques, Greeks and Georgians (and Aboriginal people) all possess what are possibly the oldest rituals and ceremonials because of that. Based on "European Folk Dance", Joan Lawson, Pitman & Sons Ltd, LONDON, 1955; pp31 – 34 |
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Name: Boyan Savov <savov@sympatico.ca> Date: 8 Aug 2002
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