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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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I think Spring has infected my dancing shoes this year. My step seems lighter and jumps a bit higher than in the colder months. And there have been lots of great opportunities to use up this new-found energy. For those in Sydney who haven't tried Café Carnivale in Paddington, I can highly recommend it. Last month some of us went to an evening of Balkan music and spent most of the night dancing around the dance floor, (and tables) with the other patrons… Macedonians, Serbs, Chinese and the general Paddington crowd. Lots and lots of fun, and it is on every Friday night. Live music from different parts of the world each week. The visit of the Hungarian group, Ifju Szivek, was wonderful. I went to the "Wedding" concert where the audience were the Wedding guests with chicken soup at interval to add to the fun. The dancing was incredible. The suppleness of the dancers mind-boggling. A great evening was had by all. I believe their other concerts and dances were just as much fun. Since this is the last Footnotes before Christmas, I'll take this opportunity to wish all our members and friends, and their families, a very merry festive season and a New Year full of good health, happiness, and of course, lots of dancing. Chris Wild, FDA President %%%%%%%%
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INSURANCE (AGAIN) FDA was notified by DanceSurance that our group does not fall within the underwriter's (Rural & General Insurance Ltd)
guidelines.
DanceSurance are currently negotiating another scheme, but in the interim, FDA decided to accept the above conditions. This means, if you are worried about having an accident while dancing, you need to check your home insurance policy (many have personal accident insurance included to the value of $1 million) or take out a personal accident insurance separately. A suggestion from DanceSurance about a longer-term solution is that FDA members cease being members and become "associates" or "people interested in folkdancing" and don't pay membership dues but give "donations". They are then not "FDA members" but members of the public. This suggestion will be discussed at the FDA Annual General Meeting (be there to air your views). In the meantime, we invite you to renew your membership (see form on page 16). |
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ERRATUM I use the singular, because, if you don't find it, I
don't admit to it! ? The Editor
BULGARIAN DANCING IN HUNGARY! I have just returned from a five day sojourn in Budapest. At the Balkanfolk workshop this year, I met three Bulgarian ladies who live in Budapest and are part of a group doing Bulgarian dances. This group was formed a couple of years' ago by Lili Zafirova (Bulgarian) who was also the founder of the ensemble Martenica (Bulgarian dancing), 20 years' ago. Martenica was originally comprised of both Bulgarians and Hungarians, but now the dancers are entirely Hungarian. I was invited to celebrations to mark this 20th anniversary on October 5. The concert was super, the young men and women performing dances from the Sop, Pirin and Thrace regions of Bulgaria; a Christmas dance; and an "Easter traditions" dance from Varna. This is a skilful ensemble which has twice won international competitions in Palma di Mallorca. Three girls sang unaccompanied in beautiful clear voices; the lovely Bulgarian singer Roza was accompanied by extrovert accordionist Alekszej; and the musicians and the Balkan Playboys (also musicians) were very creative with their instruments. The group with which my friends' dance took part in the pravo on stage, at conclusion of the concert, then when the dancing moved to the aisles of the Culture House, it was only natural that I should also link hands. continued next column => |
...continued from left column... This was followed by a smorgasbord-tasty finger food and a chance to taste the "proof" liquor Palinka. Then the party started, first with Serbian dancing and later, Bulgarian. It was a wonderful five days. Budapest is a beautiful city with a strong Austrian influence (it is approximately 250 kms southeast of Vienna). The Ethnographical Museum is fantastic, one of Europe's largest specialist museums, with many costumes included in the displays. The magnificent Byzantine-Moorish synagogue is Europe's largest, and the museum was interesting, with klezmer music playing softly in the background..... Went on an evening cruise on the Danube and danced to music played by the klezmer band Pannonia-wonderful. One afternoon I watched two children's groups perform (all ages) - also Bulgarian dances, they were marvellous. The only thing missing was hearing Hungarian music and seeing Hungarian dancing. The folk shows were either days I was unable to go, or had finished with the summer. Perhaps I'll get to see some at a festival in another country! Back in Sofia, the new school year has started and I am back dancing with Zornitsa (though I never perform on stage with these young, beautiful dancers-many of whom are students-it's great just to learn the dances). And am again going to hora classes at weekends, they too are great. Hope this finds you well and happily dancing. Best wishes to all the readers of Footnotes. ? Anna Travali (QLD)
THE WORLD of DANCE at the Woodford Festival brings to you the biggest World Dance programme in Australia. Experience the exuberance, subtlety and timeless qualities of traditional and contemporary international dance styles for 6 days. The programme extends from ancient mask, ritual and folk dance to the more recent emerging cultural phenomena of Latin dance, Indian Bhangra, funky bellydance and Findhorn circle dance. You can sit back and enjoy the stunning presentations by dancers from India, Bali, Germany, Italy, Tibet, PNG, Sudan, Ghana, Africa, El Salvador, Chile, Peru, Colombia, Bolivia, Ireland, Cape Breton, Samoa, Cook Islands, Kurdistan and England in fabulous costumes. You can also participate in dance workshops taught by expert teachers or dance to the sounds and rhythms of some of the best dance music in this country, and from overseas. All are opportunities to connect to the world through dance. At the Dance Pavilion, you can learn dances from Bolivia – the popular carnival dance 'saya' with the group Bolivia Marka, the smouldering tango from Argentina with Tango Paradiso, the irrepressible Bhangra and Gujarati dances from India with the Singh Sisters and Deepa Gajjar, beautiful bellydance styles from the Middle East taught by Tamara Williams, continued next page... |
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...continued from previous page rhythmic African dance with Wala and Warako Musica teaching Ghanaian and other African styles and the subtle circle dances of Armenia, Macedonia and the European Gypsy communities taught by visiting international teachers from Findhorn in Scotland, Laura Shannon and Andy Bettis. Evening dance events at the dance Pavilion give you opportunities to dance the night away to the rhythm and sounds of live music. Bring your sequins and shimmy techniques to the 'Bellydance Extravaganza', dance to the driving rhythm of Indian drums and techno beat at the 'Bhangra Dance Night' or join others for a national social pastime – wild bush dancing with the famous Wongawilli. and Bush Remedy. Be hot and sweaty at the African drum and dance night with Wala or spend New Year's Eve at the Afro-Latin Dance Night with Warako Musica. Show off your Latin dance moves or enjoy the wonderful display dancing by the many Latin American dance groups from Colombia, Bolivia, El Salvador, Peru, Cuba and Chile at the 'Latino Carnaval de Woodfordo Dance' night ….. then keep on dancing in the Carnaval parade to the mask zone. And don't miss the opportunity to dress up for the stately and sophisticated Playford Masked Ball. At the Folklorica Stage you can enjoy a wealth of talented international and national artists presenting a rare glimpse into the world of traditional dance. From India we welcome the rarely seen, esoteric South Indian Yakshagana folk dance dramas presented by the outstanding Yakshagana guru, performer and director Sanjeeva Suvarna and award winning performer Rajendra Kedlaya of Shruti-Indian Yakshagana Troupe. Tibetan theatrical opera dance is presented by Tsering Dorje Bawa – famous for his dance performances in the films Kundun and Himalaya and as a performer and teacher with the Tibetan Institute of Performing Arts. Other national groups and artists feature sensational Latin Carnaval and traditional dances from Cuba, Chile, El Salvador, Bolivia, Peru and Colombia, spectacular Irish and Cape Breton percussive dance, powerful Pacific Islands dances from Samoa, Cook Islands, PNG and Torres Strait, passionate flamenco, beautiful Indian classical and folk dance, Sicilian tarantellas, German schuplatter and so much more. Connect to humanity, celebrate life and experience cultures through the world of dance at Woodford Folk Festival. For more information, go to the Woodford Festival web site at www.woodfordfolkfestival.com ? Pat Symons (QLD) Co-ordinator, Woodford Folk Festival |
A GIFT FROM THE PAST So often, children born or living in Australia of people from other cultures find it hard to relate to both cultures. In "A Gift from the Past", the value and contribution of the parents' culture to the Australian culture was presented – how the traditions of the older culture can enrich the younger. The enthusiasm and skill of the dancers, the stunning colour, style and variety of traditional costumes, the movements of the dances from all areas of Greece, incorporating slow and graceful to energetic and athletic, the re-enactment of simple but powerful celebrations, the exquisite playing of the Pontian lyra and the singing of a haunting demotic /folk song were but some of the highlights from this wonderful production. Some of the dances performed were: Nizamikos (named after the Turkish tax collectors), T'astri kai feggaraki (a women's dance from Roumlouki, which translates as "the stars and the moon"), Diplos Horos (danced by the Sarakatsani, or nomads, of Thrace; Diplos means double, as the circle divides into two); Tsamikos, from Central Greece, that displays male agility, strength and bravery), the well-known Kalamatianos and Tsakonikos from the Peloponese, Palamakia (means to clap) from Epirus, Karagouna (a Sta Tria style dance from Thessaly), Kalinitikos (the friends of the bride, who perform this "plaiting" dance in trios on the way to the church, Trigona (a Pontian dance that moves to the left, unlike other dances), Horos Fotias (a candle dance) and Horos Koutalion (linked to the ancient dance of the krotala or spoons, both from Cappadocia in Asia minor), a Sousta from Rhodes, a Syrtos ("to drag") from the island of Amourgos, Maleviziotis, or Kastrinos, (one of the most ancient dances from Crete), two Karsilamas from Cyprus (the one for women also called the "wool & thread" dance) and, finally, Hasapikos, Hasaposervikos and Zeibekikos (danced by drunken males!) from modern Greece. What a night! What a feast! What a gift to the Australian culture! Photos next page... ? Maureen Petherick (NSW)
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Snapshots of "A Gift from the Past"
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From Maria's Romanian Diary25 September, 2002 It has been only about a week since the Australian contingent of 20 folk dancers arrived in Bucharest to begin our dance adventure in Romania, yet so much has happened I feel as if I've been here for weeks. After spending a few days in Bucharest to see that city (another story in itself), we are now in the north east of the country in our host's house at the edge of a small village on the fringes of the Carpathian mountains. It is another world here. It is early autumn, and because we are in a rural area, we see rural life much as it has been for a long time. I am writing from an Internet café in the town of Votra Dornei, which I was surprised to find in a country where toilets are of the squat type and you cannot count on paper being provided. Here we are hosted by Silviu Ciuciumis, a Romanian teacher who is an expert on his country's dances. He has a large house built in traditional style, which means that the inside is entirely of timber. Apparently it is not possible to buy house insurance, so he has the constant worry of fire - although not so much at the moment, as it is damp, foggy and a little rainy. Nevertheless we are asked not to use electrical appliances in our rooms, and even the carafe and glasses on our table must be covered with a cloth in case the sun uses the glass as a mirror and burns into the wooden table that it sits on. The house, which is also Silviu's Centre for Romanian Ethnography and Folklore, can accommodate all 20 of us. Some of us are in large rooms which can sleep up to 6, while other rooms sleep 4, 2, or even 1 - the last are like modern monks' cells. But each room is interesting as there are lots of sloping ceilings and the walls and floors are covered with home-made rugs in a kaleidoscope of colours. Aussies dancing on Silviu's deck in Tesna, Bukovina. Photo by Christine Battisson On our first day, we took a stroll through the paddocks to visit Silviu's neighbours, who live in very old houses in even more traditional style. The houses generally have 2 rooms on the ground floor. One is a day room - in which everything happens -a combination of kitchen and family room, but so much unlike our own it makes me smile. There is a huge stove which runs on wood (of course) and cooks and heats. There are large couches lining the walls, and they themselves are covered with rugs, as well as the walls and floor, all of which were made by the lady of the house. |
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I should say that when we arrived at Silviu's house last Monday morning at 7.00 am, after travelling sleeplessly on a sleeper train (4 to a carriage which usually takes 6 - thank goodness!) we were welcomed by the small group of people who were to look after us, with a traditional welcome (in costume) of warm bread, salt, and fruit brandy. Each visit to the neighbours, later that morning, also involved offerings of fruit (cherry, walnut) brandy - so by lunch time we were all done in!
This is as much a touring holiday as a dancing one. Yesterday was a long day. Left by bus to travel over the mountains to the area of Maramures - the most northern region, and from what I can see, one of the most traditional, and one of the poorest. Most of the houses are of wood, although some people who have gone to Germany to work have come back relatively wealthy and built newer houses (of concrete on the outside). There is so much mud, it is hard to believe, as generally only the main road is sealed. As the bus travelled along, we dodged horses and carts, and many cows being walked from one place to another. There are also chickens everywhere - lots of free range eggs, let alone hens, I thought to myself! The front gardens are very practical - full of vegetables. Corn is everywhere - polenta is a staple food. However flowers are also very common - they love dahlias, cosmos, roses, zinnias, and I even saw some balsam flowers, which I haven't seen since my mother grew them in her garden when I was very young. We have been lucky to have been offered traditional food all the way along. That means lots of polenta, home made cheeses, stuffed vegetables, home made jams - the strawberry jam was so solid it was served cut into squares, like cheese. For one meal, the polenta was served with cream cheese and cream (the best I've tasted), which we seasoned with salt. I was intrigued to find that they also cut it the way my father, who came from Slovenia, used to - ie, tipped upside down out of its cooking pot and then cut into cubes with cotton thread. We have learned 11 dances so far. The dancing has been varied, as you would imagine, from the different regions. Some of you dancers back home, I know, will be pleased to know that many have involved lots of stamping. |
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Children's Performing Group at Botiza, Maramures. Photo by Christine Battisson In Maramures, we were entertained by about 10 young local children, doing dances that they learned from their grandparents. They even got us up to dance with them. They danced in a very bare hall which had not lighting, let alone heating - a bit of a shock to our scale of values. We were also taken to a new church, the inside of which was totally covered in religious paintings, but it also had some beautiful floral motifs - all done in a combination of beautiful rich colours, with an overall impression of sky blue. This church was totally paid for by the local villagers, and it took a married couple 4 years to paint the inside. You get the sense that the Romanians are very devout, even the young ones. Behind that church, we were shown the old one, with apologies for the smell - caused by bats which had made it their home. The church was very tall - about 4 times its width, and totally made of wood, and looked very similar to the typical old wooden churches in Norway. This is a bit of a puzzle, and no one could explain this coincidence to me. Today we are in the local village (a medium town, really), and will see a group of children dance again, and dance with them. We will also visit the museum for which we have been collecting funds. It would be nice if the sun came out, later. Better sign off now. Will be here until Sunday, when we get the return train to Bucharest, on our way to Holland. ? Maria Jenkins (ACT)
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SOME CHRISTMAS SAVINGS! The recent announcement that Donner and Blitzen elected to take the early reindeer retirement package has triggered a good deal of concern about whether they will be replaced, and about other restructuring decisions at the North Pole. Streamlining was appropriate in view of the reality that the North Pole no longer dominates the season's gift distribution business. Home shopping channels and mail order catalogues have diminished Santa's market share and he could not sit idly by and permit further erosion of the profit picture.
The reindeer-downsizing was made possible through purchase of a late model Japanese sled for the CEO's annual trip. Improved productivity from Dasher and Dancer, who summered at the Harvard Business School, is anticipated and should take up the slack with no discernible loss of service. Reduction in reindeer numbers will also lessen airborne environmental emissions for which the North Pole has been cited and received unfavourable press. I am pleased to inform you that Rudolph's role will not be disturbed. Tradition still counts for something at the North Pole. Management denies, in the strongest possible language, the earlier leak that Rudolph's nose got that way, not from the cold, but from substance abuse. Calling Rudolph, "a lush who was into the sauce and never did pull his share of the load" was an unfortunate comment, made by one of Santa's helpers and taken out of context at a time of the year when he is known to be under executive stress. As to further restructuring, today's global challenges require the North Pole to continue to look for better, more competitive steps. Effective immediately, the following economy measures are to take place in the "Twelve Days of Christmas" subsidiary: The partridge will be retained, but the pear tree has not realised the cash crop forecasted. It will be replaced by a plastic hanging plant, providing considerable savings in maintenance. The two turtle doves represent redundancy that is simply not cost effective. In addition, their romance during working hours could not be condoned. The positions are therefore eliminated. The French hens will also be removed as we agreed in a consensual fashion that they were, in this environment, politically incorrect. The four calling birds were replaced by an automated voice mail system, with a call waiting option. An analysis is underway to determine who the birds have been calling, how often and how long they talked. Continued next column => |
...continued from previous column The five golden rings have been put on hold by the Board of Directors. Maintaining a portfolio based on one commodity could have negative implications for institutional investors. Diversification into other precious metals as well as a mix of Treasury Bills and pharmaceutical industry stocks appear to be in order. The six geese a-laying constitutes a luxury which can no longer be afforded. It has long been felt that the production of one egg per goose per day is an example of the decline of productivity. Three geese will be let go, and an upgrading in the selection procedure by personnel will assure management that from now on every goose it gets will be a good one. The seven swans a-swimming is obviously a number chosen in better times. Their function is primarily decorative and expendable. The current swans will be temporarily retained to learn some new strokes and therefore enhance their out-placement. As you know, the eight maids a-milking concept has been under heavy scrutiny by the Equal Opportunity Board. A male/female balance in the workforce is being sought. The more militant maids consider this a dead end job with no upward mobility. Automation of the process may permit the maids to try a-mending, a-mentoring or a-mulching. Nine ladies dancing has always been an odd number. This function will be phased out as these individuals grow older and can no longer do the steps. Ten lords a-leaping is overkill. The high cost of lords plus the expense of international air travel prompted the Compensation Committee to suggest replacing this group with ten out-of-work politicians. Whilst leaping ability may be somewhat sacrificed, the savings are significant because we expect an oversupply of unemployed politicians next year. Eleven pipers piping and twelve drummers drumming is a simple case of the band getting too big. A substitution with a string quartet, a cutback on new music and no uniforms will produce savings which will drop right down to the bottom line. Regarding the law-suit filed by the Law Institute seeking expansion to include the legal profession ("thirteen lawyers a suing"), action is pending. Lastly, it is not beyond consideration that deeper cuts may be necessary in the future to stay competitive. Should that happen, the Board will request management to scrutinise the Snow White Division to see if seven dwarfs are the right number.
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| The Background of the Branle | |
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What is a Branle? Probably derived from the verb 'branler' (to oscillate), the term branle describes the French chain dances of the Renaissance. The term has appeared since the end of the 15th century when it was used to describe one of the steps of the basse danse ( a slow gliding dance danced by several couples in procession) of France, documented in The Brussels Manuscript in 1470 as 'lateral displacement or oscillation of the body' and also in L'Arte et instruction de bien danser, by Michel Toulouse (1495) as a step which should 'start with the left foot and end with the right and is called branle because one does it by swaying from one foot onto the other'. It was later described as a dance by Antonius Arena in 1520 in Ad suos compagnones studiantes, Thoinot Arbeau in 1588 in Orchésographie, Jean Nicot in his dictionnaire in 1660, Samuel Pepys' diaries of 1662, and F de Lauze in Apologie de la danse in 1623. It evolved over this time period, enjoying escalating popularity as either the opening or closing dance of the grand balls, to become more complicated while retaining the same fundamental and durable form. We know from Rameau (1725) and Pepys that all levels of nobility, including kings and queens, danced branles in their courts. In the 18th century in the court of Louis XIV, the branle continued to be danced, although it did not have the same prestige as earlier on.
In the Countryside As a dance of the ruling classes, the branle was well documented and we know comparatively little about its existence in the countryside of France. We do know of some traditional dances of the same logic described by the above authors, that is, dances in open or closed chains, usually left moving, with come-and-go trajectories. Some of these dances retain these days the chain form, others are now danced in couples or have incorporated elements of other dances like the contredanse and bourree. Dances like branle d'Ecueillé, branle d'Ossau, and branle d'Arbéost possibly formed part of a repertoire of ancient branlesdanced by peasants, as do branle du Quercy, branle de Bresse, branle à six and branle de Cosnay, which show influences of other dances.
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We find in the diverse dances, known as ronds or rondes and the laridés (ridées), an dros (en dros) and hanter dros of the Morbihan, similarities to the ancient branle double and branle simple steps. In the dances called sauts of the Basco-Béarnais, we see a link to the branles coupés and branles morgues described by Arbeau. Musically, the sauts Basques seem to stem from the branle des sabots (Attaignat) and branle gai (Phalèse). And finally, the contrepas roussillionais and the ancient sardane catalane are very similar to the branles described by Arena, that is, as simple repetitions of long and short steps. In the terminology of the Renaissance, the short step is a succession of doubles, the long step a combination of two simples and a double. We must be careful, however, not to assume that the branle was a popular dance amongst peasants as opposed to other dances of the same epoque like the basse danse, pavane and allemande which are known as court dances. The branle was known throughout Europe as a dance of the aristocracy since the middle ages and links to traditional dances have been made mainly because of their open or closed chain form resembling the branle. This does not give one authorisation to state that the branle was a dance representative of rural communities of the 16th century. The above-mentioned authors described dances from their own society – dances of the dominant society, the upper class, the cultured. Arbeau does mention that some more vigorous branles were practised by the chambermaids and menservants. Names of the Dances The word branle is French and is used by Arena, like his predecessors to describe a step of the basse danse. He was the first to describe the branle simple and branle double, fundamental forms of chain dances appearing at the end of 15th century. Arbeau describes suites of branles including the branle double and branle simple, the branle gai and the branle de Bourgogne. He also describes the branle de Champagne, branle de Poitou, trihory de Bretagne, branle du Haut-Barrois, branles d'Ecosse, and branle des chevaux. In English, we see the translations of these dances as using the word bransle or brawl. continued next page... |
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...continued from previous page Hence we have the double and single bransles, the gay bransle, the Burgundy bransle. We also come across the horses brawl, the war brawl and the clogs brawl and the Maltese brawl.
Branles Today Because Arbeau's dances were so well documented, we can see them danced today in the same form under the same names. We also see folk dances which have arisen from the Renaissance court dances and spread into other European countries and even modern branles, created by folkloric groups like Au Gré des Vents (Alsace) in France today. Branles, are very much alive in France today and form part of the repertoire of the bal folk (folk ball). Alsace boasts a richness of branles, courantes, waltzes of asymmetric rhythms and sarabands, which some would like to believe have always been danced there by the common people but no-one has any evidence or record of these dances being witnessed at these early times. Today at the Alsatian ball we dance, for example, the Branle Gai, L'Homme qui Marche, Maitre de Maison (danced often to a medieval song), Branle Tais toi, branles asymétriques, Branle des Bergers, Le Valet Rusé, the branle double called Ouvre-moi, amongst other types of dances. Most of these can be recognised by their typical leftward displacement, a rhythmic swinging of the arms, sometimes a turn or a stamp or a subtle lift or point of the working foot, along with combinations of double and single branle steps The Branles de la Vallee d'Ossau in Béarn are amongst the most subtly difficult branles practised today in France. They have a huge following of dancers who attend workshops trying to attain the grace and skill necessary to perform these dances of elevation and suspended steps properly. In Brittany, we see another legacy of the ancient branle. The branle double, for example, which became widespread over Europe in the 16th century, has given rise to the An dro, Pilé Menu, Rond de St Vincent, rond Paludier and others danced in Brittany today. In the family of branles simples, we now have Hanter dro, Jymnaska, and ridées of 6 and 8 counts. Continued next column => |
...continued from previous column The family of gavottes of Brittany ( including Kost er c'hoat, Dans Fisel, Gavotte de Pont Aven, and Suite Gavotte des Montagnes) have come from the Trihory (tri c'hoari), Renaissance branle typically of Basse Bretagne. The Renaissance branle gai has given rise to Danse Plinn, Danse Léon, danse Treger and la Maraîchine
Perhaps this information answers some questions about French dances of today. The question "what is a branle?" is frequently asked, as is the question "why do so many French dances go to the left?" Hopefully, readers will have an understanding also of the place of the branle in French society in the 15th to 18th centuries as a dance of nobility, and an understanding that, with the Revivalist movement in folk dancing in Europe, it has become a dance for everyone, even Australians! References Yves Guilcher - « La Danse Traditionnelle en France » ? Laurel de Vietri (WA) |
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"New Wave" Folkdancing Resources
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The Road from Erin – Ireland's Musical Legacy - Various Artists, Dorian DOR-90021 (mid-price, thru Rockian) There's plenty of variety and quality in this excellent compilation from Dorian. Beginning with evocative Medieval vocal music by the very fine Altramar Ensemble, there follow tracks by the Baltimore Consort, with their unique arrangements of Early and Folk Music, the virtuoso hammered dulcimer player Ken Kolodner, Ensemble Galilei, an all-women ensemble who, like the Baltimore Consort successfully combine Folk and Early Music, extraordinary exciting bouzouki player Roger Landes, seductive Celtic harp player Carol Thompson, stylish accordionists Billy McComiskey and John Whelan, elegant vocalist Connie Dover and others. So many Irish compilations follow the same well-worn tracks, but here is an album with a difference, an all-encompassing celebration of Irish music from way back. Good value at mid-price. Live in Concert – Capercaillie, Survival SURCD 027 (thru MRA) Those who heard Capercaillie at either of their two appearances in Australia will know what a fine experience it is to hear this Scottish band live. This album, nicely recorded in Glasgow early this year, has a good swag of hits and a representative cross-section of their talents, from songs to instrumentals. This recording proves that Capercaillie is part of the elite in folk bands of the UK. Here we have no-holds-barred musicians enjoying themselves in traditional mode, if not entirely with traditional instrumentation. From evocative songs that conjure up the bleak but stunningly picturesque Scottish countryside to full blown dance tunes, the band never misses a beat. It knows what it is about and it shows. This is 71 minutes of total enjoyment. Latin playground, Various artists, Putumayo PUT201-2 (MRA) This is Putumayo's new instalment in its series of children's albums which began with World Playground Volumes 1 and 2. Eleven happy tracks with abundant variety in sounds and rhythms will appeal to any youngster with any sort of interest in World Music, especially Latin. With quirky songs about, for example, misbehaving spiders, beautiful women who smell like armadillos, how to make chocolate, and the joys of playing and singing, the right ingredients are there for children to have fun. On the other hand, parents used to greater depth in Latin music (as on Putumayo's "Congo To Cuba") could go a bit loco if subjected to repeated listening. The best-known song is "Guantanamera" from Cuba sung by Omara Portuondo, of Buena Vista Social Club fame, and there's other catchy numbers from Colombia, Mexico, Brazil, Puerto Rico, Ecuador, USA, Uruguay and Venezuela in this light program. The only snag is its length – perhaps Putumayo was considering the concentration span of a child, but whatever the case, at a mere 36 minutes, there's quality but certainly not quantity. ? Julius Timmerman |
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Woodford Folk Festival 27th December 2002 From Friday, 27th December to Wednesday, 2003 New Year's Day you can become immersed in a variety of dance, drum and movement workshops including Australian bush dance, Afro-Cuban, African, Armenian, Balinese, Balkan, Bavarian, Bellydance, Cape Breton , Cook Islands, Ghana (west African), Improvisation, Indian (Bharatanatyam, Gujarati, Yakshagana and Bhangra!), Playford, Salvadorean Latin and South American (not just samba, but also traditional dance from the regions of Peru, Chile, Bolivia and Colombia), Rom (Gypsy), Tango, Tibetan and Waltzes & Polkas dance workshops, and African, Djembe and Dun Dun drumming, Body Percussion, Yoga, and Tai Chi. That's 6 days of soul-refreshing workshops to begin the new year at Queensland's Woodford Folk Festival. Of course that's not all. For more information about the Festival, eg, getting your tickets, the concerts, performances, displays, kids' stuff, etc, check out the website: http://www.woodfordfolkfestival.com FDA "Favourite 2002 Folk Dance" Workshop, Feb 2, 2003 Why not begin the new folk dance year by coming along to dance, and maybe to lead, your favourite dance from a 2002 workshop? Could be one from Vas' Greek Workshop in March, Yorgo's Macedonian Workshop in May, the Lebanese Workshop in June, or André's Bowral Weekend in August, or even one from the Romanian workshop held in November. This is a great opportunity for you to revise and catch up with some of the best dances of the year. If you would like to nominate a dance, please email liz@pnc.com.au or phone Kaye, 02 9528 4813, with your choice by 15th January, 2003. Details for the workshop are:
FDA Annual General Meeting, Feb 2, 2003 The FDA Annual General Meeting will be held after the "Favourite 2002 Folk Dance" Workshop. We need to elect a new president, as the FDA constitution only allows its presidents to hold office for a restricted number of years. We also need to discuss the public liability issue – shall we dispense with "members", what would be the implications, or should we continue as before, knowing that our members are covered should they be sued, but are not able to sue? Have your say about this and any other business you would care to raise.
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... continued from left column André's Bowral Weekend, July 2003 The Bowral residential weekend for 2003 has been booked for 18 –20 July 2003 - put the dates in your diary. Brochures available next year!
Balkanfolk 2003, Pamporovo, Bulgaria 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. For more details, check "Footnotes", October, 2002 and http://www.balkanfolk.com Prague Festival Dance Prize 2003 & Dance Grand Prix "Italia" 2003 (International Event Competitions for all types of dance, including folk). Prague Festival Dance Prize 2003: Dance Grand Prix "ITALIA" 2003: Italian Address. Via Ugo La Malfa n.2 / 47020 Montiano FC Italy or e-mail dancefestival@dancefestival.it Everybody can participate in these big events and only a little fee of participation needed. Please visit their new Web Site with all the details of the festival programs, and where you can select your favourite language http://www.dancegrandprix.com
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Name: Dick Oakes DickOakes@PhantomRanch.net Name: comite.nacional@abrasoffa.org.br From Hungary: There are three villages in Hungary to arrange this event. All of them receive a foreign folk-dance group, so all together three groups (from abroad) take part in the festival. If the organising village has a folk-dance group, of course it is the fourth participant, (but not every village has its own group.) I arrange everything in connection with the festival from beginning to end. I also recruit new villages into the festival. The festival receives amateur, children and youth groups. If a settlement has only an adult group, we invite a group of the same age. The accommodation is in the villages in every case (sometimes at families or in student hostels). The villages pay the cost of this, but every group has to pay its own cost of travelling. Apart from Csongrád County, other counties in Hungary take interest in these festivals. That is why I would like to extend this event to a nationwide programme. During the festival the guests travel from village to village and they have a performance in every village - so its name "village-wandering". The self-government of these villages raise the necessary funds for the festivals (not the state!). Unfortunately, because of this, we have to restrict the structures of these festivals from year to year. The festivals are going to be based on exchange visits from 2003. I started the international "Country-Wandering" Festival in 2002. This is planned for all those Hungarian settlements, towns and cities that cannot take part in the village-wandering festivals because of financial reasons but despite of this, they would like to invite foreign folk-dance groups. It can receive children, amateur and youth folk-dance groups, majorette and wind-bands. In this case the accommodation of these teams is going to be in the centre of Szeged (population of 170,000), in a big student hostel, on a beach, or in a leisure centre. continued top of next column => |
...continued from left column During the festival the teams are planned to start from Szeged and get back there after the performances. The people from the villages, towns and cities will act as hosts to these groups with a lunch or dinner, and they will get a presentation from them. The city of Szeged and other towns of the county will be shown to the participants (sight-seeing programmes). It is very important to know that for this festival, I am looking for groups which can pay their cost of travelling and accommodation, since the hosting village or town cannot afford it. I have to look for and find sponsors who can pay any other cost. If you wish to participate in the 2003 International "Village-Wandering" Festival or International "Country-Wandering" Festival, Csongrád County, contact Mr. Károly Miklós, Festival Director or Public Relations Manager, Ms. Enikő Magyar, email: mikloskaroly@freemail.hu, or check the website: http://falujaro.uw.hu
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