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It's great to have cooler weather, encouraging plenty of activity in the dance world. Many of us warmed up at the beginning of June at Djordje Nikolic's Serbian Workshop, with his calf-crunching, bouncy dances, beautiful music and displays by his performing youngsters in costume. Besides delighting us, some of the costumed girls attracted Newtown lunchtime crowds in the street with their calling in a lively circle dance around a water bottle! Our thanks go to Djordje for the time and preparation he put into the workshop. Here on the mid-north coast, we've been spreading folk dance fever, presenting a workshop and social dance at Coffs Harbour Steiner School's Conference. It was enjoyed by teachers, parents, pupils and conference attendees, with a variety of easy dances - many relating to main lesson themes used at school. We also participated in a day of Circle Dancing in Forster, led by Judith Keller from Newcastle, who has her own group and classes there. She was able to share her historical knowledge of the dance meanings and create a lovely feeling of harmony in the group with her gentle and lively dances from many cultures. Last weekend, we attracted 20 dances from Armidale, Newcastle, Forster and our local area to a workshop of traditional village dances, led by Sandra Bassetti. All ages were represented - children to grandparents - and it was wonderful to see everyone contributing their own special energy to the day. We plan to keep this interest alive by holding workshops every two months and have scheduled our next one for Sunday 7 September - for anyone travelling in this area! Looking forward to more shared learning and dancing at André's Bowral weekend. See you there. Jenny Lester, FDA President DANCE YOUR WAY INTO SPRING IN VIC! The enthusiastic Victorians are organizing a great weekend of Folk Dance and Fun. Teachers Peter Williams and Rae Marnham will ensure that this will be a not-to-be-missed weekend. Enter the dates in your diaries right now - 6th and 7th September at the Northcote Uniting Church Hall, 251 High Street, Northcote, Melbourne. Peter Williams has recently returned from an extended stay in Greece. His love of Greek dance and his excellent teaching abilities will make your attendance at his sessions an ABSOLUTE JOY! Rae Marnham, from Adelaide, will be well remembered by many folk dance enthusiasts. She loves to share her extensive and beautiful repertoire of dances. You will rave about her sessions! SO BE THERE!!! Enquiries: Debbie Tait, 03 9752 5431 or email: dtait@vtown.com.au; Dorothy Plummer, 03 9580 4117 or email: dotsop@ozemail.com.au. Registration Forms available from: PO Box 5267, Mordialloc. 3195. Full weekend cost is only $70, concession is $65. Daily cost is $50; daily concession is $45. Cheques payable to: Folk Dance Australia. |
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THE UNITED CONCERT JULY 6TH 2003 Five Folkloric groups combined to produce a very impressive program which
delighted the audience at the Glenn Street Theatre in Belrose, Sydney, and left
them wanting more. It was a unique experience seeing five groups working together,
united in one program. We look forward to more of this in the future, as it was
well worth enjoying the spectacle and soaking up the atmosphere. continued next page... => |
| ...continued from previous page 'Happy
talking hands' was one feature of the Carol Maddocks dancers. The children
with the older generation doing this item together were super. Another item also
wonderful to see were the Russian girls sliding smoothly across the stage, which
moved into different formations seamlessly. ? Fiona Clark (NSW) MACEDONIAN SPECTACULAR Lovers of traditional Macedonian folk music (or Balkan dance/music lovers in general who do not want to miss out on seeing the best that Macedonia has to offer) should keep in mind Saturday 2nd August (Melbourne) and Sunday 3rd August 2003 (Sydney). The Macedonian Australian Council of Sydney is organising a spectacular concert to celebrate 100 years of the Ilinden Uprising. The Sydney event will take place at the Sydney Opera House Concert Hall. It will be a 4 hour extravaganza. Those who love traditional folk dancing and music please note acts include Tanec (who need no introduction) and the DD Quartet (DD being Dragan Dautovski - ex-Synthesis and collaborator on Before the Rain soundtrack - one of Macedonia's best gajda/ zurla/ kaval players). Tickets for Sydney went on sale Wednesday 28 May - they can be purchased from the Sydney Opera House box office or through Ticketek. For those in Melbourne - I'm not sure of details of ticket sales. All I know is that the venue is the Dallas Brookes Reception Centre. See www.ilenden.org.au for more details. Acts like Tanec and DD Quartet are not usual visitors to Australia - make sure you don't miss out! (pre-release tickets being sold within the community are disappearing fast). Prices range from $50 - $65 - $85 - $120 (which is a bargain for the Opera House). Contact me if you want to know more: Novica Angelovski, secretary@macsa.org.au. ? Novica Angelovski INTERNATIONAL FOLKLORE FESTIVAL 'NUFARUL ALB', CAHUL, MOLDOVA, 2003. It was with great excitement that a coach-load of "Zornitsa" dancers and singers set out from Sofia 7.15am, July 1st, bound for the tiny Republic of Moldova. We crossed the Danube at Rousse, travelled through Romania, and about 2.30am, July 2nd, arrived Cahul, a small city in the south of the country and where we were housed in a camp for the next few days. Knowing little about Moldova before I went, it came as a pleasant surprise - pretty landscape, quaint villages, atttractive cities and warm people. With a population of over 4 million inhabitants, it has a rich history and the majority of the population are Moldovans (Romanians). The state language is Moldavian and along with it, Russian is used, as well as languages of minority groups. continued top of next column => |
... continued from previous column "Zornitsa" had been invited to participate in the 8th International Folklore Festival, "Nufarul Alb" (White Water Lily), July 2nd to July 6th. This festival, which is held every two years, was named "Nufarul Alb" due to the abundance of white water lilies in the ponds and rivers around the city. Other ensembles taking part were those from Romania, Russia, two from Moldova, Ukraine, Greece and Turkey. The Ukraine included dances from Bulgaria which were appealing to the eye. The opening ceremony commenced with a parade through the streets of Cahul; a spectacle of Moldavian dancers (not folk); then performances by all groups. There was a magnificent fireworks display at the conclusion. Under the direction of choreographer Emil Genov, "Zornitsa" showed its exceptional talents throughout the tour, performing the dances Trakiycki Tantsi (Thracian); Zhenski Shopski (Women's Shoppian); Shopski Syouita (Shoppian Suite); Trakiyska Mladost (Thracian Youth); Petrunino; Ogri Ot Vidinsko (Dances of Vidin) and Cherkezko. Our four singers added character with their beautiful voices, sometimes accompanied by the "orchestra," namely, Emil on accordion and Valeri on tarambouka. Dances were to recorded music. It was a wonderful opportunity to share the stage with ensembles from other countries and to be enthralled by their skills. As well as dancing in Cahul, there was an evening performance in a nearby village, after which we were treated to a delicious supper and danced hora - of course! Another day we visited Lopatica, mainly inhabited by descendants of Bulgarians and where "old" Bulgarian and Russian are the prevailing languages. A farming community, the hall was packed and had a nice smell of fresh hay! We were given apricots and flowers; some of us visited the garden of an elderly couple, and rakia and banitsa (cheese pastry) was offered. We had a scrumptious lunch, at a gymnasium, local food and wine and rakia flowing freely (Moldova produces excellent wine) - danced around the tables and found it difficult to depart, the trays of drinks still being passed around outside with more calls for "hora!" Each day there were rehearsals but there was still time to see some of the sights. We were well looked after by our guide, Zoe, who attended to all our needs. One day we were taken on the tour of the university; on another, visited the capital city of Chisinau, three hours' drive north of Cahul, a lovely clean city with tree-lined boulevards and interesting architecture (approx. 700,000 people). One evening we were scheduled to go to a disco, which turned out to be a party held for all ensembles in a large sports hall. This was a fun night and it was pleasant to watch the different hora styles of other countries, and to join in the dances. The days sped past and before we knew it, the final evening had arrived. A stage built on the waters of Lacul Sarat (the Salt Lake) in a picturesque setting, was a befitting place for a magical closing ceremony, with costumed representatives holding a placard, drifting around in a boat whilst the respective country danced. This was an interesting and exciting tour and it seemed remarkable that once again I was engulfed by warm people, colour, movement and emotions in a place which I think, for Australians at least, would be considered "off the beaten track." ? Anna Travali (QLD) |
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DANCING THROUGH THE AGES Bookings open on 21 June for John Garden's 'Dancing through the Ages' course, 7:30 - 9:30pm Monday evenings from 28 July to 27 October (skipping only the long weekend) at the Canberra ANU's Sports Union (Multipurpose Room) - five hundred years of social dance styles from renaissance through different set traditions to romantic and scandalous couples dances. Always a fun course - and always different dance examples from semester to semester - so you don't have to stop at one semester! Phone (02) 6125 2273 or Denis Seselja (02) 6125 8381. Fee is usually about $70 for ANU students $100 for others. People from outside the ANU are very welcome! FROM OUR ROVING REPORTER I must tell you about at recent concert in which Zornitsa took part, at the National Palace of Culture. It was fantastic, but I suppose not all concerts can be without a little drama. Many ensembles performed, and, apart from folk groups, there were displays of ballet, tango, Riverdance, rock & roll and modern. In one of the children's ballet segments, a small girl (aged about 10) lost her tutu! She quickly swept it up from the floor, kept on smiling and continued to dance, twirling the tutu around in her hand. A true pro! I noticed she made a quick exit from the stage when the dance was finished! Zornitsa performed one dance and, in that time, one of the dancers managed to split the inside of one of the legs of his borrowed pants, almost all the way down! Not really noticeable but I did wonder why there seemed to be more material flapping around, than usual! Another dancer dislocated his shoulder and had to be taken to hospital, and is out of action for at least two months. I was excited to hear that Tanec will be visiting Australia in August. The choreographer, Ljupco Manevski, was our teacher of Macedonian dances at Balkanfolk 2001 and 2002. I saw Tanec perform in a festival at Albena (Black Sea, Bulgaria) last year, and they are fantastic. I'm not familiar with the other performers but it sounds as though it will be an exciting concert. That's all from this side of the world for now. Best wishes. ? Anna Travali (QLD) NEWS FROM NOOSA During the last couple of months the Noosa group has been enjoying a variety of dance events. An annual favourite is our Dance Afternoon to which we invite members of Mandala Folk Dancers as well as friends and anyone who would like a free afternoon of dance. Jean and Lorraine from Mandala both taught several dances as did Danni and Meredyth from the Noosa group. A sumptuous afternoon tea was provided by the Noosa group followed by more dancing. It's such fun meeting dancers from other groups and learning a few new dances. Every year in May the Brisbane Greek Community hold a Paniyiri in a park opposite the Greek Club with stalls selling all things Greek but especially food. Live music and dance displays occur throughout the day interspersed with dancing for everyone to join in. continued top of next column => |
... continued from previous column Fortunately most of the thousands at the event choose to sit out but the dance floor is always packed. I like to look for a group of good dancers to join rather than have my shoulder dislocated by someone with more enthusiasm than skill. At the end of one dance I turned to the dancer next to me who, while a good dancer, was not Greek just as she turned to me and we both said "Who do you dance with?" and then laughed. The other dancer was none other than Moyra Adams, folk dancer from Melbourne who had been living in Brisbane for a few months. The next experienced dancer I spied turned out to be Claudia who I had met at a couple of folk dance workshops. A small world! On the last Friday in June, members of the Noosa Folk Dancers met at Noosa Woods for our annual Greek Picnic in the Park. In perfect Noosa weather, members joined in a variety of dances from the Greek Islands. At times members chose to sit and watch a dance or two while they chatted idly, enjoying the birdsong, music and the glorious view of the boats on the sparkling blue water. This was life at its best. Midday we were ready to devour the lavish array of food including spanokopita, dolmades, Moroccan chicken, Greek salad and baklava. Another perfect day in Noosa! ? Danni Mackenzie DANCING - A RECIPE FOR IMMORTALITY? According to an article in the New England Journal of Medicine on 19 June, frequent dancing reduces the risk of developing dementia. Commenting on the findings of a twenty-one year long study, Dr. Bernadine Healy wrote that 'Purely physical activities ... may have health benefits, but they don't lower the risk of Alzheimer's. By contrast, reading, crossword puzzles, playing board games like chess or checkers, playing musical instruments--and even dancing--do. And the more the better. Frequent dancing, for example, which demands musical concentration and knowing where to put your feet while engaging in polite conversation, showed a robust 75% reduction in risk.' John & Aylwen Garden (ACT)
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FDA Serbian Dance Workshop On 1st June, 2003, Djordje Nikolic presented a wonderful day of Serbian dance. Not only did we learn several dances from the Sumadija region of central Serbia but also had the pleasure of seeing these and other dances performed by two excellent groups of young dancers. The beautiful costumes were an added bonus. The day started with the very proud and finely danced "Povoz Kolo". The bouncy "Tasino Kolo" followed. Once we worked out how to do the bounces all that was needed was to count 4\1\1\2! The lively "Ruzmarin" came next, with lots of hops and heaps of energy - a great dance to warm us up on cold winter nights. After lunch we concentrated on "Ljilan Kolo" (the Lily). Here
we needed to remember a sequence of steps and hops and scissors - the tricky
part being that the dance is in 10 counts and the music in 12. What I really enjoyed about the day was the Djordje's attention to style. The dances feel best when danced in the correct style for their origins. The variation in how people dance, more than just the footwork, is, for me, one of the fascinations of Folk Dance. Thanks Djordje for a great day. ? Chris Wild (NSW) NOTES ON SUMADIJA Central Serbia is part of the ethno-choreological region of Morava and is bounded by the river Kolubara (west) and the river Zapadna Morava (south) and covers the Homoljske Planine, Beljanica, Rtanj and the Ozren Planina in the east. Sumadija is part of this region and represents a transition from the central to the eastern and south-eastern regions. The dance elements of the neighbouring regions mix and penetrate one another. All of the dances from Sumadija are in a "wheel" formation. The circle is always open and moves to the right, with dancers following one another. Dancers usually join hands and only rarely use belt-hold. In some urban dances, the hands are raised to shoulder height and bent at the elbow ("W" hold). The dances from this region are quick, the steps are small and the body is straight, the knees and elbows flexible and the body relaxed and turned in the direction of the steps. The style of dancing is nearly always cheerful and vivacious. The techniques of dancing are the same for men and women (the women dance as freely as the men do). Each dance has an appropriate musical accompaniment, whether vocal or instrumental, which is mostly symmetrically related to the dance. The beat and melody of the dances are mainly in 2/4 time and rarely triple. Dances accompanied with singing are of a slower tempo and usually walked. The most frequently used instruments are organ pipes, shepherd's pipes, and, more rarely, bag pipes. Accordions, even violins and basses, have been introduced recently. ? Djordje Nikolic (NSW) |
Folk Music and Contemporary Popular Culture Printed with permission from The Cornstalk Gazette, July, 2003, Issue No 343. Why? Because the two top leaders in the points, Turkey and Belgium, were groups
with music heavily influenced by folk music. They were the only ones with such
strong touches in their music and yet, in this pop-oriented competition, they
ended up dominating the top scoring. I followed their neck and neck contest for
points eagerly, fascinated. Belgium drew on traditional folk instruments in their number, an underscore of their song's roots. I really enjoyed them, but I assumed they would not get far as Eurovision contenders - what a surprise as they began to soar and were in first place for much of the time! I hoped they would win, but Turkey, with some hints of belly-dancing and an Arabic melodic feel, nosed them out at the very end. Both groups were a great demonstration that folk music still has a place in
contemporary popular culture and that people all over the world, including young
people, appreciate it when given the opportunity. ? Mary Jane Field HUNGARY ON A PLATE The Queensland Council of Hungarian Youth and the Tanchaz Brisbane Hungarian Dance Ensemble present "Hungary on a Plate" - now serving Kalotaszeg - on the 29 December, 2003 - 5 January 22004, at the Baden Powell Scout Camp, Samford, in Brisbane. Included are the Fono Band from Budapest featuring Tamas Gombai, four professional Dance Teachers, craft workshops on beading, making of your Parta (Head-dress), leatherwork, wood carving, costuming and embroidery, and music. Prices include New Years Eve buffet dinner, prepared by our Gold medal winning Hungarian Chef. For more information or a copy of the brochure please email: hungaryonaplate@optusnet.com.au.
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| French Folk Dancing in WA Part of the fun of being a dance teacher these days is to see children attaining skills that they would not otherwise be exposed to. While some schools specialise in dance, most don't. Those that do, usually offer contemporary, hip-hop and jazz. While these forms of dance all have their merits, folk dancing can offer a learning experience that other forms of dance can't, merely by its link with a country or region. French folk dancing provides an opportunity for school children to learn such skills as being able to identify different rhythms, familiarise themselves with unusual musical instruments, develop spatial awareness and recognise how to work as part of a team rather than dancing as an individual. As a bonus, they have great fun and use their knowledge of French when joining in with the songs that go with certain dances. At the same time, they learn a little bit about French culture, costumes, regional flags, way of life and traditions. The subject of food comes up in many dance songs. «Elle est bonne, la sauce de boudin, elle est bonne, la sauce» («the sauce is good»); we all sing as we dance «Avant Deux de Travers». Children find French traditional music uplifting and songs in the local patois a treat. Some dances can be done to singing alone. Dances like "Catherina" and "La Bugado" (clothes washing dance) from Provence can both be learnt by little ones in Provencal! Children delight in the idea of Catherina having to lend her drum to her neighbour for the marriage ceremony of his cow! The songs of "La Galette", "La Badoise" and "Comment Dansent" provide insight into the ways of French life. Other songs in Occitan are very appealing to children and don't need to be taught. They automatically begin singing the song themselves with repetition of the dance. Dances like "Pour Passer le Rhone" provide an exercise in timing and teamwork for children in Year 5 and above. Older children can try singing the song as well.
The old French favourite songs "Sur le Pont", "Savez-vous Planter les Choux" and "Jean-Petit" present great lyrics for dancing to and lead into much discussion. We talk about French geography and monuments (the half bridge at Avignon is a real point of interest) and with regard to "Jean-Petit" and "Savez-vous", parts of the body (in French and Provencal) are discussed. continued top of next column ... => |
... continued from left column Miming and imitative dances are wonderful attention keepers for the very young. Children work towards being able to perform these dances alone or even to lead the dance by themselves without the teacher. Dances in this category are "Que Sais-tu bien Faire" from Québec, «Jean-Petit», «Sept Sauts» (Alsace) and «La laine des Moutons» (Québec). There are certain dances which are very popular despite the fact that most children end up watching while a few others dance! All children are taken in by what the others are doing and turns can be taken to give children a go at the dancing part. Two of these dances are the "invitation" dances "Jibidi", for young children, and "El Rogle", a Catalan dance for older children. One child begins and invites another to dance. The Basque dance, "Les Berets" is a third dance in this category. In this dance, one child does a dance for everyone in the middle of the circle. The dance requires some skill, especially since the music gets faster and faster. The onlookers are engaged right until the end, waiting for that final throwing and catching of the beret, which may or may not be successful.
"La Farandole" is a Provencal dance which can take up a whole lesson and can be adjusted to suit the age group. There are many skills involved in this dance and it is one of the best dances for teaching children how to skip. Skipping in a spiral or serpent shape, with arm movements, takes practice. There is also the opportunity for certain 'leader' children to prove themselves. Everybody loves it. No wonder this dance has been around since before Christ! La Farandole can be slotted in to many an occasion that calls for a dance of ancient times. Any Medieval, or Renaissance celebration can be made special by a group of farandoleurs, any village fête or summer solstice festival could also have the presence of this serpentine dance around a pretend fire. The dance is full of symbolism dating back to pagan times and young people find this aspect of it fascinating. continued next page... => |
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Year 7 students at Davalia Primary School, WA, dancing "La Farandole" Dances imitating animals and vocations in France are useful starting points for teaching certain vocabulary. "La Chèvre", "Le Lapin", «Branle des Chevaux» are examples of animal dances. Year 3 students can quite easily manage the tongue twister «Elle a manger les choux, la chèvre, elle a manger les choux» as they dance! French métiers appeal to young children and they learn a lot doing «The Grape-Squashing Dance», «La Laine des Moutons», «Bien Travailler», «Savez- vous Planter les Choux», «Le Matelot» or «Ah, si mon Moine».
Year 3 students from Kingsway Christian College, WA, dancing "Savez-vous Planter les Choux" continued top of next column ... => |
... continued from left column Teenagers and older children like the speed and figures of dances like «La Boulangère». "An dro Retournée" is suitable for teenagers and they always have a laugh at themselves as they try to put together the arm movements and footwork. Other dances suitable for these age groups are: "Le Rigaudon" (Dauphiné), "Cochinchine", certain Bourrées, «L'Ajoulotte» (Alsace), «Les Saluts» (Québec), «Cercle Circassien», «La Chapeloise», «Lo Brisa Pe» (Auvergne), «La Courante Alsacienne» and «La Courante de Lomagne». A challenge for a small group of enthusiastic dancers comes in the form of the dances «Les Ceintures» from the Pyrenees and «Les Batons» («Danse des Bergers») from the Auvergne. Some schools go for a specific theme like 'Baroque Dances of France', which is particularly suitable for teenage girls. They enjoy court dances such as the Branle, Courante, Menuet and Gigue. French teachers in WA come up with some amazing activities and events involving dancing for their students. French Café scenes, medieval plays, assemblies, Provencal mornings, LOTE days, Breton days, activity days, even French Dance socials with other schools are events I've prepared children for. Many of these events involve a wide range of activities like dressing up, preparing food, acting out little French plays, making of monuments and craft work, and singing in French. Experience has taught me to go into a school armed with my knowledge and music
for a wide range of dances. Dances that have been prepared for a group are not
always suitable for that particular group. A group's attitude, level of skills
and coordination need to be assessed in the first dance and the dance list adjusted
accordingly. And when a lad comes up to me at the end of a lesson and says, "Thanks
for teaching me how to dance", that's all the reward I need.
? Laurel de Vietri (WA) |
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"New Wave" Folkdancing Resources a variety of dances for various ages. Order through Kaye Laurendet, okaye@optusnet.com.au or 02 9528 4813.
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By Julius Timmerman Lorius, Alboka, Resistencia, RESC126 (through MGM) Spanish 4-piece group, Alboka, present a beautifully arranged and recorded album of traditional material, instrumental and vocal, played on a huge variety of instruments including as fiddle, recorders, mandolin, guitar, accordion, percussion and a range of ancient instruments. They are joined on some tracks by the gorgeous and unique vocals of guest Hungarian folk singer, Marta Sebestyen. There's variety a-plenty in every respect here - no two tracks are alike. The sound changes from Celtic to Medieval to European dance and beyond, from bright and rhythmic to plaintive and moody. The listener is brought from one unique enthralling sound-picture to another. The musicianship is first class. A thoroughly captivating release - nicely packaged, too! 3 Ravens - Malinky, Greentrax CDTRAX 233 (through Didgeridoo) 5-piece band, Malinky, carries the Scottish flag high with this selection of traditional and original songs and instrumentals. It is impossible to separate the traditional from the original material, such is the quality of their own song writing here. The band's style will be a familiar one to lovers of traditional Scottish folk music but the playing and singing is as good as you'll hear. The instruments are fiddle, guitar, accordion, bouzouki, cittern, whistle and bodhran. Traditional tracks include "Billy Taylor", "Three Ravens" and "The False Lover Won Back". This band is certainly above average - there's plenty of dash when it's needed and soul a-plenty on the ballads, all smoothly and confidently performed. There's no attempt to stand out from the crowd here, but there's a dedication and fine edge in the performances which make the album a beauty all the same. Recommended. The Best of the Baltimore Consort, Dorian DOR-90023 (Rockian) The Baltimore Consort formed 22 years ago and began recording for the Dorian label in 1989, eventually recording nine extraordinary albums of ancient and traditional music from England, France, Ireland and America. As well, individual members of the group made their own albums, many in the folk vein, sometimes backed by members of the consort. What distinguishes this band from so many others is the style of their arrangements - authentic but hip. The swing of their playing injects a certain life in the productions that place them well above the ordinary. Other ensembles have tried to follow suit to stand out from the crowd, but often go over the top to the detriment of the music, while the Baltimore Consort is never irreverent to the intrinsic nature of the music. It doesn't mess with the scores, it merely presents them to remarkable effect. The members are equally at home playing Folk Music and Early Music and the fusion of these two genres in their albums is done with the greatest of ease and to beautiful effect. All manner of early instruments are employed with great dexterity by the five core instrumentalists, while soprano Custer La Rue's warm pure voice adds the final touch. The group's recordings are generously sampled on this compilation. continued next page... => |
Buenos Hermanos - Ibrahim Ferrer, World Circuit, WLWCD065 (MRA) Cuban vocalist Ibrahim Ferrer's second solo album since the "Buena Vista Social Club" album flung him and his colleagues out of retirement big time, is a remarkably exuberant affair, given that Ferrer is now a septuagenarian. It's truly heart-warming to hear wonderful musicians like him enjoying a new lease of life. His velvety voice is as gently elegant, emotional and sensuous as ever, always well controlled. This is authentic Cuban music as you would have heard it 50 years ago in a Cuban nightclub, with just a hint of coffee lounge, in a sumptuous production by Ry Cooder. Guest musicians like accordionist Flaco Jimenez, gospel group Blind Boys of Alabama, pianist Chucho Valdes, drummer Jim Keltner, trumpeter Jon Hassell and of course Cooder himself on guitar, all add to the excitement. The album brims with hip-swaying rhythms swathed in a warm, if slightly dry acoustic, with tight arrangements that blend all the elements in a compelling forward motion. Delicious, one of the best yet from the Buena Vista Social Club set. Piranha's World 2001/2002, Various Artists, Piranha CD-PIR1580 (Planet Imports) World music sampler (probably not for retail sale) features a variety of cuts from Brazil, Spain, Cape Verde, Yugoslavia, Egypt, Romania and Mozambique. All are well-recorded, and the artistry is fine. I particularly enjoyed the beautiful voices of Simentera from Cape Verde and Wazimbo from Mozambique, and the exotic atmosphere of Mahmoud Fadl and Ali Hassan Kuban from Egypt. PIRANHA is obviously a label of quality with a wide base. The website is: http://www.piranha.de . Transitus – Celtic Music of Calabria, Atlantica, resistencia RESCD078 (Planet Imports) This beautifully packaged album featuring an array of traditional sounds arranged with great finesse and played with consummate skill, is a delight. Beside some original material, the music sources are vast, including Ireland, Scotland, England, Brittany, Italy, Canada, USA and various parts of Spain, notably Cantabria and Galicia. There's even an Australian connection there somewhere. The dances and ballads range from Celtic to Cajun, and each is individually finely crafted to let the music flow freely and joyously, with a distinctly Spanish tinge. The quartet of musicians plays accordion, pipes, recorder, flute, fiddle, guitar, mandolin, djembe and bodhran, with a deep-rooted feel for tradition and unpretentious often dazzling artistry. An ideal festival band one could say. Bravo Resistencia for bringing us fine unique recordings like this.
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The Yemen Tihama, Trance & Dance Music From The Red Sea Coast Of Arabia, Topic TSCD920 (Planet Imports) From Topic's WORLD SERIES comes an album that is a time capsule – field recordings from the British Library National Sound Archive made in 1982 by the Tihamah Expedition in the Red Sea coastal plain of what was, at the time, the Yemen Arab Republic. The area is steeped in antiquity and its geographical location has resulted in musical and other influences from far and wide including Ethiopia/Eritrea, Northern Somalia, Sudan, Egypt, Persia, Abyssinia and Turkey. This Afro-Arabian music ranges from intense ceremonial dances, played on a wide range of drums, flute, reeds and lyres, to passionately-delivered art songs. The mind-boggling virtuoso drumming gives a clear indication of the trance element in many of the ceremonies. The sleeve notes are very detailed and photos and art are included. This is fascinating often mesmeric music for the reference collector. From Galway to Galicia – The Celtic Shores, Altramar, Dorian DOR-93248 (Thru Rockian) This is the third in a series (after "Crossroads of the Celts" and "Celtic Wanderers") exploring Early Music with a Celtic connection, by Altramar, a four-piece vocal and instrumental ensemble. The Celtic-tinged Atlantic culture forms the basis of the pieces performed here, a culture that blended pagan and Christian elements, where Celtic imagery for example turns up in the Cantigas de Santa Maria from Galicia or in trouvere poetry from Brittany. The sound of Altramar has an authenticity based on careful research, while the pieces chosen are all characterful. Instruments played are vielle, crwth, harp, cruit, gittern and percussion, in creative and appropriate arrangements. The overall sound of the album is atmospheric and easy to listen to, while the quality of both the playing and the recording is superb. Notes and texts are included. Altramar's dedication to this series has certainly paid off, and all three albums can be recommended. Ya – Felpeyu, Secret Street SSW903 (thru Didgeridoo) and Live Overseas – Felpeyu, Urchin For those who saw this fabulous band on its recent Australian tour, either of these two albums will bring back fond memories. Felpeyu is a 7-piece Spanish Celtic band which specialises in traditional Asturian music. They play accordion, bouzouki, bagpipes, fiddle, bass and bodhran, and they sing. The instrumentals tend to be more exciting than the vocal tracks, but this is a gutsy tight outfit that generates plenty of excitement. The live album was recorded in Australia during their previous tour in 2000.
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FDA Folk Dance Weekend, VIC, Sep 2003
Contact: Debbie Tait, 03 9752 5431 or email: dtait@vtown.com.au; Dorothy Plummer, 03 9580 4117 or email: dotsop@ozemail.com.au. FDA Village Dances Workshop, Taree, Sept 7
For more details, contact Sandra 02 6552 5142, or Mary Lin van Winsen, 02 6554 5857. Bring some lunch to share! Hungary on a Plate
Prices include New Years Eve buffet dinner, prepared by Gold medal winning Hungarian Chef. For more information or a copy of the brochure please email: hungaryonaplate@optusnet.com.au.
Belco Stanev, Bulgarian Seminars, 2003 In this beautiful environment, you have a choice of five 14-day seminars:
beginning 23 August or 3 October, 2003 for a cost of Euro€710.
The price includes the dance seminar (5 hours daily tuition with live music),
optional lessons in Bulgarian singing and language, accommodation and full board
with traditional Bulgarian cuisine and visiting a local festival and historic
towns. For an extra fee, tuition in the playing of the gajda, gadulka, kaval,
tambura and/or tapan is provided. continued top of next column => |
Greek Dance Seminar, Macedonia, August This traditional Greek dance seminar will be held from August 5 - 17 near Prespa Lake, in the small village of Agios Germanos, situated in the Prespes national park, about 60kms from Florina. The program incorporates all the facets of Greek traditional dance, each facet being taught by dancers native from the region (including Macedonia, Pondos, Epirus, Crete and Islands, Sarakatsani, Thraki,) and respectful of its traditions. The live music is also provided by local and regional musicians. The price of the seminar for full accommodation is €650, but other arrangements can be made (camping, part accommodation, etc). For more information, contact Yannis or Maryse as above. Greek Dance Seminar, Thessaloniki, August This 4th Greek Dance Seminar, to be held at the hotel "Rihios", in Stavros, Thessaloniki, will run from August 17 - 27, 2003. Dances and songs will be taught from Thrace (Evros), Pontos (Garasari, Ak Dag Maten, Kars), Macedonia (Chalkidiki, Almopia) and Chios. Traditional costumes will also be shown from each of the above-mentioned regions. The seminar costs €680 Euro and includes hospitality at the seaside hotel "Rihios" which is located at the edge of the village, which has all the conveniences such as bank, post office, many tavernas, cafeterias, and businesses. For more information, please email Kyriakos at krksm@hotmail.com Georgian Dance Seminar, Georgia, October This Dance and Music Study Tour to the Republic of Georgia will run from 13 October – 28 October, 2003 in Tbilissi and Sighnaghi. It will encompass 4 hours of dance lessons with live music a day, singing classes, opportunity to take music, percussion and cooking classes, but NOT a 5 star tourist experience!... We will be living with Georgian families and experiencing Georgian hospitality which is overwhelming and everyday living conditions which are very basic. The classes take place in Sighnaghi in Eastern Georgia. This quaint town has a spectacular view of the Caucasian mountains as well as the plains that stretch into Azerbaijan and Daghestan. The beautiful local monastery is the resting place of St. Nino who first brought Christianity to Georgia. The fees will not only help support Georgian families, musicians and dancers but also a Georgian centre for people with a disability (one of the first of its kind) which is also a farm practising biodynamic agriculture. Dance teachers: Michail Djidalishvili (ex dancer in the Georgian State Ensemble) and Lela Chuzishvili will be assisted by Helene Eriksen. The music teachers are: Valeri Gurgenishwili (accordion), Spartaki Gurgenishvili (percussion) and Lali Khandolishvili (singing). We will have a German and English translator (from Georgian), Helene will also translate (from Russian). Spaces are limited, so sign up early! More information on www.helene-eriksen.de.
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BOWRAL ... FROM ACROSS THE TASMAN A wonderfully friendly group of people, great dances and teaching from André, and a very persuasive Footnotes editor - that is what I'll remember from my first Bowral weekend! That and the incredulous reaction from nearly everyone when I told them I'd come over from New Zealand for the weekend. I was even told - in the nicest possible way - that I must be mad! But just remember, all you Aussies, that Sydney is a lot closer to Auckland or Wellington than it is to Perth. And I did have a few frequent flier miles to use up ... A big surprise came when I was talking to Reet from Canberra on the first evening, and mentioned that I had some very good Australian friends in New York, who, like her, were of Estonian background. Reet soon realised that I must be talking about the Karner family - Garry, Lois and Stephen - who lived in Canberra in the late 1970s and early 1980s then emigrated to the U.S. I danced with Garry and Stephen for many years, including 10 years or so in the Tomov Yugoslav Ensemble, before I moved to New Zealand. Garry and Lois are still in the New York area, though they spend a good part of each year in South America with Garry's work. Stephen eventually followed Garry into earth sciences - though a different field from Garry - and he and his Aussie wife, Karen, are presently living in Texas. If any of you who still remember them would like to catch up, Lois' email is luiza.karner@verizon.net. But to get back to Bowral ... I was watching some tapes of André's 1993 workshops at Kaye and Bert's on Sunday night, and I was very happy that the dances seem to have slowed down a bit in the last 10 years! André's 2003 repertoire was great, with every one of the twelve dances having a particular appeal. There was lots of variety and some challenging dances, but nothing of extreme speed or difficulty. Some catchy tunes, too - I've been humming Koce Berberot to myself most of the day. It was well worth the trip across the Tasman. Now for an advert ... you can folk dance most nights of the week somewhere in New Zealand, so if any of you are ever over here do come along. Check out the FDNZ web site for information and contacts (http://users.actrix.co.nz/horidek/folkdanc.htm gets you straight to this information). Finally, a big thank you to Kaye and Bert and all the others who helped with the organisation of the weekend. Even if you've done it eighteen times before, it's still a huge job!! ? John Beavan (NZ)
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NOTES on the QUADRILLE Scenario: You have had a successful revolution and removed the 'Rulers' by force. You have re-established government and reformed the economic system. It is now necessary to assert control of the social networks which could otherwise undermine your government. Balls are one of the major networking events where matches are made and young men with potential for government, or the army, can be reviewed by the ladies, the power behind the authorities. The new men in power and their ladies are not very proficient in the graces associated with formal court dance style and feel incompetent in a Ball. It is necessary to establish a Ball dance style with which the new society is comfortable. All are equal and the new power brokers are as proficient as any in the dances done informally in the country houses. The old ways are dead, long live the new. In England in 1649, the house of Commons assumed control. In 1650, John Playford published graceful, sophisticated, social dances for the formal society from the dances of the country houses, probably done by landowners such as Cromwell but not by aristocracy at formal functions. In France in 1789, the people of Paris imprisoned Louis XVI. The court dancing ceased and figures of the contredanse and cotillon were formalised and published as "Quadrilles", a term for dancing and pageantry associated first with a small troop of cavalry. "The French Revolution extinguished the courtly style of dancing and deportment. Later, when Napoleon's Court scintillated with meretricious brilliance, there was no revival of aristocratic manners. Whereas under the old regime the gentleman took the lady's hand and led her, as our king still leads the Queen at the opening of parliament and such formal occasions, now middle-class manners were the mode, and the lady slipped her hand through the gentleman's proffered arm. This note of familiarity was the death knell of the old order." (Melusine Wood - Historical Dances) There were a large number of Contredanses and Cotillons. The First Set of figures were the popular contredances: "Pantalon", "L'ete", "La Poule" and "La Trenis" danced in succession in Paris at the start of the 1800s and introduced to England in 1815 by Lady Jersey with eight especially picked dancers. The steps used were complicated and very difficult. Many dance steps could be used: Wilson lists sissones, coupes, balotes, balances, rigadoons, emboits, chasses, jetes, assembles, glissades and pas de basque. Most books list chasses, jetes and assembles as the basic steps. Quadrilles danced by less trained dancers would be walked. Later, stepping was reintroduced with various nationalistic styles giving rise to the Caledonians, Royal Irish etc. Contredanses continued in other forms. The final figure was added in later quadrilles and varied in form. La Saint Simonienne used galloping and changing partners; Chasse- Croise and La Corbielle were used as well. La Boulangere, which continued as a French Country dance and gave rise to the "Baker's wife". ? Chris Green & Sheree Hill (Qld)
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Name Anna Travali, annatravali@hotmail.com Name Andy Busuttil Name Robin Collen Name Phil Name Hannah
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