Archive-Date: Sun, 02 Jun 1996 15:28:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 02 Jun 1996 23:27:30 +0100 (BST) From: hmitchell-AT- tcp.co.uk (Mitchell) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Country Dance Tunes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199606022227.XAA19616-AT- zeus.tcp.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Are there any musicians out there? I've been sorting through some musical manuscripts which reside in the archives of the Manchester Morris Men. Amongst them are 40 country dance tunes, some of which are recognisable as versions of well known tunes (e.g. The Irish Waterman, a version of the Irish Washerwoman) but others which I've never seen before. This list of tunes is: 1. Sicilian Dance - like Auretti's (sp?) Dutch Skipper 2. The Villagers 3. The Pirate or Roxiana 4. First Tune from Lancashire Quadrilles 5. Second Tune from Lancashire Quadrilles 6. Rory O'More 7. The King's Bridge Assembly 8. The Irish Waterman - Irish Washerwoman 9. Lady of the Lake 10. Hampstead Heath 11. Third Tune from Lancashire Quadrilles 12. Fourth Tune from Lancashire Quadrilles 13. Fifth Tune from Lancashire Quadrilles 14. Highgate Tunnel 15. The Wonderful Chimes 16. Scotch Harts Number 1 17. Scotch Harts Number 2 18. Scotch Harts Number 3 19. Scotch Harts Number 4 - White Cockade 20. Scotch Harts Number 5 - Over the Hills and Far Away 21. Villey Vous Dance - the "A" music is like Madamoiselle Voulez Vous Dancer (for La Bastringue) but in 6/8 not 4/4. 22. Julia 23. Belgian Waltz 24. The Captive Waltz 25. The Glory of England 26. Marsden Hornpipe 27. Sailor's Hornpipe - really Roxborough Castle 28. Stranger's Hornpipe 29. Favourite Hornpipe 30. Paganini Hornpipe 31. Ascot Hornpipe 32. A Good Tune 33. French Hornpipe 34. Railway Hornpipe 35. Steamboat Hornpipe 36. Many Mosk 37. Goddess March 38. Harrow on the Hill 39. The Persian Dance 40. The Plough Boy - Only the first part is like the Curly Headed Ploughboy Does anyone recognise any of the above or have dances to go with them? Does anyone know of "Lancashire Quadrilles"? Does anyone know a "Scotch Harts Set"? I've put .gif's and zipped .mid's and .mus's of these on http://www.geocities.com/broadway/3322 if anyone is interested. Please contact me if you wish to use the tunes. It's Manchester Morris Men's policy to allow free access to most material in the archive including these tunes but it would be good if you could reference the source if you reproduce the tunes. Howard Mitchell ================================================================================ Archive-Date: Sun, 02 Jun 1996 16:10:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 02 Jun 1996 16:04:58 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Country Dance Tunes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Sun, 2 Jun 1996, Mitchell wrote: > 6. Rory O'More Well-known in the northeastern USA as a contra-dance. I've seen the tune in print, and would be curious to know if it's the same. > 9. Lady of the Lake Ditto this one. There are two tunes with this name in the USA, similar but not identical, and it's one of the most popular contras. > 32. A Good Tune I seem to remember a USA colonial-period dance by that name, perhaps in John Millar's book? > 36. Many Mosk Better known these days as "Money Musk", still danced in the northeast. > I've put .gif's and zipped .mid's and .mus's of these on > http://www.geocities.com/broadway/3322 if anyone is interested. Please pardon the ignorance of someone new to computer graphics, but if I download any of these, how do I look at them? What software is needed to view a .gif, for example? I have Visio, Word for Windows, and the latest edition of AOL software, but have no idea how to proceed. Thanks for your indulgence. Peace. Paul ================================================================================ Archive-Date: Wed, 05 Jun 1996 10:29:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Jun 1996 13:29:02 -0400 (EDT) From: vskowron-AT- geos.rdrc.rpi.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Boston Area Dancing To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9606051729.AA05449-AT- geo7.rdrc.rpi.edu> Content-Transfer-Encoding: 7BIT Hello, I will be moving to the Boston area in a few weeks and would like to find out about the English Country Dancing there. Can anyone provide a list of dates and locations? Victor Skowronski skowrv-AT- rpi.edu ================================================================================ Archive-Date: Wed, 05 Jun 1996 17:38:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 05 Jun 1996 20:38:53 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Boston Area Dancing To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT >Hello, > >I will be moving to the Boston area in a few weeks and >would like to find out about the English Country Dancing >there. Can anyone provide a list of dates and locations? > >Victor Skowronski >skowrv-AT- rpi.edu Wednesday evenings, 7:30pm til 10:30 pm until June 19th, then erratically until September 11. Special dance with Colin Hume, August 21st. Music by some or all of Bare Necessities, dancing lead by Boston Centre Callers. Emily L. Ferguson - Cape Cod, Massachusetts Photographer, English Country Dance leader, weaver/spinner ------------------------------------------------------------------- No matter which side of the fence you're on, the grass will always turn brown if you don't water it. ================================================================================ Archive-Date: Fri, 07 Jun 1996 03:36:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 03:37:09 -0700 (PDT) From: HUGH-AT- edsug.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: An hour or two of English dance for teenagers? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01I5M2QYU0RM00L81U-AT- UG.EDS.COM> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT We have a Czech family who have lived in England for many years who come to a dance club, and the husband is going to teach English at some summer school (for 16-19 year olds I think) in the Czech Republic this summer. He asked me if I could put together a collection of "English Country Dances" so he could do an hour or two of English dance one evening. Suggestions are welcome; I dithered between Playford (eg working through the "Juice of Barley" record) or Traditional dances, but eventually went for:- Bridge of Athlone Willow Tree Nottingham Swing Waterfall Waltz Boston Tea Party Circassion Circle. It is not too late to change this if you have better ideas, but I was amused to note that having plumped for "Traditional" dances half of the ones I picked on are modern compositions. Hugh Stewart Shape Data Cambridge UK ================================================================================ Archive-Date: Fri, 07 Jun 1996 05:56:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 12:39:07 +0000 From: Bob Archer Subject: Re: An hour or two of English dance for teenagers? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <431.bob-AT- hottub.demon.co.uk> Content-Transfer-Encoding: 7BIT > > Suggestions are welcome; I dithered between Playford (eg working > through the "Juice of Barley" record) or Traditional dances, but > eventually went for:- > > Bridge of Athlone > Willow Tree > Nottingham Swing > Waterfall Waltz > Boston Tea Party > Circassion Circle. I think this is a nice selection Hugh. I'd far rather teach 'traditional' or 'ceilidh' type dances than Playford to beginners and I suspect that a teenage audience will like the more energetic programme. It might be nice to have one Playford dance in the list as a contrast to the others. Bob ---------------------------------------------------------- -- Bob Archer bob-AT- hottub.demon.co.uk ================================================================================ Archive-Date: Fri, 07 Jun 1996 06:13:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 09:13:12 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An hour or two of English dance for teenagers? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Fri, 7 Jun 1996 HUGH-AT- edsug.com wrote: > We have a Czech family who have lived in England for many years > who come to a dance club, and the husband is going to teach > English at some summer school (for 16-19 year olds I think) in > the Czech Republic this summer. > > He asked me if I could put together a collection of "English > Country Dances" so he could do an hour or two of English dance > one evening. > > Suggestions are welcome; I dithered between Playford (eg working > through the "Juice of Barley" record) or Traditional dances, but > eventually went for:- > > Bridge of Athlone > Willow Tree > Nottingham Swing > Waterfall Waltz > Boston Tea Party > Circassion Circle. > > It is not too late to change this if you have better ideas, but I > was amused to note that having plumped for "Traditional" dances half > of the ones I picked on are modern compositions. > > Hugh Stewart > Shape Data Cambridge UK > I would suggest including some dances that are above the beginning level, in the event that he finds that good dancers abound in the area he is working in. I was on the Contradance tour of Czechoslovakia with Larry Edelmann and BLT in 1992, and our experience was that the traditions of folk music & dance were very strong, lots of young people were involved, and they were familiar with dances from quite a few traditions outside of their own. This included American contras & squares, Scottish, a bit of English, & Appalachian clogging, in addition to their own folk dances and Balkan dances. I regretted very much that Larry wouldn't call any contras with heys or contra corners in our joint dances with the Czechs; while there was a language problem, those we were with understood the language of dance very well, and when towards the end of our stay we were joined by a lady from Vancouver, B.C. who also called, she didn't restrain her calls in this way and there were no problems with reasonably complicated dances. Admittedly we were in groups of dancers, and if one is teaching a group of folks who don't normally dance, the simplest dances would still seem appropriate. But it might be good to be prepared for a pleasant surprise! Eric Arnold Ann Arbor ================================================================================ Archive-Date: Fri, 07 Jun 1996 06:59:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 09:00:34 -0500 (EST) From: morganj-AT- indyunix.iupui.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An hour or two of English dance for teenagers? To: HUGH-AT- edsug.com CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT For very simple early dances I like Christchurch Bells and Pat Shaw's revival of Jumping Joan. Jumping Joan (Jeanne qui saute) in particular can be taught in 2-3 minutes to absolute beginners, and is a lot of fun. Jim Morgan morganj-AT- indyunix.iupui.edu ================================================================================ Archive-Date: Fri, 07 Jun 1996 09:23:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 09:21:43 -0700 From: dgilli-AT- slip.net (Dan Gillespie) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: czech dances To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Hi Hugh! Here are a few of my favorites. All seem to go over fairly well with new dancers in my neck of the woods. For the hey, you might suggest doing it pulling past each other with "hands". Sellenger's Round Black Nag Rufty Tufty Hope this helps, Dan Gillespie ================================================================================ Archive-Date: Fri, 07 Jun 1996 11:36:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 13:41:16 -0500 From: sheilab-AT- tiac.net (Sheila Beardslee Bosworth) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An hour or two of English dance for teenagers? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Jim Morgan wrote: >For very simple early dances I like Christchurch Bells and Pat Shaw's >revival of Jumping Joan. Jumping Joan (Jeanne qui saute) in particular >can be taught in 2-3 minutes to absolute beginners, and is a lot of fun. I like Christchurch Bells, too. I don't know Jumpin' Joan....care to share? Sheila Beardslee Bosworth sheilab-AT- tiac.net Editor, Boston Early Music News >> Fall Preview deadline is August 15! 29 Main Street, Acton MA 01720-3505 voice: 508/263.9926 fax: 508/263.2366 ================================================================================ Archive-Date: Fri, 07 Jun 1996 13:06:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 15:07:40 -0500 (EST) From: morganj-AT- indyunix.iupui.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: An hour or two of English dance for teenagers? To: Sheila Beardslee Bosworth CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Jumping Joan is from a pamphlet by Pat Shaw called something like 6 Simple French dances, or maybe French Country Dances where he revived 6 ECD style dances from early 18th Century French sources. I'll look up the publisher when I get home. I remember vaguely that one of the other dances was to the tune Greensleeves. Without my notes, this is what I remember: Jumping Joan Pat adapted slightly to a circle dance, partners facing (men going counter-clockwise). Partners side-by-side (P.Shaw siding) right shoulder, then left Facing partner, 8 jumps (I think these are jump landing a quarter turn to the Right, then to the Left, etc.) This part goes very well with the music Two-hand turn once round to place. Arm Right, the Arm Left Facing partner, same 8 jumps, but this time holding hands with partner. Two hand turn once and a half to progress to the next. The music is simple to play, and there's a rollicking good version on an English barn dance-style record from the late 70's. Again I'll have to get you a proper citation when I get home, as well as tell you if my memory has made any big mistakes in the above directions. Jim Morgan morganj-AT- indyunix.iupui.edu On Fri, 7 Jun 1996, Sheila Beardslee Bosworth wrote: > Jim Morgan wrote: > > >For very simple early dances I like Christchurch Bells and Pat Shaw's > >revival of Jumping Joan. Jumping Joan (Jeanne qui saute) in particular > >can be taught in 2-3 minutes to absolute beginners, and is a lot of fun. > > I like Christchurch Bells, too. I don't know Jumpin' Joan....care to share? > > Sheila Beardslee Bosworth > sheilab-AT- tiac.net > > Editor, Boston Early Music News > >> Fall Preview deadline is August 15! > 29 Main Street, Acton MA 01720-3505 > voice: 508/263.9926 > fax: 508/263.2366 > > > ================================================================================ Archive-Date: Mon, 10 Jun 1996 14:08:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Jun 1996 14:07:17 -0700 From: Bruce Hamilton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Colin Hume To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9606101407.ZM4464-AT- hplbh.hpl.hp.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <009A0A33.CE5292C4.1-AT- playford.slac.stanford.edu> Many of you already know this, but Colin Hume <100116.165-AT- CompuServe.COM> sends the following: >I'm planning to move to the States in March 1997 (assuming I find >a job in the Boston area). I'm available for calling bookings >from then, and willing to travel! -- Bruce Hamilton Hewlett-Packard Laboratories MS-4AD Phone 415-857-2818 PO Box 10150 Fax 415-852-8092 Palo Alto, CA 94303-0889 bruce_hamilton-AT- hpl.hp.com ================================================================================ Archive-Date: Mon, 10 Jun 1996 22:02:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Jun 1996 10:42:50 -0500 From: dssweet-AT- Okway.okstate.edu (Deborah Sweet) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Oklahoma Area? was Re: Boston Area Dancing To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <1bcfd970-AT- Okway.okstate.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Does anyone have information on any contra dancing or English country dancing in Oklahoma or perhaps very southern Kansas (e.g. Wichita) or very northern Texas (DFW) or maybe even western Arkansas? Thanks for any help. Debby Sweet ================================================================================ Archive-Date: Tue, 11 Jun 1996 01:37:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Jun 1996 04:35:51 -0400 (EDT) From: Colin Hume <100116.165-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Early One Morning To: ECD Mailing List Message-ID: <960611083550_100116.165_EHQ6-1-AT- CompuServe.COM> Content-Transfer-Encoding: 7BIT Further to the correspondence on dances to the tune "Early One Morning", Wendy Crouch's excellent dance "Winter Solstice" now has its own tune, which I'm hoping to publish (along with the dance notation) in the next but one "English Dance and Song" - the magazine of the English Folk Dance and Song Society. I contribute a regular dance column to the magazine; the next issue should contain my thoughts on dancing abroad. To become a member (and receive the magazine) contact EFDSS, Cecil Sharp House, 2 Regent's Park Road, London, NW1 7AY, England. Individual subscription rates are 20 pounds a year - no extra charge for overseas members - and they accept Visa, Access and MasterCard. Colin Hume ================================================================================ Archive-Date: Tue, 11 Jun 1996 07:10:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Jun 1996 10:06:49 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Early One Morning To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT Reply to: RE>Early One Morning -------------------------------------- To become a member (and receive the magazine) contact EFDSS, Cecil Sharp House, 2 Regent's Park Road, London, NW1 7AY, England. Individual subscription rates are 20 pounds a year - no extra charge for overseas members - and they accept Visa, Access and MasterCard. ------------------------------- Do they have a net address? ================================================================================ Archive-Date: Tue, 11 Jun 1996 10:31:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Jun 1996 12:31:09 -0500 From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Oklahoma Area? was Re: Boston Area Dancing To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199606111731.AA17819-AT- ux1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT According to my CDSS group directory there is a contra group in Oklahoma City, with dances on the 2nd Saturdays and 4th Fridays. Call John Rapp at 405-720-7029 or Jean Hill at 405-524-7322. There is a group in the Dallas area with contra and English, call Ray Quigley at 214-321-4233. I see there are groups in Kansas and Arkansas, but I'm not sure of their geographical locations. You might want to get a copy of the CDSS directory and check them out. I hope this is helpful. Jonathan ================================================================================ Archive-Date: Tue, 11 Jun 1996 19:54:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Jun 1996 22:54:08 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Barnes Errata To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT For those who don't read rec.folk-dancing: Newsgroups: rec.folk-dancing From: iolair-AT- usa1.com Subject: ERRATA - Barnes Book of English Country Tunes Date: Wed, 05 Jun 1996 14:33:03 GMT Hey folks - here's a list of the errors I've found so far in the first edition of (the revised) English Country Dance Tunes. If anyone has found errors not on this list PLEASE let me know soon - and thanks very much. If anyone not on this news group wishes a copy of this sheet have them send an S.A.S.E. to: Peter Barnes 5 Sandy Pond Road Lincoln, MA 01773 Thanks very much, Peter Barnes The Barnes Book of English Country Dance Tunes - ERRATA Pg. vii 2nd para. 'others now known' include 'n' on known Pg. 21 tune 'Christina' is by Naomi Alexander Pg. 27 Dissembling Love - there are only three B's in this tune. Eliminate the repeats on the last eight measures. Pg. 36 Face The Music - starting meas. 3, line 3 - make 8th note into 16th note, then following note into dotted 8th. Susan Lorand says also that on the third line, second measure, the last three notes should be an 8th (the F sharp), a quarter (the next B) and another 8th (the last B). Pg. 48 Handel With Care - 'Bouree' has an accent over the first e, not the second. The Happy Pair - 6 times, not three. Pg. 49 Heidenroslein - 4 times, not three. Pg. 61 Joy After Sorrow - 3 times. Chord on B part, first full meas. Should be A(G), could be Am(G) as well. Then Dm, G, C, etc. Juice of Barley No repeats on A part. Pg. 66 Levi Jackson Rag - tied note between bars, 2nd full meas. of A. Pg. 75 Michael and All Angels - time sig. is 3/4, not 6/8. Pg. 86 A New Beginning - dance is three times through. Pg. 102 Punch Bowl - B is not repeated. Queen Victoria's Country Dance - 3rd line should occur the last time, instead of the second B. Pg. 108 Round Pond - at end, put 'to 2' on line one, 'to 3' on line 2, 'to 1' on line three. Pg. 130 Trip to the Jubilee - no repeats, B. Pg. 131 Twenty-Ninth of May - Dance is 3 times through. Pg. 154 Third line from top - should read (e.g., E-B-G instead of E-B-E). Pg. 155 First Para. at bottom, second line should read (e.g., C-G-Eb vs. C-G-C). Pg. 170 Under 'MOTS' (More of the Same) - author is Charles Bolton, not Colin Hume. Pg. 175 move Mr. Lane's Maggot (see The Round) to previous page with the other 'Misters'. Pg. 178 correct Hands Four Productions address is -Box 641, Bedford, MA 01730 also (gratefully) received from Susie Lorand: Pg. 117 Shrewsbury Lasses - measure 4, first note is F#. Pg. 19 Chestnut - last measure of A should be quarter. eighth, eighth, half, same notes. Pg. 88 Nobody's Jigg - Fourth measure - half note should be dotted. Emily L. Ferguson - Cape Cod, Massachusetts Photographer, English Country Dance leader, weaver/spinner ------------------------------------------------------------------- No matter which side of the fence you're on, the grass will always turn brown if you don't water it. ================================================================================ Archive-Date: Thu, 13 Jun 1996 10:28:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Jun 1996 12:28:17 -0500 (EST) From: morganj-AT- indyunix.iupui.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Jumping Joan To: Sheila Beardslee Bosworth , ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT I finally dug up the information about the origin of Jumping Joan: "Six Simple Country Dances from Feuillet's Recueil de Contredances 1706 and from Essex's Chorography 1710" edited by Pat Shaw. This is a 4 page pamphlet with no date or publisher information. I acquired it in the late 70's, about the time Shaw visited Philadelphia. I think I described the dance accurately in my last message, but just in case, here's a summary of the instructions. (These differ from those given on the record cited below.) A1 1st couple side right shoulder to right shoulder. A2 1sdt couple side left shoulder to left shoulder. B1 1st couple, facing each other jump to face half right, jump again to face half left and continue this for 4 bars (8 jumps, 4 each way); then two hand turn once around clockwise. B2 1st couple, still keeping hands joined, jump as before but facing to left to begin; then partners turn once and a half counter-clockwise. Repeat the whole dance with the next person. Pat adds that originally this was a longways, with the first couple beginning and passing on to add in second man and woman, etc. "Although the shape of the set was kept as a longways, to all intents and purposes it became a round when everybody was dancing, and it is suggested that for practical purposes today, this and similar dances should be treated as "change partner circle dances", everyone dancing together as described for the 1st couple above." My own experience is that the dance works very well in all situations and with all ages. The record lists an alternate title as "Rogues March". If you can't find the record or the pamphlet I can probably find some way of getting a copy of the music to anyone interested. The Shaw pamphlet includes Le Pistolet (Smith's New Rant in Playford), La Lirboulaire, Le Carillon d'oxfort (Christchurch Bells), Les Manches Vertes (Greensleeves) and La Matellote or the Female Sayler. The Female Sayler used to be danced a lot at CDSS in the 70's; I don't know if it's still in vogue. The record is Ashley Hutchings Kickin' Up the Sawdust (EMI Recordings 1977, SHSP 4073). The record has a lot of simple dances that might meet the original inquiry of something simple to teach Czech youth groups. The cover mentioned a tape version, and there might be a CD by now. The cover gives modernized instructions for Jumping Joan that I think don't work nearly as well. Essentially they have two concentric circles, men on the inner circle facing women A1 half-gyp with partners right, then repeat Left A2 Repeat B1 Jump 4 times, R then Left. Swing. B2 Repeat, then pass Right shoulder to new partner. Jim Morgan morganj-AT- indyunix.iupui.edu ================================================================================ Archive-Date: Thu, 13 Jun 1996 11:36:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Jun 1996 00:32:34 +0000 (GMT) From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jumping Joan To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII; X-MAPIextension=".TXT" Content-Transfer-Encoding: 7bit References: Conversation with last message Jim An excellent summary of the position on Jean Qui Saute. Can I add one extra piece of information. The dance is also to be found in Playford's Dancing Master where it is known as Joan's Plackett. For those of you interested in the entymological aspects of dance, a placket was a large opening/pocket in a skirt/trousers and hence for reasons which you can probably fathom, 'placket' was slang for a prostitute. The description for Joan's Plackett also makes interesting reading. The part where the jumps takes place is described as "dance at one another"! I also agree that the Ashley Hutchings version is much inferior to Pat's transcription. Sadly, Ashley's version is much better known as he did it frequently with the Albion Band. Whilst other 17th century country dance formations have names like 'longways duple minor' etc this formation does not have a name. I have for many years referred to it as 'longways single minor' as the basic unit of dance is two people or a couple (whereas duple minor requires two couples and triple minor, three couples, etc). There are about 20 such dances to be found in the Playford Dancing Masters, many of them extremely usable. Finally, I believe but cannot prove, that this dance is typical of Arbeau's concept of social dancing as the best way of determining future happiness in marriage, bed etc. Regards - Michael Barraclough ******************************************************************** "accepting responsibility for making the future happen" ******************************************************************** Motorola ECID E-Mail: barraclm-AT- ecid.cig.mot.com 16 Euroway Telephone: +44 1793 565344 Blagrove FAX +44 1793 512618 Swindon SN5 8YQ United Kingdom ******************************************************************** Jim Morgan wrote: I finally dug up the information about the origin of Jumping Joan: "Six Simple Country Dances from Feuillet's Recueil de Contredances 1706 and from Essex's Chorography 1710" edited by Pat Shaw. This is a 4 page pamphlet with no date or publisher information. I acquired it in the late 70's, about the time Shaw visited Philadelphia. I think I described the dance accurately in my last message, but just in case, here's a summary of the instructions. (These differ from those given on the record cited below.) A1 1st couple side right shoulder to right shoulder. A2 1sdt couple side left shoulder to left shoulder. B1 1st couple, facing each other jump to face half right, jump again to face half left and continue this for 4 bars (8 jumps, 4 each way); then two hand turn once around clockwise. B2 1st couple, still keeping hands joined, jump as before but facing to left to begin; then partners turn once and a half counter-clockwise. Repeat the whole dance with the next person. Pat adds that originally this was a longways, with the first couple beginning and passing on to add in second man and woman, etc. "Although the shape of the set was kept as a longways, to all intents and purposes it became a round when everybody was dancing, and it is suggested that for practical purposes today, this and similar dances should be treated as "change partner circle dances", everyone dancing together as described for the 1st couple above." My own experience is that the dance works very well in all situations and with all ages. The record lists an alternate title as "Rogues March". If you can't find the record or the pamphlet I can probably find some way of getting a copy of the music to anyone interested. The Shaw pamphlet includes Le Pistolet (Smith's New Rant in Playford), La Lirboulaire, Le Carillon d'oxfort (Christchurch Bells), Les Manches Vertes (Greensleeves) and La Matellote or the Female Sayler. The Female Sayler used to be danced a lot at CDSS in the 70's; I don't know if it's still in vogue. The record is Ashley Hutchings Kickin' Up the Sawdust (EMI Recordings 1977, SHSP 4073). The record has a lot of simple dances that might meet the original inquiry of something simple to teach Czech youth groups. The cover mentioned a tape version, and there might be a CD by now. The cover gives modernized instructions for Jumping Joan that I think don't work nearly as well. Essentially they have two concentric circles, men on the inner circle facing women A1 half-gyp with partners right, then repeat Left A2 Repeat B1 Jump 4 times, R then Left. Swing. B2 Repeat, then pass Right shoulder to new partner. Jim Morgan morganj-AT- indyunix.iupui.edu ================================================================================ Archive-Date: Thu, 13 Jun 1996 12:05:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Jun 1996 15:03:40 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jumping Joan To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT Reply to: RE>>Jumping Joan >An excellent summary of the position on Jean Qui Saute. Can I add one extra piece of information. The dance is also to be found in Playford's Dancing Master where it is known as Joan's Plackett. For those of you interested in the entymological aspects of dance, a placket was a large opening/pocket in a skirt/trousers and hence for reasons which you can probably fathom, 'placket' was slang for a prostitute.< Goodness. My resident (in New Haven) Shakespeare expert defined "placket" for me after we had been to see a play together. His definition was a lot less polite. I can see why they changed the name. Barbara Ruth ================================================================================ Archive-Date: Thu, 13 Jun 1996 14:00:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Jun 1996 16:00:53 -0500 (EST) From: morganj-AT- indyunix.iupui.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jumping Joan To: Michael Barraclough CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT I enjoyed Michael's additional information. The Shaw pamphlet I mentioned describes a couple of dances found in more than one collection. Apparently the dancing masters weren't as concerned about copyright in those days. For me as a teacher the most interesting aspect was always the different interpretations of "jump", with the elderly doing it without leaving the ground, and the young showing lots of vigor, and the different effect of jumping when the partners are holding hands. It turns it into a much more flirtatious gesture. Jim Morgan morganj-AT- indyunix.iupui.edu ================================================================================ Archive-Date: Mon, 17 Jun 1996 09:09:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Jun 1996 09:11:05 -0700 (PDT) From: HUGH-AT- edsug.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: How long should a caller keep on calling? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01I60DAY61NM00M431-AT- UG.EDS.COM> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT (For those who don't know it, Mr Beveridge's Maggot is a longways dance where the first couple do the dance and the twos help them out from time to time; of the standard dances we do it is probably the one with the biggest change in the dance as you change from being a two to a one.) Colin Hume called it recently at Chippenham Festival, and after a few times through he stopped calling it and a fair degree of chaos ensued. At least two people came up to him afterwards to complain that he should have called it more. I called it this weekend and saw chaos starting whenever I stopped calling so essentially I called it continuously (I think I dropped out for the last-but one time through, but then called it the last time for the benefit of the new first couples); I found it entertaining to have someone come up to me and complain that I was calling it for far too long! Other than locking all three complainants in a room until they reach an agreement does anyone have any good rules as to how much the caller should continue calling once the dance is under way? Let us assume that the dance is reasonably within the abilities of the dancers there will always be the odd person going wrong and being corrected by the surrounding dancers there will always be the odd moment of collective amnesia that may need the caller to be assertive to resynchronise the dancers (The answer I thought of afterwards was that I should have called it without the PA so that only the top couples would have heard me, but that is not practical in a wide hall.) ================================================================================ Archive-Date: Mon, 17 Jun 1996 10:04:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Jun 1996 13:04:38 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: How long should a caller keep on calling? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT >(For those who don't know it, Mr Beveridge's Maggot is a longways dance >where the first couple do the dance and the twos help them out from time >to time; of the standard dances we do it is probably the one with the >biggest change in the dance as you change from being a two to a one.) Well, Beveridge certainly is a part of your question. Do you do the whole fig 8, or just PS's solution? With the whole fig the 2s certainly are pretty essential the way we do it in Boston. But, with the lines going up and back and the b-to-b along the line in the beginning and the trn along the line when the 1s have to race to get back at the end of the 1st A, I'd say I can't agree about your estimation of the "twos help them out from time to time". Maybe you time it differently than we do? > >Colin Hume called it recently at Chippenham Festival, and after a few >times through he stopped calling it and a fair degree of chaos ensued. Yeah, I can see that real clearly. There are so many tricky parts - like 3 steps to the bar, the leisurely tempo, that strange t s the 1s do before the trn along the line, getting the line in order to go up and the six beats up and 3 back (the old way). Finally that handing the 1s up to the top to fig is really strange. One thing is for certain. Although I like to imagine that "teaching" is less desirable than good leadership with a regular dance series, this is definitely one dance that requires real strong presentation. After watching Colin present "Step Stately" to a pretty experienced crowd, I would think he would be a great candidate to put Beveridge over to the same tupe of crowd without stress. > > does anyone have any good rules as to how much the caller should >continue calling once the dance is under way? Well, definitely you need to call either all the dance or the tricky parts until the crowd is secure except for the 2 conditions below which you suggested. > > there will always be the odd person going wrong and being corrected by > the surrounding dancers > there will always be the odd moment of collective amnesia that may > need the caller to be assertive to resynchronise the dancers I often find I settle for calling the tricky parts especially when I see the weakest dancers in the crowd going off on a tangent. Sometimes I'll call the trickiest parts only, after the first 3 or 4 times through, or especially when a nonchalent or not-so-strong couple is beginning a new round from the top of the set. > >(The answer I thought of afterwards was that I should have called it without >the PA so that only the top couples would have heard me, but that is not >practical in a wide hall.) Well, I've seen a caller go down onto the floor to help a newbie or forgetful dancer or perennial intermediate, but I've seen that backfire because the newbie is concentrating too hard to deal with this peripheral flutter of caller on the floor. The caller can sometimes help the newbie just by calling from the side of the set, as well. This compensates for the impersonality of the microphone - where the newbie might not recognize that s/he is the object of the repeated calling. It can also help the other dancers by not blasting from the speakers into their world. On the other hand, I mostly think the caller needs to keep the overview and let the stronger dancers on the floor pick up the newbie. There are always a few of them, and sometimes they are obnoxious to the rest, but really help the newbie. To me, finally, I think the words you choose to call really matter in this dance. The music is so lovely, the dance such a plum to experienced dancers, the figures so precise in the way they fit the music - you really need to refine your calls so they interfere with the dance as little as possible while packing in everything a weaker dancer needs. Fun, heh? Emily L. Ferguson - Cape Cod, Massachusetts Photographer, English Country Dance leader, weaver/spinner ------------------------------------------------------------------- No matter which side of the fence you're on, the grass will always turn brown if you don't water it. ================================================================================ Archive-Date: Mon, 17 Jun 1996 12:16:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Jun 1996 14:17:24 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: How long should a caller keep on calling? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <960617141724.540-AT- GEORGE.BAKERU.EDU> Content-Transfer-Encoding: 7BIT I appreciate your problem of "how long to call." This may clarify or muddy the situation--yur choice. Premise One: People go to a dance to have a good time, to feel confident in what they do and how they do it. Premise Two: The primary task of a caller, materials aside, is help people have a good time, feel confident in what they do and how they do it. Premise Three: Unless each individual dancer is there by invitation, follow- very careful screening, you will have a wide range of dance experience and ability. Premise Four: The primary task of a caller, regarding the "dance impaired" portion of the audience, is to help this special subgroup has a good time, feels confident in what they do and how they do it. Therefore, you keep calling any dance until the beginners, "dancing impaired," whatever your title for them, feels confident in the dance, as ones or twos, confidence in what they do and how they do it. I have broken this "cardinal rule" of dance calling many times to keep the confidence and pleasure alive and strong in the hearts of the dancing impaired. Related question: Why do morris teams call the figures as they perform each dance. Is it for the dancers (many have done this dance for eons) or for the audience. Forbes/Baker University ================================================================================ Archive-Date: Mon, 17 Jun 1996 14:42:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Jun 1996 14:42:00 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: RE: How long should a caller keep on calling? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A3FE3.9B000C90.31-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Forbes/Baker University asked: Related question: Why do morris teams call the figures as they perform each dance. Is it for the dancers (many have done this dance for eons) or for the audience. The most practical reason for this is that the figures aren't always all done, or all done in the same order. If the foreman (or whoever's calling) sees that the team is tiring, or that the footing is bad, or that the audience isn't interested, or that an embarrassing number of sticks are getting dropped in the chorus, s/he may choose to end the dance early by omitting some figures. If some figure gets tremendous audience response, s/he may choose to repeat it. Anyway, that won't work if you don't train the dancers to listen for calls, even in performance, and respond to them. On our team, even though there's a default order and number of figures, we're well-trained to listen, to the extent that we once had a problem when the leader forgot to call the next figure and most of us just hung there until some other dancer yelled out "Rounds!" It's also traditional, whatever that means. Remember that some historical morris teams practiced for only about six weeks a year, and they may have needed reminders. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Mon, 17 Jun 1996 15:15:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Jun 1996 18:13:51 -0400 (EDT) From: Colin Hume <100116.165-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: EFDSS To: ECD Mailing List Message-ID: <960617221351_100116.165_EHQ67-1-AT- CompuServe.COM> Content-Transfer-Encoding: 7BIT I mentioned joining the English Folk Dance and Song Society, and Barbara Ruth asked if they had a net address. Yes they do, but it's maintained by Rhodri Davies rhod-AT- computer-science.manchester.ac.uk and I can't tell you the vital information as I haven't had enough spare time to get involved with the net. If you want to join EFDSS, email me with your credit card details and I'll get in touch with them by the good old-fashioned telephone (or, even more old-fashioned, actually leaving a note at Cecil Sharp House - I'm there pretty regularly). Don't leave it too long though; I'll be in the States from July 23rd to August 22nd. Colin Hume ================================================================================ Archive-Date: Mon, 17 Jun 1996 21:51:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Jun 96 12:54 From: joe-AT- imr.usa.com (Joe Cook) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: How long should a caller keep on cal To: "mail-AT- ih {ECD-AT- SSRL04.SLAC.STANFORD.EDU}" , "mail-AT- ih {HUGH-AT- edsug.com}" Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Excuse the pun, but that question is a tough "call." In general, I think its best to judge by the room itself. If people look like they are understanding the moves, you may wish to try and "ease off" of the moves (i.e. call every other move) rather than stop completely. If they do not have a problem, you may eventually stop. If they begin having problems, begin calling again immediately. I find that the "warm turkey " method works well. Also, announcing that you are going to stop calling sometimes helps because it alerts people to pay attention. (i.e. "next time, you're on your own"). It doesn't always work, but it gives them fair warning. Joe Cook ---------- From: 'mail-AT- ih ' To: joe; 'mail-AT- ih ' Subject: How long should a caller keep on calling Date: Monday, June 17, 1996 9:11AM Original Subject: How long should a caller keep on calling? (For those who don't know it, Mr Beveridge's Maggot is a longways dance where the first couple do the dance and the twos help them out from time to time; of the standard dances we do it is probably the one with the biggest change in the dance as you change from being a two to a one.) Colin Hume called it recently at Chippenham Festival, and after a few times through he stopped calling it and a fair degree of chaos ensued. At least two people came up to him afterwards to complain that he should have called it more. I called it this weekend and saw chaos starting whenever I stopped calling so essentially I called it continuously (I think I dropped out for the last-but one time through, but then called it the last time for the benefit of the new first couples); I found it entertaining to have someone come up to me and complain that I was calling it for far too long! Other than locking all three complainants in a room until they reach an agreement does anyone have any good rules as to how much the caller should continue calling once the dance is under way? Let us assume that the dance is reasonably within the abilities of the dancers there will always be the odd person going wrong and being corrected by the surrounding dancers there will always be the odd moment of collective amnesia that may need the caller to be assertive to resynchronise the dancers (The answer I thought of afterwards was that I should have called it without the PA so that only the top couples would have heard me, but that is not practical in a wide hall.) ================================================================================ Archive-Date: Tue, 18 Jun 1996 00:55:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Jun 1996 08:54:45 -0300 (BST) From: Interface Analysis Centre Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: How long should a caller keep on calling? To: ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT From: >Related question: Why do morris teams call the figures as they perform >each dance. Is it for the dancers (many have done this dance for eons) or >for the audience. For the dancers, I would say - just because we 've done it so many times doesn't mean we bother to remember the order of the figures (especially if there will always be someone to shout out the next move). Of course, you then run into the debate over what to do when the person calling the figures calls them out wrongly. Hopefully, everyone is listening and does the incorrect figure, rather than what they all know is the right one. Keith --- Interface Analysis Centre, University of Bristol, Oldbury House, 121, St. Michael's Hill, Bristol, BS2 8BS, England Telephone: +44 (0)117 925 5666 | Facsimile: +44 (0)117 925 5646 | URL: http://www.phy.bris.ac.uk/research/iac/home.html ================================================================================ Archive-Date: Tue, 18 Jun 1996 00:59:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Jun 1996 08:58:07 -0300 (BST) From: Interface Analysis Centre Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: EFDSS To: ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT From: Colin Hume <100116.165-AT- CompuServe.COM> >I mentioned joining the English Folk Dance and Song Society, and Barbara Ruth >asked if they had a net address. Yes they do, but it's maintained by Rhodri >Davies rhod-AT- computer-science.manchester.ac.uk and I can't tell you the vital >information as I haven't had enough spare time to get involved with the net. http://www.cs.man.ac.uk/users/rhod/dance/EFDSS/index.html Keith --- Interface Analysis Centre, University of Bristol, Oldbury House, 121, St. Michael's Hill, Bristol, BS2 8BS, England Telephone: +44 (0)117 925 5666 | Facsimile: +44 (0)117 925 5646 | URL: http://www.phy.bris.ac.uk/research/iac/home.html ================================================================================ Archive-Date: Tue, 18 Jun 1996 05:48:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Jun 1996 12:43:09 +0000 From: Bob Archer Subject: Re: How long should a caller keep on calling? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <454.bob-AT- hottub.demon.co.uk> Content-Transfer-Encoding: 7BIT > > Other than locking all three complainants in a room until they reach an > agreement does anyone have any good rules as to how much the caller should > continue calling once the dance is under way? I have no hard and fast answers, only the observation that with any group of people you are bound to do something that is wrong for someone. I tend to err on the side of catering for the inexperienced on the basis that if they have a bad time at a dance they might never come to another dance, if the experienced people have a bad time they just won't come to one of mine again. Having said that, one of the things that makes John Chapman such a good caller is that he does notice if the floor have learnt the dance, and then he shuts up. I can think of a few callers who never stop talking even if everyone has picked up the dance adequately. The same problem applies to the speed of the music. Whilst playing I have been asked to speed up and slow down by two different people within about 20 seconds of each other. Since neither of them was the caller I stayed at the same speed. I think the real problem is that a caller has to be aware of the needs of the whole floor whereas dancers are only aware of their own needs. This is particularly true of dancers who have never tried calling. ( I shall stop here before I get onto the subject of dancers who don't call criticising callers - a pet peeve of mine ). > (The answer I thought of afterwards was that I should have called it without > the PA so that only the top couples would have heard me, but that is not > practical in a wide hall.) That's a nice suggestion if you only have a couple of sets. Bob ---------------------------------------------------------- -- Bob Archer bob-AT- hottub.demon.co.uk ================================================================================ Archive-Date: Tue, 18 Jun 1996 09:40:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Jun 1996 11:18:49 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: need ECD contact in Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199606181618.LAA24897-AT- ux1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A member of our local ECD group (Central Illinois ECD) will be moving to the Boston area at the end of the summer and she is looking for information about the group(s) there. I recall seeing people posting from there, but don't recall any names or addresses. If you have information about the Boston area let me know and I'll pass it along to her. Thanks. Jonathan ================================================================================ Archive-Date: Tue, 18 Jun 1996 11:36:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Jun 1996 14:36:14 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: need ECD contact in Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT > A member of our local ECD group (Central Illinois ECD) will be moving to >the Boston area at the end of the summer and she is looking for information >about the group(s) there. I recall seeing people posting from there, but >don't recall any names or addresses. If you have information about the >Boston area let me know and I'll pass it along to her. > > Thanks. > >Jonathan Boston Centre CDS offers English Country Dancing on Wednesday evenings from 7:30 - 10:30 at the Cambridge YWCA, Temple St. off Central Square. Dancing is weekly, running from September to June, and will begin on the 11th of September. The season concludes around the third week of June. All dances have live music, mostly by some or all of Bare Necessities. The evening is divided into three hours, the first being focussed on integrating less experinced and outright new dancers, the second aimed at a more intermediate level, and the final hour devoted to dancing with talk-throughs only. Material in the final hour is selected from a public request list and from the previous two hours as well. The final Wednesday of each month is a party, with walk-throughs throughout the entire evening and no "teaching". The dance costs $5.00 for members of BC-CDS and also for members of CDSS. Non-members can join at the door for a pittance, or pay, I think, $.50 more. The Boston Centre also offers irregular special events - a Playford ball in March, a Fall Favorites in October, a mixed Scottish/English event in April. At present it offers as well a contra/square dance on Tuesday evenings at the same time and place as the English dance on Wednesdays. On each 1st Friday of the month we offer an experienced dance at a location in Brookline, also with live music. Please feel free to contact me for more information. Emily L. Ferguson - Cape Cod, Massachusetts Photographer, English Country Dance leader, weaver/spinner ------------------------------------------------------------------- No matter which side of the fence you're on, the grass will always turn brown if you don't water it. ================================================================================ Archive-Date: Tue, 18 Jun 1996 22:33:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Jun 1996 23:55:50 -0500 (EST) From: "Kimberly R. Gilbert" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: How long should a caller keep on calling? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Mon, 17 Jun 1996 FORBES-AT- GEORGE.BAKERU.EDU wrote: > Related question: Why do morris teams call the figures as they perform > each dance. Is it for the dancers (many have done this dance for eons) or > for the audience. On our team, I'm the least experienced dancer. So, I usually need the dances called, especially when we're doing some of the more complicated dances that I'm not very sure about. (There are a few that we I know really well, but they're among the more basic dances.) ================================================================================ Archive-Date: Wed, 19 Jun 1996 07:07:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Jun 1996 09:07:48 -0500 (EST) From: morganj-AT- indyunix.iupui.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: morris calling To: "Kimberly R. Gilbert" CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT The morris list had some discussion of calling the figures a while ago. The calling is entirely to prompt the dancers, and a sizeable minority felt the dances shouldn't be prompted at all. My own opinion is that the prompting is especially needed at the end of a long tour. And as squire I'm often especially grateful for prompting since my mind is often engaged in matters other than the dance we're doing, such as assessing performance, crowd reaction, selecting the next dance, or deciding if it's time to move to a new site. In English dances I prefer to see the calling or prompting minimized, as in morris. In contra & square dancing it seems more appropriate, and the best callers I've seen adjust the amount of calling to the needs of the dancers: more if the dancers are in difficulty. If the dancers aren't in trouble the focus should be on the music. Of course a good band with good phrasing can help a lot. Jim Morgan morganj-AT- indyunix.iupui.edu On Tue, 18 Jun 1996, Kimberly R. Gilbert wrote: > > On Mon, 17 Jun 1996 FORBES-AT- GEORGE.BAKERU.EDU wrote: > > > Related question: Why do morris teams call the figures as they perform > > each dance. Is it for the dancers (many have done this dance for eons) or > > for the audience. > > On our team, I'm the least experienced dancer. So, I usually need the > dances called, especially when we're doing some of the more complicated > dances that I'm not very sure about. (There are a few that we I know > really well, but they're among the more basic dances.) > > > ================================================================================ Archive-Date: Tue, 25 Jun 1996 09:00:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Jun 1996 10:10:59 -0500 From: dssweet-AT- Okway.okstate.edu (Deborah Sweet) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Seeking: Kettle Drum To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, sca-dance-AT- andrew.cmu.edu Message-ID: <1d001af0-AT- Okway.okstate.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Well the header says it all. I'm in search of the dance instructions for Kettle Drum. I've already checked the web page of the 1st edition Playford. It's one of the four dances not currently there (as of yesterday at least). Any help would be greatly appreciated. Estrill Sweet ================================================================================ Archive-Date: Tue, 25 Jun 1996 11:06:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 25 Jun 1996 01:09:14 -0500 From: "T. T. Bannister" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Seeking: Kettle Drum To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT > Well the header says it all. I'm in search of the dance instructions for >Kettle Drum. I've already checked the web page of the >1st edition Playford. It's one of the four dances not currently there >(as of yesterday at least). Any help would be greatly appreciated. > >Estrill Sweet > Here's how we danced it a year ago (using the "alternative interpretation"): ============================================================================= 1 April 95. THOUGHTS ON PLAYFORD'S DANCE "KETTLE DRUM" Formation: a circle of 4 couples. Subsequent instructions for "1 Cu" and "2 Cu" seem best interpreted as "head couples" and "side couples", respectively. Bars A1: 1-4 All into the center & back. 5-8 Repeat B1: "We. meete, giving their right hands, men meete, giving their right hands, then turne every man his owne Wo. by the right hand,..." Interpretation: 1-2 Women to the center forming RH star 3-4 Men to the center momentarily forming RG star, then immediately... 5-8 Men take partners by RH & turn partner, all returning to home places. "then men the left hands, We. their left hands, then turne every Wo. her owne man by the left hand" Interpretation: 9-10 Men to the center forming LH star 11-12 Women to the center momentarily forming LH star, then immediately 13-16 Women take partners by LH & turn partner, all returning to places. A2: "Sides all, back again_ that again 1-8 Partners siding... B2: "The 2. Cu. meete and fall back, then the next Cu. meete, and take each others Wo. by the right hand, and fall into the Co. places,..." "...then the other Cu. meete and fall back, and the first Cu. the like, then leade in, taking the We. by the right hand, and cast off to your places_" UNCLEAR: "fall into the Co. places", "cast off to your places". Unsatisfactory interpretation: (assumes "Co. places" = "opposite places", ignores "cast off", fails to give sides a turn at leading, and is dull - the only action being head couples crossing over and back) 1-4 Side couples to the center and back 5-6 Head couples to the center, then... 7-8 Head men take opposite women by RH and turn into the women's places 9-16 The same repeated, side couples again leading off. Alternative interpretation: (insertion of casting creates more action and gives sides a chance to lead) 1-4 Side couples four steps into the circle, four steps back 5-6 Head couples four steps into the center 7-8 Head men and opposite women take right hands and fall back [or turn] into sides' places... While side couples separate each casting into head places 9-12 Head couples (in sides' places) four steps into the circle, four steps back 13-14 Side couples (in heads' places) four steps into the center 15-16 Side men and opposite women take right hands and fall back [or turn] into sides' places... While head couples separate and cast back into heads' places. A3: "Armes all_ That again_" 1-8 Partners arming B3: "All joyne both hands with your We. swing with your hands all inward, then breake off your hands inward, then turn back to back, and kisse the Co. Wo. twice,..." Interpretation: (leaving 4 bars for accentuating the kissing) 1-2 Couples take both hands and swing into center 3-4 Partners drop hands and turn back to back to face corners 5-8 Men kiss twice their corners (each cheek? - what cheek) "...then swing with the Co. We. all outwards, then breake off your hands outwards, then turne kissing everyone his owne Wo. turne and so ende_" 9-10 Corners take both hands and swing out 11-12 Corners drop hands and turn back to back to face partners 12-16 Men kiss twice their parners - end in place facing into the circle. ============================================================================== T.T. Bannister Dept of Biology Univ. of Rochester Rochester, NY 14627 Tel: 716-275-8716 Fax: 716-275-2070 ================================================================================ Archive-Date: Wed, 26 Jun 1996 16:19:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 26 Jun 1996 16:19:19 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: no list support for three weeks To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <009A4703.B14C2EF8.44-AT- ssrl01.slac.stanford.edu> Content-Transfer-Encoding: 7BIT Folks -- I maintain the ECD listserv. I'm about to go out of town for three weeks, and I won't have any computer access in that time. If anything goes wrong with the listserv, or if you need help, I'm afraid you'll have to wait until July 22nd, when I return. [I'm making my first visit to Europe, attending a vintage dance institute with a week in Paris and a week in Prague, followed immediately by the Mendocino English Dance Week. I'll probably be exhausted when I return from my vacation.] -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 415/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Wed, 26 Jun 1996 20:00:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 26 Jun 1996 23:00:48 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: no list support for three weeks To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT >Folks -- > >I'm about to go out of town for three weeks, Hi Alan, have fun. Also before you go could you post the "welcome to ECD" doc, that has all the commands listed in it from subscribing to getting it in digest form to unsubscribing while you're on vacation. Also, the list is not on the CDSS list. Did you notice? I suppose you should tell them about it. Emily L. Ferguson - Cape Cod, Massachusetts Photographer, English Country Dance leader, weaver/spinner ------------------------------------------------------------------- No matter which side of the fence you're on, the grass will always turn brown if you don't water it. ================================================================================ Archive-Date: Thu, 27 Jun 1996 13:16:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 27 Jun 1996 15:21:11 -0500 From: dssweet-AT- Okway.okstate.edu (Deborah Sweet) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD dance in Movies To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <1d2ec0c0-AT- Okway.okstate.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Good afternoon everyone. I have a question that someone here might possibly know the answer to. Does anyone know what dance was being done during *The Last of the Mohicans*? It was in the background during the scene at the fort. It appeared to be a three couple dance. And as a related theme, I know that Dashing White Sergeant was the dance in *Greystoke*. Any other ECD dances in movies? Deborah Sweet ================================================================================ Archive-Date: Fri, 28 Jun 1996 07:12:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 28 Jun 1996 10:05:48 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD dance in Movies To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Content-Transfer-Encoding: 7BIT Reply to: RE>ECD dance in Movies > And as a related theme, I know that Dashing White Sergeant was the >dance in *Greystoke*. Any other ECD dances in movies? >Deborah Sweet This gets talked about in the CDSS newsletter from time to time, and back issues have a number of movies mentioned beyond the obvious ones (e.g. the various Jane Austen adaptations). One that I noted was "Strip the Willow" in the modern Scottish thriller _A Shallow Grave_." (Okay, Scottish, not ECD, but still of interest. Further back in time from my own pre-ECD days, I remember from the film _Glory_, the movie about the Black Massachusetts regiment that fought in the Civil War (true story although Hollywoodified of course), a brief glimpse of dance in a background. My memory fragment is of a hands across square but nothing more. Did anyone else see that and can identify whether there was any more to the scene and whether there was actually enough of a dance to have been recognizable? Barbara Ruth New Haven ================================================================================ Archive-Date: Fri, 28 Jun 1996 08:10:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 28 Jun 96 10:46 From: joe-AT- imr.usa.com (Joe Cook) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance in "Elizabeth R" To: "mail-AT- ih {ECD-AT- SSRL04.SLAC.STANFORD.EDU}" Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Recently, I got a hold of the BBC series "Elizabeth R" from my local library. I was delighted to see during one scene of episode III that they were doing some dance. I recognized some of the dances from Arbeau's Orchesographie. However, at one point, they seemed to be doing a type of bassadanza that I did not recognize. Is anyone out there familiar with the series and that dance? ================================================================================ Archive-Date: Fri, 28 Jun 1996 09:01:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 28 Jun 1996 12:00:48 -0400 (EDT) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dance in "Elizabeth R" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: "mail-AT- ih {ECD-AT- SSRL04.SLAC.STANFORD.EDU}" Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Joe: I remember some of the dances in that episode, and my recommendation is that you consider them free, imaginative reconstructions containing some grains of truth! The volta, as I recall, had the lady lifted by the waist instead of the busk (too suggestive?). Who knows? What I do know is that the choreographer was altogether too inventive for my taste. The dances, when done with attention to the truth, are plenty delightful and exciting. Julia Sutton On Fri, 28 Jun 1996, Joe Cook wrote: > > Recently, I got a hold of the BBC series "Elizabeth R" from my local > library. I was delighted to see during one scene of episode III that they > were doing some dance. > > I recognized some of the dances from Arbeau's Orchesographie. However, at > one point, they seemed to be doing a type of bassadanza that I did not > recognize. Is anyone out there familiar with the series and that dance? > ================================================================================ Archive-Date: Fri, 28 Jun 1996 13:02:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 28 Jun 1996 16:02:30 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Early One Morning To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Akkk. A long time ago I sent this out with this big mistake. Ah well, have to keep looking it up to be certain my memory works. Actually it doesn't work well enough most of the time, unfortunately. Anyway - the fix! >Formation: 5 cpls in a square, the 5th cpl standing in the middle of the >square facing >the 1st cpl >Tune: Early One Morning >Tempo: moderately leisurely >Choreographer: Wendy Crouch >A1: 1s, 5s & 3s mirror image hey (5s bulge) WHILE 2s & 4s side (CS), set & t s. >A2: 5s do heys for 3 w/ their nearest side cpls (5L w/ 2s (on her r side - >english >numbering - she begins by passing l shldr with 2L, 5M w/ 4s beg. >passg r shldr w/ 4M >WHILE 1s & 3s side and set & t s >(Sort of a mirror hey also, but the square stays square) B: GRAND SQUARE: Cpl 1-4 do a grand square WHILE couple 5 does the following - they face each other and back out the sides, the M out the men's wall, the L out the ladies' wall, they face up and back down to the bottom, they face each other and come in again, the face up and lead up to the middle of the square taking crossed hands position. >1s & 5s half prom (1s in ctr trn l to face 2s), 1s & 2s half prom (2s in >ctr trn l to face >3s), 2s & 3s half prom (3s in ctr trn l to face 4s), 3s >& 4s half prom (4s in ctr trn l to face >5s (in top pos.) Repeat four more times to get back to orig place. B must has two endings, you might think it's two Bs, but actually it's one long B really a nice dance and perfect for Solstice celebrations. I guess, from the Boston perspective, on my difficulty schedule of 1=easy to 6= very hard, I'd give it a 3. Emily L. Ferguson - Cape Cod, Massachusetts Photographer, English Country Dance leader, weaver/spinner ------------------------------------------------------------------- No matter which side of the fence you're on, the grass will always turn brown if you don't water it.