Archive-Date: Sun, 02 Mar 1997 01:41:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 02 Mar 1997 01:26:13 -0800 (PST) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: New Date for St. Louis Playford Ball To: English Dance Maillist Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Just thought I'd let you know that the date for the St. Louis Playford Ball has been moved. We've previously held it on the first Saturday in May; this year it will be on the *second* Saturday, May 10th, at Just Dancing Studios. For more information, call 314-427-0108 (Kevin Keach). Peace. Paul ================================================================================ Archive-Date: Sun, 02 Mar 1997 19:49:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 02 Mar 1997 22:47:43 -0500 (EST) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: costume and its suitability to the dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970302.224843.6983.0.webatcheler-AT- juno.com> Apropos Sharon Green's note on "proper underpinnings" for the ladies, and my own question about false calves for the gentlemen, I recommend Willett and Cunnington's The History of Underclothes, a 1992 Dover Publications paperback reprint of the illustrated 1951 classic. An admirable work, with chapters running from the Medieval period through 1939, including a brief bibliography. The book also covers the historical development of men's shirts and neckwear. Regarding "artificial calves," we learn on page 80 that "This accessory was introduced by the Macaronis--from about 1770 onwards. Its purpose was to accentuate the shapeliness of the male calf of the leg, which below the tight breeches of the period was regarded as so captivating." The authors then give an excerpt of dialogue about this peculiar device between Lord Foppington and his haberdasher Mr. Mendlegs from Sheridan's comedy "A trip to Scarborough" (1777). Wayne Batcheler -- webatcheler-AT- juno.com ================================================================================ Archive-Date: Mon, 03 Mar 1997 03:48:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 03 Mar 1997 12:47:05 +0100 From: Martin.Sheffield-AT- wanadoo.fr (Martin Sheffield) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: terminology To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Can anyone tell me if there is a recognized dance term for the turn that a lady does in Gay Gordons (for example) just before taking off into the polka? This turn appears too in several other couple dances where she turns holding her partner's hand over her head. I have been using the french word "pastourelle", but wonder if this is inappropriate in English. My Harraps dictionary tells me only that the word refers to the 4th figure of the quadrille, with no other refernce. In which case, it refers to a series of figures rather than to a single movement. Private replies to my e-mail address very much appreciated. Yours, Martin, Grenoble, France. ================================================================================ Archive-Date: Wed, 05 Mar 1997 21:57:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Mar 1997 00:58:41 -0500 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Anyone want some dance composing inspiration? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" driving to work this morning, I heard a wonderful piece of music on the radio and most of it was VERY danceable! It was The King Arthur Suite by Purcell. I particularly liked the section just before the first ?allegro? section. Loved the themes, loved the different phrase endings....... wanna dance it! Just in case any of you are out there looking for new roads in English Dance Music...... Mary Beth Goodman ================================================================================ Archive-Date: Thu, 06 Mar 1997 07:00:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Mar 1997 16:03:44 +0000 From: Antony Heywood Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Anyone want some dance composing inspiration? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703061459.PAA03891-AT- IAEhv.nl> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Mary Beth Goodman wrote about being inspired by Purcell's King Arthur Suite. Purcell indeed provides some splendid dance tunes. The following dances are to music from King Arthur: Tythe Pig (The Dancing Master Vol. I 9th Edition) - song and chorus from Act V Shepherds' Dance (Peter Andre 1983) - Act II Dance and Chorus Southwind (Cor Hogendijk in English or Double Dutch) - 2nd act tune Marjorie's Sou'wester (a shortened version of Cor Hogendijk's Southwind by Marjorie Fennessy) These and many more will appear in a book called A Purcell Ball shortly to be published by Nicolas Broadbridge. (The CD is already available). Antony Heywood The Netherlands ================================================================================ Archive-Date: Thu, 06 Mar 1997 08:37:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Mar 1997 11:37:42 -0500 (EST) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Anyone want some dance composing inspiration? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Anthony Heywood, Please don't forget thetwo volumes on Purcell country dances published by Christine Helwig et al (sorry I can't quickly locate them in my library to give you more exact information). They've only been out a couple of years, are quite good. Julia Sutton ================================================================================ Archive-Date: Thu, 06 Mar 1997 13:34:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Mar 1997 16:35:59 -0500 From: peggyl-AT- netdepot.com (Peggy Lamberson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Anyone want some dance composing inspiration? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703062139.QAA10300-AT- jupiter.netdepot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: julia s sutton (Thu, 06 Mar 1997 11:37:42 -0500 (EST)): >Anthony Heywood, > >Please don't forget thetwo volumes on Purcell country dances published by >Christine Helwig et al (sorry I can't quickly locate them in my library to >give you more exact information). They've only been out a couple of years, >are quite good. > >Julia Sutton > _Purcell_Playford_and_the_English_Country_Dance_, by Christine Helwig and Marshall Barron. Volume I contains instructions for the dances; Volume II contains the music. I got mine while at the Stanford Baroque Dance Workshop. I'm not really sure where they're available--CDSS, perhaps? Peggy Lamberson ================================================================================ Archive-Date: Thu, 06 Mar 1997 14:13:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Mar 1997 14:13:04 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Anyone want some dance composing inspiration? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IG6NSJKQ70BK434P-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Peggy Lamberson wrote: >_Purcell_Playford_and_the_English_Country_Dance_, by Christine Helwig >and Marshall Barron. Volume I contains instructions for the dances; >Volume II contains the music. I got mine while at the Stanford Baroque >Dance Workshop. I'm not really sure where they're available--CDSS, >perhaps? I got mine at Mendocino English Week. I just checked the CDSS mail-order English dance price list on the web (www.cdss.org/pricelists/edpre.htm) and they list the two volumes -AT- $21.50 each. You can order by phoning the CDSS office, 413/584-9913, 9:30 am - 5:00 pm Eastern Standard Time. (I think you can also leave orders on voice mail, but it's more comforting to talk to a person.) To tie a couple of threads together, the Assembly Players _A_Walsh_Ball is available from CDSS at 19.00 for a cassette or 25.00 for a CD. While you're ordering Helwig/Barron books, you may very well enjoy Thomas_Bray's_Country_Dances_1699. Beautifully-played recordings of the music by the Playford Consort are available for both the Purcell and Bray books, incidentally. The Purcell is on CD -AT- 17.25, the Bray is on two cassettes -AT- 21.25. Hope this helps, -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.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: Thu, 06 Mar 1997 14:56:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 06 Mar 1997 17:56:01 -0500 (EST) From: AAHAYDEN-AT- amherst.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Christine Helwig's Purcell books To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IG6W07TU8295N8KJ-AT- amherst.edu> MIME-Version: 1.0 Yes, we certainly carry Christine's books at CDSS. Robin ================================================================================ Archive-Date: Thu, 06 Mar 1997 22:04:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Mar 1997 01:04:33 -0500 (EST) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Antiquarian music and dance books To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970307.010541.6911.0.webatcheler-AT- juno.com> For you webhead dance and music bibliophiles out there, J & J Lubrano Music Antiquarians, of Great Barrington, MA, have placed their first on-line catalogues, Online Musical Miscellany Number One, OCCASIONAL LIST Spring 1997, and Special Offers, all offering rare printed music & musical literature, musical autographs and manuscripts. You can access these catalogues by going to either the Antiquarian Booksellers Association of America's ABAA-booknet SERVER http://www.abaa-booknet.com. or the booknet-international SERVER http://booknet-international.com. Offerings by various ABAA and other ILAB members are "hot-linked" directly to their booknet home pages. I have not tried this electronic access myself, but like many of you have enjoyed J & J Lubrano's physical catalogues. They sometimes contain Playford-era items. Disclaimers: This is not a recommendation. I have no connection with J & J Lubrano. Wayne Batcheler -- webatcheler-AT- juno.com ================================================================================ Archive-Date: Fri, 07 Mar 1997 07:15:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Mar 1997 10:13:08 -0500 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Christine Helwig's Purce To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>Christine Helwig's Purcell books Or you can come to the English dance in New Haven, first and third Fridays of the month, where Christine calls and Marshall Baron and her group play. The books and CD are always available there. Barbara Ruth ================================================================================ Archive-Date: Fri, 07 Mar 1997 11:23:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 08 Mar 1997 01:23:01 -0600 From: seniort-AT- newtrier.k12.il.us (Thomas J. Senior) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: EDC in NYT -- long To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Eric Zorn sent this to me, i thought i'd share it with the list for those who haven't access to the NYTimes. March 7, 1997 In Step With Austen: English Country Dancing By LINDA WOLFE NEW YORK -- For many filmgoers and television watchers, the stately dancing in the recent spate of Jane Austen dramatizations stirred a touch of culture envy: a longing for a presumably lost Eden of elegance, for forms of social intercourse less brash and brazen than our own. But for several thousand Americans across the country, such dancing is not something that has vanished, but an activity in which they engage regularly. The dances performed in the Austen adaptations and, indeed, hundreds of similar dances, some dating to a century before the time of that great limner of English country life, are known as English country dances. In Manhattan, you can learn them and dance them -- they are every bit as much fun as they appear to be on film -- any Tuesday night at the Metropolitan-Duane United Methodist Church on West 13th Street. And Friday night, under the tutelage of an expert in early-19th-century dancing, there will be a special learn-as-you-dance event at the church devoted exclusively to the dances of Austen's period. Accompanied by live music, Beverly Francis will teach experienced hoofers and the two-left-footed alike to dance A Trip to Tunbridge, named after a spa Austen mentioned in several of her novels; Prince William of Glo's'ter's Waltz, named for a nephew of George III with whom a sister of Austen once supped, and dozens of others known to Austen, who herself excelled at the form. I've been an English country dancer for years. I take part in other kinds of dancing, including swing and Latin, but I've never found a form as lifting to the spirit, let alone the feet, as English country. Partly it's because of the exquisite music. Think Purcell: He wrote many of the tunes that later English dancing masters choreographed. Partly it's because this is a very social form of dancing; participants dance not just with a partner but also with a group or set of other dancers, and engagement and even flirtation is an essential ingredient oin all their movements. And partly it's because English country dancing offers two things that seldom come together in one pursuit: aerobic activity (some dances can be quite strenuous) and intellectual stimulation (the dances are complex, requiring concentration and diligence). My first foray into English dancing was in a church in Greenwich Village some 30 years ago. A musician friend who played with a group that accompanied the dancers there invited me, and I was immediately smitten. But I didn't stick with it. I was starting a career, I had a new baby, I was starved for time. And with the arrogance of youth, I viewed the other dancers, many of whom were in their 50s or even their 40s, as old. Then, about six years ago, I was going through one of those "what is the purpose of life, what do I really like to do" crises that strike me whenever I finish a book, and out of the blue, I remembered English dancing. I'd loved it once, I recalled. Maybe I'd love it again. But how to find it? I no longer remembered the names of either the group or the Village church. I looked through listings of dance events, consulted the Yellow Pages, asked everyone I knew -- all to no avail. But a call to a folk music shop produced the information that there was a weekly English country dance at the Metropolitan-Duane Church. It was the same church I had visited back in those distant days. Members of the New York branch of the Country Dance and Song Society of America were still holding their weekly dances there, as if no time had elapsed, rather in the way they were still doing their antique dances as if no time had elapsed between our fading century and more distant ones. I made up my mind to return. My work life was under control, my baby had grown up: I had time for distraction now. And, I told myself, now I'll fit in: Now I'll be one of those old people. To my surprise, however, the composition of the English dance group had changed. Yes, there were some dancers in their 40s and 50s. There were even a few who were older. But there was a large contingent of people in their 20s and 30s. Beyond that, all was the same: the same lilting sounds, created by musicians playing piano, violin, clarinet or flute; the same easy, partners-not-necessary sociability, and the same procedure of talk-throughs and walk-throughs of the dances followed by actual dancing. I began attending the Tuesday night dances regularly, stumbling over my feet and over unfamiliar terms like "set" and "poussette" and "hey on the left." Eventually, I learned enough to attend the group's Friday night dances, which are generally for experienced English dancers only, and even -- dare I admit it? -- its annual ball, a formal affair at which the dancers, who normally wear T-shirts and jeans or unprepossessing skirts, don ball gowns, tuxedos or historically correct costumes. I mastered some 60 dances. I made friends, discovering in the process that English country dancers are a highly disparate lot: the librarian of a major theological seminary, the head of midwifery at a large hospital, a creator of computer programs for the blind, an assistant district attorney, a dog groomer, a baker. Then there is my ball partner. In a pairing that vastly amuses my non-English-dancing husband, who likes to remind me that once upon a time I was a rabidly antimilitary peacenik, I go to the balls with a retired U.S. Army general. But for all my immersion in the world of English country dancing, I still consider myself a novice. English country dancing is a pursuit that -- happily, as far as I'm concerned -- can take a lifetime to master. This is no wonder, for it's a form that flourished for 200 years and there are literally thousands of dances that can be learned. The first historical mention of English country dancing was during the reign of Queen Elizabeth I, who was reported to enjoy watching the ladies of the court perform "country dances," simpler dances than the formal, balletic ones she herself was expected to dance. By 1650, these dances had become all the rage, and a bookseller named John Playford had the inspired idea of writing down the patterns he had seen danced by his contemporaries and publishing them. His book sold like hot cakes, and subsequently, roughly until 1850, new English country dances were written and published regularly, with pretty much the same kind of hype and fervor that accompanies the release of new pop and rock recordings in our time. The dances faded into oblivion in the latter half of the 19th century, but they were resuscitated early in the 20th by the English musicologist Cecil Sharp, who studied old dance books, clarified the choreography and founded country dance societies in both England and the United States. The societies caught on: Today, in the United States, there are close to 600 groups, nearly 100 of which sponsor English dancing regularly. (The others concentrate on its descendant, American country dancing, e.g., squares and contras.) In Manhattan and the New York metropolitan area, there are a dozen English dance groups, but local fans of the form sometimes drive or even fly to attend dances in more distant places, among them Philadelphia, Washington or even Berkeley, Calif., and Portland, Ore. The footwork is simplicity itself. The dances don't, for the most part, have steps, merely patterns, weavings and turnings that create a kaleidoscopic effect on the floor. To dance them, you move to the music with a light springy walking or running movement. But sometimes you move forward, and sometimes backward or sideways, and sometimes while moving in one or another of these directions, you turn your partner with the left hand, or with the right, or both, or execute a small bow or a swirl or a marchlike progression. These movements are the alphabet, so to speak, of English dance and from them, in the same way that an alphabet can create innumerable words, innumerable dances have been created. To do English dancing, one must therefore be willing and able to follow directions, for while the movements are the same, every dance has a different pattern. It also helps, as with any form of dancing, to have a certain amount of grace or poise. And a sense of rhythm. Manhattan's English dancers do very old dances, like Fain I Would and Man Was for Woman Made, which were danced in the 17th century. They also do a lot of "new" ones, the ones from Austen's time, the turn of the 19th century. Most of the dances from that period that Ms. Francis will be teaching Friday night have some specific connection to Austen. In addition to those mentioned earlier, there will be Knole Park, named after an estate belonging to a duke whose solicitor was her great-uncle; the Margarvine's Waltz, named for a noblewoman related to her sister Cassandra's fiance, and the Prince of Wales Favourite. Austen despised the prince, the future George IV, but, no dope she, when asked to dedicate "Emma" to him, she complied. These tidbits of history and literature will no doubt punctuate Friday night's dance. But the point of the evening will be, as always at an English country dance, movement: rapid movement, twirling and spinning your way through history and literature. I myself have been counting the days, for as Austen wrote in "Emma": "It may be possible to do without dancing entirely ... but when a beginning is made -- when the felicities of rapid motion have once been though slightly, felt -- " it is impossible not to "ask for more." Copyright 1997 The New York Times Those who can, do. Those who understand, teach. Thomas J. Senior New Trier High School 1232 St. Johns Ave 385 Winnetka Ave Highland Park, IL 60035-3425 Winnetka, IL 60093-4295 847-433-8704 847-446-7000 x2128 seniort-AT- newtrier.k12.il.us ================================================================================ Archive-Date: Fri, 07 Mar 1997 19:14:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Mar 1997 22:14:17 -0500 (EST) From: seamail-AT- juno.com (Susan E Anderson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Antiquarian music and dance books To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970307.220933.3534.1.seamail-AT- juno.com> References: <19970307.010541.6911.0.webatcheler-AT- juno.com> On Fri, 07 Mar 1997 01:04:33 -0500 (EST) webatcheler-AT- JUNO.COM (Wayne Batcheler) writes: >For you webhead dance and music bibliophiles out there, J & J Lubrano >Music Antiquarians, of Great Barrington, MA, have placed their first >on-line catalogues, Online Musical Miscellany Number One, OCCASIONAL >LIST >Spring 1997, and Special Offers, all offering rare printed music & >musical literature, musical autographs and manuscripts. > v For those of us who may not be webheads, and whose mothers may live 7 miles away from J&J Lubrano, do they have a street address in Great Barrington? I'd be very interested. .Thank you.. Susan Anderson ================================================================================ Archive-Date: Fri, 07 Mar 1997 19:51:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 07 Mar 1997 22:50:58 -0500 (EST) From: "David R. Woolf" Subject: Re: EDC in NYT -- long To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Did I miss something? I bought today's NY Times specifically to read this piece and could find no such article. I'm very pleased to read it from your e-mail (Thank you.), but it just ain't in my paper. On what page did it appear? Thomas - What was your source for the piece? -D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Woolf Emory Eye Center W - 404/778-4121 Emory University H - 404/355-2827 Atlanta, GA 30322 ================================================================================ Archive-Date: Fri, 07 Mar 1997 21:12:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 08 Mar 1997 00:11:52 -0500 (EST) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: EDC in NYT -- long To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703080511.AAA24343-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I just got back from our Meet Jane Austen, Dancer evening. Those of you who know Metropolitan Duane Gym, picture it packed with 4 lines of English dancers, circa 150 in all, lots of younger folk, many from the neighborhood, most of them staying till the end! The music--Cara Friedman, flute; John Austin, violin; Bill Peek, piano--was splendid. The teaching and telling of historical tidbits by Beverly Francis was perfect for the occasion (Beverly is a gem!), and the morris interlude by Ring O' Bells was just grand. We have no way of knowing how many of these dancers will be back to our other events, but in the course of the evening I gave out about 60 New Dancer passes (good for a Tuesday English or Saturday contra within the next 2 months), and lots of folks were talking about coming back really soon. For those of you in the tri-state area whose groups were listed in the article, I hope you get an influx of dancers as enthusiastic and personable as these. And for those of you in other areas where the Times didn't cover this New York event in the local edition, you can see the full article plus the photographs courtesy of the New York Times Web site. http://www.nytimes.com [For David Woolf's info: It was the major article on P.1 of the C Features Section (Arts), with a huge photo from the movie "Emma," plus a small photo of a couple of our dancers, followed up twenty-odd pages later with some additional columns, a box listing tri-state area ECD groups, and another photo of our group.] As a dance organizer and CD*NY Board member, I have to say how much we owe not only Linda Wolfe, who wrote one heck of a winning article, but also all the experienced dancers who came out and danced with beginner after beginner the whole night. The smiles on the beginners' faces made the room glow. Much love, Sharon ================================================================================ Archive-Date: Sat, 08 Mar 1997 07:42:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 08 Mar 1997 10:41:33 -0500 (EST) From: MartinezPC-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jane Austen dance in NYC To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970308104132_1549872891-AT- emout02.mail.aol.com> Now that you've all read Linda Wolfe's New York Times article that Tom Senior very kindly posted for us and Sharon Green's early morning post (Sharon, were you too excited to get to sleep, too?), you may be ready for more reactions on the evening. Let me jump in with my own first impressions - my mind is bubbling with them, so I can't bear to lurk here any longer.. In a word, it was AMAZING!!! As Sharon said, there were 4 longways sets filling the hall from top to bottom. It seemed to me that roughly half the dancers had some experience, which would mean 75 or possibly more absolute beginners brought to the dance by yesterday's article. As the lines formed for the first dance of the evening, you could feel the mix of anticipation, excitement and nervousness in the hall. Linda's article had said that ECD required alertness, concentration and an ability to follow instructions - and it was clear from the start that the beginners had arrived ready to make a real effort. The first dance, a very simple one called Southampton Assembly (hands-4 around and back, 1's lead down past 2 couples & cast back into 2nd place, R-hands across, L-hands back) was executed successfully, and the evening of dancing interspersed with delightful literary tidbits was off to a great start. So many elements combined to produce this fine event - it's hard to know where to start. Of course, the Times article had set the stage just beautifully and most of the inexperienced dancers had a good idea of what to expect. Besides, most had had a glimpse of ECD in the recent Jane Austen movies. Bill Peek, John Austin and Cara Friedman provided wonderful music. And Beverly Frances cannot be praised enough for the way she handled this challenge. Her voice and instructions were clear and calm. Where necessary, walk-throughs were repeated, but the instruction was efficient, never tedious, and well sprinkled with humor. When a difficult part of a dance required special attention, she sometimes said, "here's a technical point in this dance." The word "difficult" - which might have been read to mean "you're likely to mess up here" was never used, and yet the extra alertness was achieved. The program was carefully chosen - a limited number of figures, given variety and interest by a good range of tempos, including waltzes and triple time. It occurred to me only afterwards that there had been no heys, no figure-8's, no siding. It *was* mind-boggling, though, to see this huge group of beginners successfully executing 4 changes of rights and lefts. And what a delight to dance Hole in the Wall with a beginner who moved with unusual grace to 3/2 music and obviously felt the beauty of the tune and the elegance of the dance. It was clear from glances up and down the hall that experienced dancers were with few exceptions dancing with the beginners. I couldn't help remembering Barbara Ruth's lovely post about the way her brother was welcomed at Country Dancers of Westchester's New Year's Eve party, and feel certain last night's new dancers felt equally welcomed by the NY area ECD'ers. The smiles all around testified to this. (sure makes you proud to be part of this community!) It's obvious from the fact that I'm being uncharacteristically voluble that *I* had a great time last night - but did the beginners have a great time? Well, all I can say is, after the refreshment break, they all stayed for more! Congratulations and many, many thanks go to Linda Wolfe for her wonderful article, to the fine band, to Beverly Frances, and to Sharon Green and all those others who planned, coordinated and produced this brilliant success! On a related note, if you're a caller with experience in teaching groups where beginners predominate or a dancer who's attended many such events, any ideas *you'd* like to share about what can make such an evening succeed? Any specific dances that have worked particularly well for you? Dances that introduce progression easily? Logical sequence of figures to introduce? Ideas on drawing that balance between giving a newcomer the pleasure of mastering something a bit difficult and the simple pleasure of movement to music? Obviously, following the article and last night's dance, our ECD groups will be flooded with HUNDREDS of enthusiastic newcomers (ever the optimist...), so producing a successful experience for them bears some thought. (Actually, I'm going to be teaching a small group of beginners myself in a few weeks, so there's plenty of self-interest in the above questions!). Thanks in advance for your thoughts. Carol Martinez White Plains, N.Y. ================================================================================ Archive-Date: Sat, 08 Mar 1997 16:09:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 08 Mar 1997 19:09:10 -0500 (EST) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Antiquarian music and dance books To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970308.191034.6983.2.webatcheler-AT- juno.com> References: <19970307.010541.6911.0.webatcheler-AT- juno.com> <19970307.220933.3534.1.seamail-AT- juno.com> Responding to Susan Anderson's inquiry, J & J Lubrano are at 39 Hollenbeck Avenue, Great Barrington, MA 01230-1010, vox 413-528-5799, fax 413-528-4164, e-mail lubrano-AT- bcn.net. Wayne Batcheler -- webatcheler-AT- juno.com ================================================================================ Archive-Date: Sun, 09 Mar 1997 16:58:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 10 Mar 1997 20:01:14 -0500 From: Mary E Jones Subject: Re: Jane Austen dance in NYC To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3324AEDA.2E4B-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <970308104132_1549872891-AT- emout02.mail.aol.com> MartinezPC-AT- aol.com wrote: > (Actually, > I'm going to be teaching a small group of beginners myself in a few weeks, so > there's plenty of self-interest in the above questions!). Thanks in advance > for your thoughts. > > Carol Martinez > White Plains, N.Y. Carol - Thanks for your observations about the Austen dance - we're all envious! Joyce Crouch and I have been teaching a beginning ECD class for the last couple of years through the town of Amherst. Each session lasts 8 weeks and we learned early on to prevail upon the good-heartedness of our fellow dancers (read: guilt) to come as 'ringers'. Ideally, each beginner had an experienced partner for every dance. We found that it made life immeasurably smoother to do this - and we explained to the students at the beginning who the ringers were and their roles. In addition to the obvious advantage of having someone who will enable the student to get the hang of it faster, it also provides a critical mass of dancers which is not always so easy to maintain. We are taking a break from the classes, but they have been a great learning experience for us both and we have had quite a number of beginners stay with it and really become hooked. So enjoy! Mary Jones Amherst, MA ================================================================================ Archive-Date: Sun, 09 Mar 1997 18:53:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 09 Mar 1997 21:55:11 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jane Austen dance in NYC To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703100254.VAA06875-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT From: MartinezPC-AT- aol.com > On a related note, if you're a caller with experience in teaching > groups where beginners predominate or a dancer who's attended many > such events, any ideas *you'd* like to share about what can make > such an evening succeed? Any specific dances that have worked > particularly well for you? Dances that introduce progression > easily? Logical sequence of figures to introduce? Ideas on drawing > that balance between giving a newcomer the pleasure of mastering > something a bit difficult and the simple pleasure of movement to > music? One could write a book, but 2 thoughts jump to mind. I've found that casting can be the most difficult of the basic figures for a new dancer to grasp. I like to call a "1's lead thru the 2's, separate and cast back to place" dance early in the evening. Nearly anyone can execute that figure first try, yet it effectively communicates what a cast involves. Another goal when the group includes a large proportion of beginners is to "engage" the dancers. That is, the caller tries to focus their attention to the teaching and to create a sense of rapport with the new dancers. Linda's article was highly effective at doing that for Beverly. There are a lot of techniques to engage the dancers. Getting out from behind the mike helps as does teaching a "fine point." (I like Beverly's "technical point I'd like you to pay attention to.") To give another example, Colin Hume will often single out an experienced dancer (usually one with a big ego) and chastise him or her for making a mistake. When I saw him do that in England, dancers acted like this was the most amusing thing in the world, especially when the dancers heaped the abuse right back on Colin. On this side of the Atlantic, reactions varied from laughter to a degree of uneasiness. In either case, it riveted the dancers' attention. (I'm using this as an example of engaging the dancers. I'm not recommending this technique for other callers. The Colin Hume persona is unique. Accept no clones! :-)) I prefer demos to drilling dance sequences over and over. Repetition can be useful with beginners if they dance the sequence correctly the next time through. But, little is gained from practicing a figure wrong repeatedly. People learn in different ways. A Maryland caller, who is also a school teacher, calls the 3 primary ways people learn "hear-see-do." Another advantage of demos is that beginners need some down time to absorb what they have learned or just to rest. They are putting in much more mental and physical energy than the experienced dancers. Demos give them a breather, both literally and figuratively. I find that Gene's technique of teaching circular heys without hands works quite well with beginners. With careful timing of your words and an authoritative tone of voice, you and often zip them through 3 changes of a circular hey before they have a chance to think about turning the wrong way. You said it very well that you want to achieve a "balance between giving a newcomer the pleasure of mastering something a bit difficult and the simple pleasure of movement to music." I'd even go beyond that and give them something to reach for just beyond their grasp. Not every dance needs to succeed perfectly. You want to leave dancers, especially first timers, with something to which to aspire. Video games are addictive because they leave you feeling you can achieve something special by just doing a little bit better next time. The thing we want most for first-time dancers is that there be a next time. Leave them wanting more. Oops, I've written much more than my promised 2 points. I'll end by thanking Linda Wolfe and Beverly Francis for their very fine efforts in promoting ECD. I'm sure there will be benefits well beyond New York. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Sun, 09 Mar 1997 19:54:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 09 Mar 1997 22:52:27 -0500 (EST) From: catdancer-AT- juno.com (Helen Tuzio) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jane Austen dance in NYC To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970309.224040.6639.6.catdancer-AT- juno.com> References: <970308104132_1549872891-AT- emout02.mail.aol.com> On Sat, 08 Mar 1997 10:41:33 -0500 (EST) MartinezPC-AT- aol.com writes: >Now that you've all read Linda Wolfe's New York Times article... >...and Sharon Green's... >...reactions on the evening. >Let me jump in with my own first impressions... Carol - what a fine posting! You described the evening so clearly, I felt as if I'd been there (though unfortunately I had to miss it). Thank you for transporting us to the wonders of Friday night. >On a related note, if you're a caller with experience in teaching >groups where beginners predominate or a dancer who's attended many such >events, any ideas *you'd* like to share about what can make such an evening >succeed?... >... Ideas on drawing that balance between giving a newcomer the pleasure >of mastering something a bit difficult and the simple pleasure of >movement to music? I am a fairly new English dancer with absolutely no calling experience, but I was very active for several years in a contra dance community where beginners predominated. Since we eagerly welcomed newcomers, the dances became known for their friendly atmosphere. However, for the same reason, most of the dances we did were fairly simple. Although this helped the new dancers, it did little for the morale of the dedicated members. After a while the "regulars" stopped coming, thus creating a constant turnover. In addition, the level of the dance never rose above a certain level so dancers did not have a chance to improve, nor the opportunity to set a goal. We should welcome newcomers and do our best to accommodate them. But to improve everyone's dancing and to keep all dancers stimulated, it's also important to present a challenge. So I believe a combination of easy and more complex dances is warranted - especially when constantly dealing with a large number of newcomers *for an extended period of time*. Also, I remember with great fondness my first EC dances of barely 2 years ago (thanks, Sharon). One thing I remember clearly was being very "caller dependent". Initially, I was preoccupied with trying to understand the calls, then I tried to grasp the music. But for months after I was fairly comfortable with the dance, I relied heavily on the caller - still too nervous to remember the dance well after just the first few rounds. POLITE guidance I received on the dance floor from experienced dancers was (and still is) appreciated (Paul Ross, are you out there?). Phenomenal teachers who helped the music become a part of me (Bruce, are you on this list?) made all the difference in the world, and above all, the friendliness of the dancers (CDNY, CDW) and talent of the musicians are what kept me coming back. I'm still learning and, thanks to the many people with whom I've interacted over the past 21 months, I look forward to the next ECD event as eagerly as I did when I was a true neophyte. Helen Tuzio New York ================================================================================ Archive-Date: Sun, 09 Mar 1997 20:26:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 09 Mar 1997 23:25:56 -0500 (EST) From: BHFrancis-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Jane Austen Dance Wrap Up -- Long To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: BHFrancis-AT- aol.com Message-ID: <970309232500_2096427608-AT- emout11.mail.aol.com> New Yorkers are still basking in the glow of our Jane Austen evening. I am delighted to recommend readers of the New York Times as a very capable pool of beginner dancers. That, combined with the good will and generosity of our experienced dancers, made for a most satisfying evening. The CD*NY "management" coped admirably with welcoming about 100 new people -- providing handouts, free dance passes, nametags, and refreshments to a whopping big crowd. We are enjoying our fifteen minutes of fame, hope that it creates a new audience for dance in New York City and the metropolitan area, as well as for anyone who reads the article and calls the CDSS office. I hope for many ripples to spread out in our country dance pond. Some people have expressed interest in the evening's program, so I'm happy to list the dances. Let me start by saying that Jane Austen only mentioned one dance by name in all her letters and novels, and that was the "Boulangere," a cotillion. The dances on this program were somewhat arbitrary choices, but I tried to include dances from an appropriate time span and which resonate in some way with the places Austen (or her characters) lived or visited. For comic relief I included a couple of dances shown in the film versions of the novels. The dances for this particular evening were chosen for their relative simplicity; there are many other excellent choices for an evening aimed at more experienced dancers. 1. Southampton Assembly (1771, published in Pinewoods English Dance Week notes, 1981) An easy longways dance with a painless progression. Jane Austen lived in Southampton in 1808 and 1809, when she was about 34 years old and considered somewhat elderly to attend balls as an active dancer. In a letter to her sister Cassandra, dated Dec. 9, 1808 she says, "Our ball was rather more amusing than I expected, Martha liked it very much, and I did not gape till the last quarter of an hour. . . The room was tolerably full, and there were perhaps thirty couple of dancers. The melancholy part was to see so many dozen young women standing by without partners, and each of them with two ugly naked shoulders! It was the same room in which we danced fifteen years ago! I thought it over - and in spite of the shame of being so much older, felt thankfulness that I was quite as happy now as then." 2. Bromley Bells (1774, Kentish Hops) In Pride and Prejudice (Chapter 37) Lady Catherine de Bourgh, imperious as usual, is discussing Elizabeth Bennet's trip from Kent back to Meriton. She says, " Where shall you change horses? -- Oh! Bromley, of course. --If you mention my name at the Bell, you will be attended to." 3. Maidens of Kent (1794, Kentish Hops) An easy set dance with typical figures. Somehow the title seemed Austen-like, especially since Jane Austen had wealthy relatives in Kent, visited there often and rubbed elbows with the aristocracy there. In a letter of December 18, 1798 she says to Cassandra, "Kent is the only place for happiness; everyone is rich there. . ." 4. Knole Park (1809, Kentish Hops, The Playford Ball) Knole was the vast estate in Kent owned by John Sackville, the third Duke of Dorset. Jane Austen's great uncle, Francis Austen was solicitor to the Duke of Dorset. Francis Austen named one of his sons Sackville. 5. Hole in the Wall (1696, The Playford Ball) The recent BBC film adaptation of Emma used Hole in the Wall. I included it in the program as a contrast to all the other relentlessly cheerful tunes and to show some contrast between the styles or earlier Playford dances and the later dances. 6. Northdown Waltz (1820, Kentish Hops, The Playford Ball) Roughly the right time period, and an excellent choice for an evening with many beginning dancers. (refreshment break) 7. Drapers Gardens (dance 1706, to the tune of Margravines Waltz, 1799, The Playford Ball) The Austen link is with the tune. Stay with me now. The Margravine of Brandenburgh-Anspach, nee Elizabeth Berkeley, was a writer of theater pieces and a composer as well. She performed in her own works in a private theater attached to her home, Brandenburg House in Hammersmith. Her first marriage was to Lord William Craven, and her son William, the seventh Lord Craven, undertook a military expedition to the fight the French in the West Indies in 1797. He asked his kinsman Reverend Thomas Fowle to join the expeditionary force as a private chaplain. Fowle, a second cousin once removed to the younger Craven, was engaged to Jane Austen's sister Cassandra. He died of yellow fever in the West Indies, and Cassandra remained single. Another pair of second cousins once removed to Craven were Mary and Martha Lloyd who married Jane Austen's older brothers James and Francis. 8. Shrewsbury Lasses (1765, Aped Book, The Playford Ball) Danced "for those who know." It's relatively the right time period, and this dance was used in the BBC production of Pride and Prejudice to illustrate how Mr. Collins was a dreadful dancer. In Chapter 18 Jane Austen write, "They were dances of mortification. Mr. Collins, awkward and solemn, apologizing instead of attending, and often moving wrong without being aware of it, gave her all the shame and misery which a disagreeable partner for a couple of dances can give. The moment of her release from him was ecstasy." 9. The Ton (1780, From Two Barns: Ten More Country Dances) This dance has a skip-around figure, which seemed essential to a Jane Austen evening. The title doesn't refer to a unit of weight, but rather to fashionable society. Not too long ago I listened to a trashy regency novel on audiotape and discovered that's it is pronounced in the French fashion. 10. Duke of Kent's Waltz (1801. Kentish Hops, The Playford Ball) Edward Duke of Kent was the fourth son of George III. His older brothers died without any surviving legitimate heirs, so the ruler to follow George IV and William IV was Edward's daughter, the future Queen Victoria. If time had allowed, I would have liked to include Sir Roger de Coverley, because it was universally popular for such a long time, and dancers can recognize it as a precurser to the Virginia Reel. That's all, folks! Beverly Francis ================================================================================ Archive-Date: Tue, 11 Mar 1997 20:57:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Mar 1997 23:57:08 -0500 (EST) From: BHFrancis-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Letter to the NY Times To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: BHFrancis-AT- aol.com Message-ID: <970311235708_-1171006286-AT- emout20.mail.aol.com> You all might be interested in the following letter which appeared in today's NY Times (Tuesday, March 11, 1997): To the Editor: "In Step with Austen: English Country Dancing" (Arts pages, March 7) was a delight to read, even if it did not mention many of the active dance groups in New England or the annual dance camps near Plymouth, Mass. You report that English country dances were published until 1850 and then resuscitated early in the 20th century. Even today, new dances continue to be created. This Saturday evening, outside of Boston, more than 100 of us will be dancing at our annual Playford Ball, named for the Englishman who had the idea of publishing the dance patterns. One was commissioned by the seminary librarian you mention in your article for his wife. The "Rose of Sharon" is sent to 18th-century music by John Christopher Pepusch. It is a lovely dance that would surely win an "Emma" were ther such a prize for the best new country dance. Bert Scharf Brookline, Mass., March 8, 1997 The letter is accompanied by a small cartoon drawing of a smiling couple dancing down a longways trail of "Arthur Murray" footprints. Regional dance groups dueling in the New York Times -- who would have thunk it? Beverly Francis ================================================================================ Archive-Date: Wed, 12 Mar 1997 11:31:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Mar 1997 14:30:47 -0500 (EST) From: MartinezPC-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jane Austen Dance Wrap Up -- Long To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970312143041_-1606387784-AT- emout15.mail.aol.com> Beverly Francis, in her posting of the CDNY Jane Austen dance program, says: " Let me start by saying that Jane Austen only mentioned one dance by name in all her letters and novels, and that was the "Boulangere," a cotillion." I find this fact intriguing. Are there other works, diaries, etc. from the period in which dances are referred to by name, or were the names of specific dances done at a given event just not considered very important? Since, as Beverly tells us, the dances published in J. Austen's day tended to be relentlessly cheerful, were the distinctions between one dance and another blurred? When I write or talk to dance friends and acquaintances after a ball, the names of dances inevitably become part of the conversation. (If I'm lucky enough to do Quite Carr-ied Away at the CDNY Playford Ball as part of a 1st couple, for example, someone is *bound* to hear about it.....) Yes, the social interaction is important now as it was then, but we all seem to focus on our favorite dances and tunes as well. Carol Martinez White Plains, N.Y. ================================================================================ Archive-Date: Wed, 12 Mar 1997 13:14:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 12 Mar 1997 16:12:24 -0500 (EST) From: Colin Hume <100116.165-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Colin Hume's new address To: ECD Mailing List Message-ID: <970312211223_100116.165_EHU33-2-AT- CompuServe.COM> From Thursday 20th my address will be: 5 Edgehill Road Winchester MA 01890 USA Telephone: 617-729-4125 As soon as I buy a computer I'll be back on email, but I don't know how long that will be. Hope to see some of you at NEFFA if not before. Colin Hume ================================================================================ Archive-Date: Wed, 12 Mar 1997 15:06:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 11 Mar 1997 15:05:11 -0800 From: dodson-AT- socrates.berkeley.edu (Allen Dodson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Jane Austen Dance Wrap Up -- Long To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Re your comment about the names of dances being unimportant: I wonder if it's not just that the dances were 'relentlessly cheerful', but that in Jane Austen's novels the dances are always a backdrop or setting for the social intrigues or courtships or whatever that are going on. I seem to recall in several of the novels (I may be wrong) that there are descriptions of what type of dances are being done (couples, sets or whatever) but no description of figures, etc. Too, she wasn't writing for dancers. Sure, when talking amongst ourselves we talk about who did what during Fandango, or how much fun Bray's Maggott was--but when talking to non-dancers, we often describe what the dances look like or how enjoyable, elegant, etc. a ball is, without mentioning a dance by name. I'm sure it's been mentioned before, but any ECD folk visiting England should definitely visit 'Jane Austen's House' in Chawton, Hampshire. Included among the mementos of the Austen family are some dance collections from the late 1700's, familiar to many of us! Regards Allen Dodson ================================================================================ Archive-Date: Wed, 12 Mar 1997 23:27:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Mar 1997 02:26:55 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Colin Hume's new address To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >From Thursday 20th my address will be: > >5 Edgehill Road >Winchester >MA 01890 >USA > >Telephone: 617-729-4125 > >As soon as I buy a computer I'll be back on email, but I don't know how long >that will be. > >Hope to see some of you at NEFFA if not before. > >Colin Hume Welcome to America! One week, hey? Can't you bring your laptop with you? Emily L. Ferguson - Cape Cod, Massachusetts eferguson-AT- umassd.edu 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 Mar 1997 03:47:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Thu, 13 Mar 1997 12:46:40 +0100 From: Philippe Callens Subject: Re: Colin Hume's new address To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3327E920.2B86-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <970312211223_100116.165_EHU33-2-AT- CompuServe.COM> Colin, Good luck in the States. Maybe we get to meet this summer. Philippe Callens ================================================================================ Archive-Date: Thu, 13 Mar 1997 17:58:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Mar 1997 20:57:33 -0500 (EST) From: BHFrancis-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Fwd: Letter to the NY Times To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: BHFrancis-AT- aol.com Message-ID: <970313205657_-1338405629-AT- emout17.mail.aol.com> --------------------- Forwarded message: Subj: Letter to the NY Times Date: 97-03-11 23:57:09 EST From: BHFrancis To: ECD-AT- ssrl04.slac.stanford.edu CC: BHFrancis You all might be interested in the following letter which appeared in today's NY Times (Tuesday, March 11, 1997): To the Editor: "In Step with Austen: English Country Dancing" (Arts pages, March 7) was a delight to read, even if it did not mention many of the active dance groups in New England or the annual dance camps near Plymouth, Mass. You report that English country dances were published until 1850 and then resuscitated early in the 20th century. Even today, new dances continue to be created. This Saturday evening, outside of Boston, more than 100 of us will be dancing at our annual Playford Ball, named for the Englishman who had the idea of publishing the dance patterns. One was commissioned by the seminary librarian you mention in your article for his wife. The "Rose of Sharon" is sent to 18th-century music by John Christopher Pepusch. It is a lovely dance that would surely win an "Emma" were ther such a prize for the best new country dance. Bert Scharf Brookline, Mass., March 8, 1997 The letter is accompanied by a small cartoon drawing of a smiling couple dancing down a longways trail of "Arthur Murray" footprints. Regional dance groups dueling in the New York Times -- who would have thunk it? Beverly Francis ================================================================================ Archive-Date: Thu, 13 Mar 1997 20:56:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 13 Mar 1997 23:11:29 -0500 From: "m.a.j. mckenna" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Boston ball, was Fwd: Letter to the NY Times To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703140456.XAA81914-AT- mule0.mindspring.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" i was very glad to see Bev's fwd of Bert's letter touting the Boston ball; and somewhat surprised to sign on after a week without computer access and see no other mentions of Boston. (unless the server ate it. yes, that must be why...) so let me: it was fab. Bare Necessities were brilliant. Helene's teaching was clear, thoughtful and sensitive. The dances were satisfying and challenging (Sally from Poland; I weep.). The level of dancing was awfully good. The level of dress was breath-taking - I've never seen so much white tie in my life. And the community was remarkably welcoming to a base out-of-towner (me); thanks to all. maryn mck. =-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-= M.A.J. McKenna staff writer, the Atlanta Journal-Constitution 404.526.5987 vox 404.526.5509 fax Standard disclaimers apply. =-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-=-+-= ================================================================================ Archive-Date: Fri, 14 Mar 1997 17:47:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 14 Mar 1997 20:45:49 -0500 (EST) From: catdancer-AT- juno.com (Helen Tuzio) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Boston ball, was Fwd: Letter to the NY Times To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970314.203313.6751.3.catdancer-AT- juno.com> References: <199703140456.XAA81914-AT- mule0.mindspring.com> Maryn - No one else has written about the Boston Playford because our heads are still in the clouds. Yes, 'twas a marvelous evening, wasn't it. But then, you described it so well: > it was fab. >Bare Necessities were brilliant. Helene's teaching was clear, >thoughtful and >sensitive. The dances were satisfying and challenging (Sally from >Poland; I >weep.). The level of dancing was awfully good. The level of dress was >breath-taking - I've never seen so much white tie in my life. >And the community was remarkably welcoming to a base out-of-towner >(me); >thanks to all. I too noticed how receptive the local crowd was. I felt perfectly comfortable and welcome despite the fact that I'd only danced in Boston once before. Helene did a wonderful job - I envy her patience and stamina. And BN played with such enthusiasm, the night seemed to fly by. As for the dress, ah, the wonderful sight of a gentleman in tails (hint)! Helen Tuzio New York ================================================================================ Archive-Date: Sat, 15 Mar 1997 11:02:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 15 Mar 1997 14:02:01 -0500 (EST) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Letter to the NY Times To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: BHFrancis-AT- aol.com Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I remember that the last time CDS was mentioned in the Times, the story reported that Pinewoods was run by "the New York branch"... (And that was back when there was no New York "branch"...) Will Linden wlinden-AT- panix.com http://www.panix.com/~wlinden/ Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y ================================================================================ Archive-Date: Sun, 16 Mar 1997 19:16:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 16 Mar 1997 22:15:56 -0500 (EST) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Register for Country Dance releases To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: Godfrey-AT- icon-stl.net Message-ID: <970316221554_-1070067154-AT- emout12.mail.aol.com> Dear dancing friends, Glenn Fulbright informed me in Berea this weekend that you would add me to your mailing list to receive releases coming thru Stanford about English country dancing. I would appreciate being added to your mailing list. John M. Ramsay e-mail: johnberni-AT- aol.com ================================================================================ Archive-Date: Mon, 17 Mar 1997 13:33:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 17 Mar 1997 16:33:02 -0500 (EST) From: GLENN FULBRIGHT Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Messages not being received To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For some reason, I am no longer receiving mail. Please send information needed to correct the hiatus. Thanks. Glenn Fulbright ================================================================================ Archive-Date: Mon, 17 Mar 1997 14:07:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Mar 1997 17:09:55 -0500 From: Mary E Jones Subject: Re: Messages not being received To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <332F12B3.5085-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: GLENN FULBRIGHT wrote: > > For some reason, I am no longer receiving mail. Please send information > needed to correct the hiatus. Thanks. Glenn Fulbright Glenn - There hasn't been anything much on the ECD List: Thursday - M J McKenna Friday - Helen Tuzio Saturday - Will Linden Sunday - John Ramsay Are you missing all of those? If you are, I'll forward them but there's nothing of much interest being exchanged. Here's the subscription info anyway: To: ECD-REQUEST-AT- playford.slac.stanford.edu Message: Subscribe Glenn Fulbright That's it. But it's semester break for a lot of folks and the List gets very quiet then - during the rest of the semester all those academics are reading their e-mail instead of reading their student's papers...! I wish I had something snappy to say on the List but I'm just slogging through March like the rest of New England: more snow in the forecast for the middle of the week. Mwah!!!!!!!!!!!! Cheer (?) - Mary ================================================================================ Archive-Date: Mon, 17 Mar 1997 14:16:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Mar 1997 17:17:37 -0500 From: Mary E Jones Subject: Re: Messages not being received To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <332F1481.5949-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: Oooops! Mary (Not Her Real Name) Jones ================================================================================ Archive-Date: Tue, 18 Mar 1997 04:30:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Tue, 18 Mar 1997 13:27:27 +0100 From: Philippe Callens Subject: Re: AADS Spring workshop To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <332E8A2F.3C02-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <32E60473.490C-AT- uia.ua.ac.be> Last Sunday, March 16, AADS held its English country dance spring workshop at Malle, Belgium. I am giving you a bit of report here because it went so well and the whole event was extremely satisfying. 36 people attended, most of them Flemish of course, several from (southern) Holland and three German dancers from the Cologne area. I felt it was the right amount of dancers to do a real workshop. We had asked Bep Koopmans to play the piano. Her music was fabulous. So inspiring, lots and lots of lift, the rigth tempo ... a real delight. Andrew Shaw had flown from Manchester and did the teaching which was really excellent. His program was finely built op, his teaching was clear, there was just enough calling to keep you going without spoiling the music, he worked on style and finer points of dancing and he made sure that less experienced dancers didn't get lost. All together it was one of those experiences where I felt the teacher, the musician and the dancers together reached a higher level of community. The workshop was split in three sessions (before lunch, after lunch and after tea). For each, Andrew had selected dances around a topic. Here they are: Session 1: some (lesser known?) dances from Playford, 1651. - Once I loved a maiden fare (interpreted by Pat Shaw) - Jack Pudding (inter. by Tom Cook) - Daphne (inter. by Tom again) - Halfe Hannikin (inter. by Charles Bolton) Session 2: dances from Walsh, 1710: - Woodlark - Exeter Ladies (inter. by Tom Cook) - The Constant Lover - Lille (Andrew's own interpretation) This session was my personel favorite time -- Lille is a beauty, such a wonderful tune! Session 3: The Wirral Visit: dances written to the music of Brian Jenkins and John Stapledon - Perpetual Motion (tune Stapledon, dance Tom Cook) - Nun's Echo (tune Jenkins, dance Brian Wedgbury) -- dancers fell in love with it! (the title is an anagram of Nonesuch and the dance, which is a square, uses the main ideas of that dance) - Another Enid's Whirlaround (tune Jenkins, dance Alan Davies) - Dam Nibor (Brian Jenkins's idea) As an organizer, dancers made it easy to me when at the end of the workshop they spontaneously applauded and applauded Bep and Andrew. Philippe Callens ================================================================================ Archive-Date: Tue, 18 Mar 1997 10:36:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Mar 1997 13:33:02 -0500 From: Wayne Crouch <72633.425-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Beginner Classes To: "BlindCopyReceiver:;"-AT- compuserve.com Message-ID: <199703181333_MC2-12C6-B1D6-AT- compuserve.com> Hello, all, and especially Carol M, who asked for suggestions on this topic, Mary (her real name) Jones mentioned her great idea of having "ringers," or "volunteer helpers," which has been crucial to the success of our class. We eventually started using Post-it name tags for everyone (you can actually re-use them for months if you keep them on a plastic sheet!), with a yellow dot to identify the "volunteers." And we have been heartless (though lighthearted) about rearranging pairs of dancers before each new dance, to match people up for the best chance of success. Not something you could do at a social dance, much as you might sometimes wish you could! The second best idea we had was to start each class with a period of learning setting or figures or style or basic waltz movement or whatever we feel they're ready to learn. This is usually in a circle without partners, pairing people at random (gender matters not) to practice 2-hand turns, circles, etc., sprinkling in doing things to music as much as possible. (it's a Fri night class, and these work-worn people do not need to stand around...they need laughter, moving a lot and the energy of the music to help them.) We privately call these the "drill sessions," and think of them as hammering into their brains the terms, and into their bodies the feeling of moving to the music and the most-used figures of ECD. It may seem obvious, but it took us a while (over a year!) to realize that people come to a class with different expectations than a regular dance, and they actually *want* to repeat things several times, until they feel halfway confident. By separating out the figures, or points of style, they can then focus more on the dance patterns when we get to the dances. They want this, but the teacher has to loosen up, make it fun, encourage some joking around, but keep control and keep the pace of the teaching fast. So, after this first bit, usually about 15 minutes, we then teach several dances which have mostly the figures already learned, with maybe a couple of other very, very easy figures that can be learned instantly. Sellenger's Round makes a great first dance for a beginner class, because the teacher can be in the center for everyone to emulate and there's no need to go into active-vs-inactive or progression. Besides, it's fun, energetic and there's a great communal feel. We plan to end our final class of the 8-wk session with it this week. Our classes last 1 1/2 hours. Live music is a big key to our success. Good luck, Carol! I'm sure you will come up with your own creative ways to make learning easy and fun for those who like a class atmosphere better than being thrown into a regular dance. Let us know how it goes. Joyce Crouch Amherst, MA ECD dancer, Pleasures of the Town piano-player, starting-to-learn teacher/caller & long-time lurker ================================================================================ Archive-Date: Tue, 18 Mar 1997 12:07:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Mar 1997 15:05:24 -0500 (EST) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: AADS Spring workshop To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703182005.PAA25319-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dear Philippe, Thank you for the report on the spring workshop. I'd be interested to know what the published sources of the dances Andrew Shaw selected are. See you at camp at Pinewoods this August, I hope. Cheers, Sharon Green At 01:27 PM 3/18/97 +0100, Philippe Callens wrote: >The workshop was split in three sessions (before lunch, after lunch and >after tea). For each, Andrew had selected dances around a topic. Here >they are: > >Session 1: some (lesser known?) dances from Playford, 1651. >- Once I loved a maiden fare (interpreted by Pat Shaw) >- Jack Pudding (inter. by Tom Cook) >- Daphne (inter. by Tom again) >- Halfe Hannikin (inter. by Charles Bolton) > >Session 2: dances from Walsh, 1710: >- Woodlark >- Exeter Ladies (inter. by Tom Cook) >- The Constant Lover >- Lille (Andrew's own interpretation) > >This session was my personel favorite time -- Lille is a beauty, such a >wonderful tune! > >Session 3: The Wirral Visit: dances written to the music of Brian >Jenkins and John Stapledon >- Perpetual Motion (tune Stapledon, dance Tom Cook) >- Nun's Echo (tune Jenkins, dance Brian Wedgbury) -- dancers fell in >love with it! (the title is an anagram of Nonesuch and the dance, which >is a square, uses the main ideas of that dance) >- Another Enid's Whirlaround (tune Jenkins, dance Alan Davies) >- Dam Nibor (Brian Jenkins's idea) ================================================================================ Archive-Date: Tue, 18 Mar 1997 14:54:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 18 Mar 1997 17:54:15 -0500 (EST) From: MartinezPC-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Beginner Classes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970318174956_920168834-AT- emout15.mail.aol.com> In a message dated 97-03-18 13:42:34 EST, Joyce Crouch writes: " The second best idea we had was to start each class with a period of learning setting or figures or style or basic waltz movement or whatever we feel they're ready to learn. This is usually in a circle without partners, pairing people at random (gender matters not) to practice 2-hand turns, circles, etc., sprinkling in doing things to music as much as possible. (it's a Fri night class, and these work-worn people do not need to stand around...they need laughter, moving a lot and the energy of the music to help them.) We privately call these the "drill sessions," and think of them as hammering into their brains the terms, and into their bodies the feeling of moving to the music and the most-used figures of ECD." What a great idea! It occurred to me as I read this that in addition to making the figures seem second nature, it would probably be a painless and efficient way of getting the dancers accustomed to matching the figures to the allotted measures of music and not finishing too soon or too late. This can be hard to achieve in mid-dance when people are focusing on getting the sequence right. Thanks, Joyce, for these and other ideas and many thanks to Mary Jones, Helen Tuzio and Rich Galloway for your thoughtful and helpful comments. Carol Martinez White Plains, N.Y. ================================================================================ Archive-Date: Wed, 19 Mar 1997 07:59:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Mar 1997 11:00:11 -0500 (EST) From: SHARON MCKINLEY Subject: ERNA-LYNNE READ THIS PLEASE To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: re: Erna-Lynne Sorry to bother the group, but i need Erna-Lynne, and i don't have her individual email address. PLEASE email me, hon, at mckinley-AT- mail.loc.gov thanks, and now, back to our regular programming sharon "who, me?" mckinley, and not an official apologizer for any government agency ================================================================================ Archive-Date: Wed, 19 Mar 1997 10:11:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Mar 1997 13:11:22 -0500 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Heidenroslein & politics: a correction To: ECD list Message-ID: <199703191311_MC2-12D6-D1BA-AT- compuserve.com> Some time ago, I noted that Fried Herman, who had lived in Pat Shaw's house and worked with him for many years, was not comfortable with Shaw's Heidenroslein being done in the ECD community. She frequently mentioned that Pat did not want the dance published. As Fried seemed reticent about discussing this further, I asked around about the possible reason for this, and was told that perhaps it was due to the fact that Heidenroslein was sometimes associated with German troops in WWII. Last week, I had the opportunity to pursue this with Fried (who was in a talkative, expansive mood). She told me that this dance, along with many, many others, was left among Pat's papers when he died. It was one he never intended for general consumption, in that it was something of a private joke. He wanted to see what he could do with what he considered a pretty sappy, inappropriate tune (!). Fried, being a prolific composer of dances herself, is horrified at the thought of someone going through her rough drafts, notes, unpublished materials, and private jokes after her death and publishing this stuff! Thus her disapproval. Nothing to do with Nazi's, etc., as far as I could tell. So please disregard previous conjectures and possible slanders, and do regard a composer's or choreographer's intentions if you're planning to publish another's materials posthumously. Gene Murrow EC Dancer and admirer of Pat Shaw and Fried Herman, among others... ================================================================================ Archive-Date: Wed, 19 Mar 1997 11:58:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Mar 1997 14:58:35 -0500 (EST) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Heidenroslein & politics: a correction To: ECD list Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 19 Mar 1997, Gene Murrow wrote: > So please disregard previous conjectures and possible slanders, and do > regard a composer's or choreographer's intentions if you're planning to > publish another's materials posthumously. However, it is difficult to ask the deceased about his intentions. (Cf., for instance, the lawsuit where the litigants cited Auden's poetry in an attempt to divine "what he would have wanted" in regard to manuscripts.) x Will Linden wlinden-AT- panix.com http://www.panix.com/~wlinden/ Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y ================================================================================ Archive-Date: Wed, 19 Mar 1997 13:59:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Mar 1997 16:56:13 -0500 (EST) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Heidenroslein & the deceased To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970319.165831.6975.0.webatcheler-AT- juno.com> References: An author can appoint one or more literary executors he/she trusts whose duty it is to sort through the detritus of a creative life and decide what is worthy of publication and what is not. Dance and music composers could do the same. The author's intent presumably is to maintain or enhance his/her reputation, and possibly to provide an income for his/her heirs, but avoid having to throw away any of the oeuvre in his/her lifetime. Everyone loves the smell of his own f**t. Literary executors are sometimes given detailed instructions in the will or other instrument appointing them. There are many benefits but also potential problems with this kind of arrangement. Decisions made by the executor(s) are often second-guessed, whether they follow the testator's instructions or not. Academics and publishers abhor the destruction of any possible grist for their mills, while critics, the reading public and the author's family and friends are justifiably unhappy with the drivel that sometimes re-emerges from unemptied wastebaskets in shiny new dust jackets. The dead, however, are seldom heard to complain. There is nothing new in any of the above, but something for our creative brethren and sistren out there to consider in light of Pat Shaw's posthumous experience with Heidenroslein. Besides, I too like the smell of my own "feet." ================================================================================ Archive-Date: Wed, 19 Mar 1997 16:58:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Mar 1997 18:56:19 -0600 (CST) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Abbots Bromley Horn Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: FORBES-AT- GEORGE.BAKERU.EDU Message-ID: <970319185619.434f-AT- GEORGE.BAKERU.EDU> In the not too distant past, many of you or your groups contributed to a volume entitled "Links in a thousand-Year-Old-Chain: The Abbots Bromley Horn Dance in America." The dance is an active part of American Dance- lore as evidenced by the material contained in the book. Said monograph is now available, complete with survey results, pictures, the American history of the dance, and a superbe bibliography. You may obtain the book for $6, including postage from Rhomylly Forbes 9506 Boyer Place Silver Spring, MD 20910 Phone: 301/589-3228 Fax: 202/393/0215 Work Phone: 202/393-0222 e-mail: Rhomylly-AT- office-assist.com Quantities of 8 or more sent to one address: $5.50 each. Cash, check, or money order I apologize to those on the list who don't like to see items advertised on their listserv. I don't either. But so many of you helped provide the essence, the heart of the work, that this seemed the best (and cheapest) way to contact you. The book is being sold at cost plus postage, designed as a non-profit venture. (Dr.) John Forbes/Old Castle Morris and Garland (and we perform ECD, too) ================================================================================ Archive-Date: Wed, 19 Mar 1997 21:24:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 00:22:25 -0500 (EST) From: "Hanny D. Budnick" <74031.77-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD, Heidenroeslein etc To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970320052225_74031.77_BHT125-2-AT- CompuServe.COM> Oh well, I often wondered why Pat chose Dutch tunes (as in New Wine in Old Bottles) and at least that one German one (Heidenroslein) to choreograph what now is labeled "English" country dance... Or is it? My own further inquiries yielded interesting information: By now you all have read that there were at least three well-known romantic tunes for Goethe's poem (which does, indeed, suggest rape). The classic music lovers know Schubert's song and often don't even know that there IS a folk song. German school children at one time or another learn and sing the version by Werner which Pat used for the dance. Many adults are surprised to find out about the existence of the Schubert song. So what makes a new dance an "English" one - or an "Israeli" one for that matter? The nationality of the choreographer? Of the composer of the tune? The movement vocabulary on which the dance is based? Where the dance is promoted? What the teacher says it is? My own first contact with ECD was in Germany in the 50s. I learned dances with names like "Erbsenpfluecken", "Maerzhuehnchen", "Exzellenz", "Mogeln" and found out much later that a) they were ENGLISH folk dances and b) their REAL names are -----. Since then I've learned 'New England Contras' from Germany, 'Israeli dances' from the USA, 'Scottish dances' from France and New Zealand, etc.... It's an interesting dance world alright... Hanny Budnick - with interesting insights into 'international folk dancing' ================================================================================ Archive-Date: Wed, 19 Mar 1997 21:53:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 00:51:48 -0500 (EST) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Other dance lists To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970320.005333.6975.9.webatcheler-AT- juno.com> Back on 1/25/97 Ken (last name lost, sorry) wrote: > >Now my question: is there a similar list for contra dancers? Can anyone send >info on that? (Either here or directly to my own email address). My own curiosity slowly built up over the weeks and months, until this evening I finally queried the list of lists and received a response, edited below to eliminate lists with the string "dance" in their names or descriptions but having to do with "attendance" and other subjects not relevant here. Apologies to all who already have this information. --------- Begin forwarded message ---------- Excerpt from the LISTSERV lists known to LISTSERV-AT- LISTSERV.NODAK.EDU -------------------------------------------------------------------- 19 Mar 1997 23:08 (search string: DANCE) Copyright 1997 L-Soft international, Inc. L-Soft international, Inc. owns the copyright to this compilation of Internet mailing lists (the "Compilation") and hereby grants you the right to copy the enclosed information for the sole purpose of identifying, locating and subscribing to mailing lists of interest. Any other usages of the Compilation, including, without limitation, solicitation, tele-marketing, "spamming", "mail-bombing" and "spoofing" are strictly prohibited. *********************************************************************** * To subscribe, send mail to LISTSERV-AT- LISTSERV.NET with the following * * command in the text (not the subject) of your message: * * * * SUBSCRIBE listname * * * * Replace 'listname' with the name in the first column of the table. * *********************************************************************** Network-wide ID Full address and list description --------------- --------------------------------- BDC-NMEM BDC-NMEM-AT- MITVMA.MIT.EDU MIT Ballroom Dance Club's Non-Members DANCE-HC DANCE-HC-AT- CUNYVM.CUNY.EDU DANCE-HC: Dance Heritage Coalition Listserv List DANCE-L DANCE-L-AT- NIC.SURFNET.NL International folkdance and traditional dance list DANCEMUSICIAN DANCEMUSICIAN-AT- LISTSERV.ARIZONA.EDU A listserv to discuss issues related to music and dance DLDG-L DLDG-L-AT- IUBVM.UCS.INDIANA.EDU DLDG-L Dance Librarians Discussion Group DNE-L DNE-L-AT- MITVMA.MIT.EDU Dance New England On_Line Discussions FOLKDANC FOLKDANC-AT- NERVM.NERDC.UFL.EDU UF International Folk Dancers IRDANCE-L IRDANCE-L-AT- POST.QUEENSU.CA Irish Traditional Dancers' List NDALIST NDALIST-AT- MSU.EDU Members of the National Dance Association NFDANCE NFDANCE-AT- MORGAN.UCS.MUN.CA Newfoundland Traditional/Historical Dance List RENDANCE RENDANCE-AT- MORGAN.UCS.MUN.CA Renaissance Dance Mailing List SWING_DANCE SWING_DANCE-AT- LISTSERV.VT.EDU swing_dance Discussion List TEXAS-DANCE TEXAS-DANCE-AT- LISTSERV.UH.EDU Texas Dance List --------- End forwarded message ---------- I would be interested to see a "review" on any of these lists, from regular members or casual visitors. What are they like and how do they compare with the ECD list? Wayne Batcheler New York ================================================================================ Archive-Date: Wed, 19 Mar 1997 23:26:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 19 Mar 1997 23:15:24 -0800 (PST) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Heidenroslein & politics: a correction To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD list Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 19 Mar 1997, Will Linden wrote: > On Wed, 19 Mar 1997, Gene Murrow wrote: > > So please disregard previous conjectures and possible slanders, and do > > regard a composer's or choreographer's intentions if you're planning to > > publish another's materials posthumously. > However, it is difficult to ask the deceased about his intentions. (Cf., > for instance, the lawsuit where the litigants cited Auden's poetry in an > attempt to divine "what he would have wanted" in regard to manuscripts.) And sometimes history's joke is on the artist. Think of Arthur Sullivan, whose SERIOUS compositions, which were all he thought were worth caring about, have been largely forgotten, while his work with William S. Gilbert is remembered. Or Dorothy L. Sayers, who always felt her only important work was her translation of Dante, and considered the Lord Peter Wimsey books trash, written solely to make money. Peace. Paul ================================================================================ Archive-Date: Thu, 20 Mar 1997 03:46:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Thu, 20 Mar 1997 12:46:07 +0100 From: Philippe Callens Subject: what makes a new dance...? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3331237F.4C70-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hanny Budnick wrote: "So what makes a new dance an "English" one - or an "Israeli" one for that matter? The nationality of the choreographer? Of the composer of the tune? The movement vocabulary on which the dance is based? Where the dance is promoted? What the teacher says it is?" I find this interesting, probably because I, as a Belgian, have been thinking about this topic a lot. What I feel makes a dance belong to a certain tradition, is what Hanny calls the movement vocabulary. Call it style, if you want to. Music, however, is most important, too. Tunes do make a difference. Any other thoughts on this list? Philippe ================================================================================ Archive-Date: Thu, 20 Mar 1997 04:00:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Thu, 20 Mar 1997 12:58:35 +0100 From: Philippe Callens Subject: Re: Other dance lists To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3331266B.5738-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <19970320.005333.6975.9.webatcheler-AT- juno.com> Wayne Batcheler asked feedback about the lists: DLDG-L DLDG-L-AT- IUBVM.UCS.INDIANA.EDU DLDG-L Dance Librarians Discussion Group I have subscribed to that list and find it interesting enough. I work as a librarian (not a dance librarian though) and found the combination dance/library appealing. The big difference with ECD list is that is a list of people professionnally involved. There are few messages (say one a week); most of them offer information, they don't discuss things. DANCE-L DANCE-L-AT- NIC.SURFNET.NL International folkdance and traditional dance list I have subscribed to that list, too. The list is basically dead. After all, there is the newsgroup rec.folk-dancing. Philippe Callens ================================================================================ Archive-Date: Thu, 20 Mar 1997 04:01:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 04:04:07 -0700 (PDT) From: HUGH-AT- edsug.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: what makes a new dance...? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IGPMRT7TFM0027I1-AT- UG.EDS.COM> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT Philippe Callens wrote: >> What I feel makes a dance belong to a certain tradition, is what Hanny >> calls the movement vocabulary. Call it style, if you want to. Music, >> however, is most important, too. Tunes do make a difference. A lot also depends on the tradition of the dancers. The Scots will tell you that Trip to Bavaria is a Scottish dance, but a few years ago it was recorded by a Scottish style band for the English dance club market (read English-dance-club, not Playford-dance-style). I have seen it danced at an Anglo-Scottish evening by sets from both traditions. The English dancers walked it used Playford setting held hands during the setting The Scots danced the first half used Scottish setting did not hold hands during the setting also I would suggest that the English were more receptive to changing the dance (eg I would cast up instead of moving up, and as bottom couple at the end I would cut final cross leading down to avoid the forward-and-cross fudge.) Obviously in this context the music and figures would be identical, but I think the sets could have been described as dancing to different traditions. ================================================================================ Archive-Date: Thu, 20 Mar 1997 08:13:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: bolker-AT- phoenix.Princeton.EDU Date: Thu, 20 Mar 1997 09:48:11 -0500 (EST) From: Susie Lorand Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Other dance lists To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 20 Mar 1997, Wayne Batcheler wrote: [snip] > Excerpt from the LISTSERV lists known to LISTSERV-AT- LISTSERV.NODAK.EDU > -------------------------------------------------------------------- > 19 Mar 1997 23:08 > > (search string: DANCE) [list of lists snipped] > > I would be interested to see a "review" on any of these lists, from > regular members or casual visitors. What are they like and how do they > compare with the ECD list? > > Wayne Batcheler > New York It might be interesting to search for "dancing" as well; "dance" managed to miss the Morris Dancing Discussion List, which overlaps at least a bit with the ECD list readership. The morris list gets a lot more messages (the daily digest usually takes up more than 20K on my computer) and seems to stray farther from the topic of morris dancing than the ECD list does from English dancing, though there's always someone ready to post scholarly references when the need arises. Certain arguments get rehashed periodically (the origins of morris, mixed vs. single-sex dancing, etc.). As with the ECD list, a lot of the participants know each other in real life. Some have likened its discussions to what goes on at the pub after practice. Other MDDL readers should feel free to correct or amplify... --Susie Lorand Princeton, NJ ================================================================================ Archive-Date: Thu, 20 Mar 1997 09:44:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 16:48:29 +0000 From: bob-AT- hottub.demon.co.uk Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: what makes a new dance...? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <858878432.067226.0-AT- hottub.demon.co.uk> Hugh Stewart wrote: > A lot also depends on the tradition of the dancers. > The Scots will tell you that Trip to Bavaria is a Scottish dance, I think that the Scots may have a point there. I don't have my dance books at work but I seem to recall that the dance was written by somebody from the Edinburgh Branch after returning from Bavaria. > also I would suggest that the English were more receptive to changing the dance > (eg I would cast up instead of moving up, and as bottom couple at the end > I would cut final cross leading down to avoid the forward-and-cross fudge.) An alternative way of putting it is that the English are more willing to disregard the original composers intentions. I have been quite soundly told off in the past for cutting out the final cross when I'm calling the dance. There is a school of thought along the lines of "if you're not prepared to do the dance as written then go and write your own that's better". I have a certain sympathy with this, on the other hand I do find the forward-and-cross fudge just takes the edge off what is a fantastic dance (particularly when it is danced rather than walked). Another example of a Scottish dance that has worked its way into the English repertoire is Posties Jig. As far as I can recall the original version finishes with the working couples turning by the right hands, most English callers get everyone to swing their partner. Again, I think that Posties Jig is far better danced than walked. > Obviously in this context the music and figures would be identical, but I > think the sets could have been described as dancing to different traditions. I have also seen this happen the other way around. At the Newcastle Scottish Festival a couple of years ago one group did Levi Jackson's Rag, first of all in the English style (walked, ballroom swings, closed ladies chains), then in the Scottish style (danced, open ladies chain, armhold for the swings). Bob ---------------------------------------------------------- -- Bob Archer bob-AT- hottub.demon.co.uk ================================================================================ Archive-Date: Thu, 20 Mar 1997 09:46:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 12:44:55 -0500 (EST) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Even more dance lists To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970320.124718.6975.2.webatcheler-AT- juno.com> Susie Lorand had the very good idea of using a different search string to ferret out dance lists. No sooner done than done, Susie. --------- Begin forwarded message ---------- Excerpt from the LISTSERV lists known to LISTSERV-AT- LISTSERV.NODAK.EDU -------------------------------------------------------------------- 20 Mar 1997 11:32 (search string: DANCING) Copyright 1997 L-Soft international, Inc. L-Soft international, Inc. owns the copyright to this compilation of Internet mailing lists (the "Compilation") and hereby grants you the right to copy the enclosed information for the sole purpose of identifying, locating and subscribing to mailing lists of interest. Any other usages of the Compilation, including, without limitation, solicitation, tele-marketing, "spamming", "mail-bombing" and "spoofing" are strictly prohibited. *********************************************************************** * To subscribe, send mail to LISTSERV-AT- LISTSERV.NET with the following * * command in the text (not the subject) of your message: * * * * SUBSCRIBE listname * * * * Replace 'listname' with the name in the first column of the table. * *********************************************************************** Network-wide ID Full address and list description --------------- --------------------------------- BALLROOM BALLROOM-AT- MITVMA.MIT.EDU Discussion of Any Aspect of Ballroom and Swing Dancing BALLROOM-M BALLRM-M-AT- MITVMA.MIT.EDU Moderated Discussion List for Ballroom and Swing Dancing DANCING-DISCU... DANCING-DISCUSS-L-AT- POSTOFFICE.CSO.UIUC.EDU University of Illinois -- Dancing Illini DANCING-OFFIC... DANCING-OFFICIAL-L-AT- POSTOFFICE.CSO.UIUC.EDU Dancing Illini Official Announcements MORRIS MORRIS-AT- LISTSERV.IUPUI.EDU Morris Dancing Discussion List --------- End forwarded message ---------- ================================================================================ Archive-Date: Thu, 20 Mar 1997 10:16:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 13:15:38 -0500 (EST) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Even more dance lists To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703201815.NAA20828-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I have also heard of a Scottish list called STRATHSPEY, but I have no info on subscribing, content, etc. Good hunting, Wayne! Sharon ================================================================================ Archive-Date: Thu, 20 Mar 1997 14:07:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 17:15:20 -0500 From: sheilab-AT- tiac.net (Sheila Beardslee Bosworth) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Even more dance lists STRATHSPEY To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Sharon Green wrote: >I have also heard of a Scottish list called STRATHSPEY, but I have no info >on subscribing, content, etc. To sign on to that list send this message in the [unsigned] body: subcsribe TO strathspey-request-AT- tm.informatik.uni-frankfurt.de Sheila Beardslee Bosworth sheilab-AT- tiac.net Editor, Boston Early Music News >>next BEMN Deadline 3/20 for APRIL 15 issue! Summer workshops & concert listings welcomed! 29 Main Street, Acton MA 01720-3505 voice: 508/263.9926 fax: 508/263.2366 ================================================================================ Archive-Date: Thu, 20 Mar 1997 15:33:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 18:24:05 +0000 From: Mary Stafford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Abbots Bromley Horn Dance To: "'ECD-AT- playford.slac.stanford.edu'" Message-ID: <01BC355D.4C1F94A0-AT- mes.world.std.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01BC355D.4C28BC60" ------ =_NextPart_000_01BC355D.4C28BC60 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Seeing the subject line "Abbots Bromley" made my heart soar. Several = years ago I satisfied a lifelong desire and went to England for a = vacation that culminated at Abbots Bromley the day of the Horn Dance. I = recommend it to any of you who can manage it- it was an amazing = experience to see the men coming up the village street with those huge = ancient horns. Mary Stafford A Boston Centre dancer ------ =_NextPart_000_01BC355D.4C28BC60 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+IggSAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG AFABAAABAAAADAAAAAMAADADAAAACwAPDgAAAAACAf8PAQAAAFsAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFQ0RAcGxheWZvcmQuc2xhYy5zdGFuZm9yZC5lZHUAU01UUABFQ0RAcGxheWZvcmQu c2xhYy5zdGFuZm9yZC5lZHUAAB4AAjABAAAABQAAAFNNVFAAAAAAHgADMAEAAAAfAAAARUNEQHBs YXlmb3JkLnNsYWMuc3RhbmZvcmQuZWR1AAADABUMAQAAAAMA/g8GAAAAHgABMAEAAAAhAAAAJ0VD REBwbGF5Zm9yZC5zbGFjLnN0YW5mb3JkLmVkdScAAAAAAgELMAEAAAAkAAAAU01UUDpFQ0RAUExB WUZPUkQuU0xBQy5TVEFORk9SRC5FRFUAAwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAANY RQEIgAcAGAAAAElQTS5NaWNyb3NvZnQgTWFpbC5Ob3RlADEIAQSAAQAeAAAAUkU6IEFiYm90cyBC cm9tbGV5IEhvcm4gRGFuY2UA+AkBBYADAA4AAADNBwMAFAASABgABQAEAB4BASCAAwAOAAAAzQcD ABQAEgAHABEABAAZAQEJgAEAIQAAADZBREFBODQ2NDlBMUQwMTE4NEI5NDQ0NTUzNTQwMDAwAN0G AQOQBgBwAwAAEgAAAAsAIwAAAAAAAwAmAAAAAAALACkAAAAAAAMANgAAAAAAQAA5AGAr9eRbNbwB HgBwAAEAAAAeAAAAUkU6IEFiYm90cyBCcm9tbGV5IEhvcm4gRGFuY2UAAAACAXEAAQAAABYAAAAB vDVb5PVGqNproUkR0IS5REVTVAAAAAAeAB4MAQAAAAUAAABTTVRQAAAAAB4AHwwBAAAAEgAAAG1l c0B3b3JsZC5zdGQuY29tAAAAAwAGEHYeiZADAAcQPwEAAB4ACBABAAAAZQAAAFNFRUlOR1RIRVNV QkpFQ1RMSU5FIkFCQk9UU0JST01MRVkiTUFERU1ZSEVBUlRTT0FSU0VWRVJBTFlFQVJTQUdPSVNB VElTRklFREFMSUZFTE9OR0RFU0lSRUFORFdFTlRUT0UAAAAAAgEJEAEAAADvAQAA6wEAAKUCAABM WkZ1lEGZ8v8ACgEPAhUCqAXrAoMAUALyCQIAY2gKwHNldDI3BgAGwwKDMgPFAgBwckJxEeJzdGVt AoMzdwLkBxMCgH0KgAjPCdk78RYPMjU1AoAKgQ2xC2DgbmcxMDMUUAsKFFEtC/JjAEAGUWULgGcg AHRoZSBzdWJqGwWQBUBsC4AbgCJBYhUG4HQEIEIDYWxleZwiIADADbAdcHkgG3BTCsAFQHNvCsAu BlF2MwSQB0AgeR4RBCBhZ0hvIEkbkGF0BABmzQiQZB+QHBFmZRWgGzGvDbAAkBYQH5BuIIB3CfD1 BUB0H8BFGRAY8SCAAhD7BcAgoHYA0CARAiAbUSAQ4CBjdWxtC4AgECByJwVAHIwbU2RhHeBvZi0b U0gFsAOgRABwY2VvHqAf4BYQBaBtB4Ah0Wm3IjMAcCZzeQhgIfBoH8C/I4ADoAOBH6AbgCiALShy rHdhH4EDoGEAwHobIvhleHAGcQnwJ4AiQhGwPyxxG3EoMSQwA3AbInVw/RtTdgMQC2AqURPACdEq 0bUogGgbUW8RsB3wdSpRnydhLDEFQCmgBKBzLgqF7QqFTQrAHeBTAZAN0AWwemQKhUEc4C/AIlAD oEPvIhEhkSZQJ3FyCocZ6xNQLxywG+IKhRUxADdAAAMAEBAAAAAAAwAREAAAAABAAAcw4G/hi1k1 vAFAAAgw4G/hi1k1vAEeAD0AAQAAAAUAAABSRTogAAAAAOjo ------ =_NextPart_000_01BC355D.4C28BC60-- ================================================================================ Archive-Date: Thu, 20 Mar 1997 15:33:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 18:28:44 +0000 From: Mary Stafford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: ECD, Heidenroeslein etc To: "'ECD-AT- playford.slac.stanford.edu'" Message-ID: <01BC355D.4F3C16E0-AT- mes.world.std.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="---- =_NextPart_000_01BC355D.4F453EA0" ------ =_NextPart_000_01BC355D.4F453EA0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit OK Hanny, so what are those dances really? Gathering Peascods I got, but the others escape me....March Chicken? Excellence? Cheat? Mary Stafford Whose command of Deutsch is rusty at best ------ =_NextPart_000_01BC355D.4F453EA0 Content-Type: application/ms-tnef Content-Transfer-Encoding: base64 eJ8+Ig0SAQaQCAAEAAAAAAABAAEAAQeQBgAIAAAA5AQAAAAAAADoAAENgAQAAgAAAAIAAgABBJAG AFABAAABAAAADAAAAAMAADADAAAACwAPDgAAAAACAf8PAQAAAFsAAAAAAAAAgSsfpL6jEBmdbgDd AQ9UAgAAAABFQ0RAcGxheWZvcmQuc2xhYy5zdGFuZm9yZC5lZHUAU01UUABFQ0RAcGxheWZvcmQu c2xhYy5zdGFuZm9yZC5lZHUAAB4AAjABAAAABQAAAFNNVFAAAAAAHgADMAEAAAAfAAAARUNEQHBs YXlmb3JkLnNsYWMuc3RhbmZvcmQuZWR1AAADABUMAQAAAAMA/g8GAAAAHgABMAEAAAAhAAAAJ0VD REBwbGF5Zm9yZC5zbGFjLnN0YW5mb3JkLmVkdScAAAAAAgELMAEAAAAkAAAAU01UUDpFQ0RAUExB WUZPUkQuU0xBQy5TVEFORk9SRC5FRFUAAwAAOQAAAAALAEA6AQAAAAIB9g8BAAAABAAAAAAAAANY RQEIgAcAGAAAAElQTS5NaWNyb3NvZnQgTWFpbC5Ob3RlADEIAQSAAQAcAAAAUkU6IEVDRCwgSGVp ZGVucm9lc2xlaW4gZXRjABMJAQWAAwAOAAAAzQcDABQAEgAcACwABABJAQEggAMADgAAAM0HAwAU ABIAGAA1AAQATgEBCYABACEAAAA2RURBQTg0NjQ5QTFEMDExODRCOTQ0NDU1MzU0MDAwMADhBgED kAYAyAIAABIAAAALACMAAAAAAAMAJgAAAAAACwApAAAAAAADADYAAAAAAEAAOQCATSqLXDW8AR4A cAABAAAAHAAAAFJFOiBFQ0QsIEhlaWRlbnJvZXNsZWluIGV0YwACAXEAAQAAABYAAAABvDVciyJG qNpvoUkR0IS5REVTVAAAAAAeAB4MAQAAAAUAAABTTVRQAAAAAB4AHwwBAAAAEgAAAG1lc0B3b3Js ZC5zdGQuY29tAAAAAwAGEBpIoyoDAAcQmQAAAB4ACBABAAAAZQAAAE9LSEFOTlksU09XSEFUQVJF VEhPU0VEQU5DRVNSRUFMTFk/R0FUSEVSSU5HUEVBU0NPRFNJR09ULEJVVFRIRU9USEVSU0VTQ0FQ RU1FTUFSQ0hDSElDS0VOP0VYQ0VMTEVOQ0UAAAAAAgEJEAEAAABMAQAASAEAAOABAABMWkZ1j9Um VP8ACgEPAhUCqAXrAoMAUALyCQIAY2gKwHNldDI3BgAGwwKDMgPFAgBwckJxEeJzdGVtAoMzdwLk BxMCgH0KgAjPCdk78RYPMjU1AoAKgQ2xC2DgbmcxMDMUUAsKFFEFC/JjAEAgT0sgSAEAcG55LCBz byAOdxGABUAKwGUgdGjSbxGwIGQAcGMHkRYQQQdAbHk/IEcb4GjzBnEZECBQHTAE8ARwBCAgSSBn b3QbcGJ1ewVAHcEgHwAd0QQgB5BjrGFwHDAHgC4gwU0KwIERcCBDaGljawnw+R2ARXgc4B1QCfAc 4B2AcyFgHTB0PwqFCoUhAXmvBgABkA3QBbBkCoVXHGMVBaBtA4FkH7BmIES+ZR9QBPAhQAQAHRB1 E8BrJCAb4WIHkHQjHAr0bHhpMzYN8BnbI3YVMQABKvADABAQAAAAAAMAERAAAAAAQAAHMOA/TgFc NbwBQAAIMOA/TgFcNbwBHgA9AAEAAAAFAAAAUkU6IAAAAABIqw== ------ =_NextPart_000_01BC355D.4F453EA0-- ================================================================================ Archive-Date: Thu, 20 Mar 1997 16:58:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 20 Mar 1997 19:15:56 -0500 From: "m.a.j. mckenna" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Other dance lists To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703210058.TAA26654-AT- camel6.mindspring.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 09:48 AM 3/20/97 -0500, Susie Lorand wrote: the Morris Dancing Discussion List, which overlaps at least a bit >with the ECD list readership. The morris list gets a lot more messages >(the daily digest usually takes up more than 20K on my computer) and >seems to stray farther from the topic of morris dancing than the ECD list >does from English dancing ... Some have likened its discussions to what goes on at the pub after >practice. Other MDDL readers should feel free to correct or amplify... > on this list, we are nicer to each other! which is not a criticism of MDDL; the culture of both lists, i would think, reflects the personality of the dances they discuss, and morris-the-list, like morris-the-dance, is, umm, vigorous. a free and frank exchange of views, shall we say; there have been conversations that sent me scurrying for my nomex underwear. *but* MDDL's unfettered nature has midwived some fascinating discussions on recruiting new dancers, on the nature of performance and responsibility to the audience, on morris as a spiritual practice... the same threads surface periodically, but it's an awfully good list. maryn mckenna atlanta in my other dance life: briar rose garland, rose galliard northwest morris (in ex.), sourwood morris (adj). ================================================================================ Archive-Date: Fri, 21 Mar 1997 04:13:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Fri, 21 Mar 1997 13:12:43 +0100 From: Philippe Callens Subject: Re: AADS Spring workshop To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <33327B3B.347-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199703182005.PAA25319-AT- mail1.panix.com> Sharon Green asked about printed sources for the dances Anrdew Shaw did last Sunday at the AADS Workshop. For the 12 dances he did, I can give you three references and that's it! The dances from the third session are all so recent that they haven't been published yet, I guess. Re the interpretations, Andrew frequently uses his own versions after having read the original again; also Tom Cook's work is only partly published. - Woodlark can be found in "Fallibroome", vol. 5 and in "The Road to Ruin". Andrew used a sort of combined version. - The Constant Lover is also in "The Road to Ruin" and in "Retreads", vol. 6. - Perpetual Motion is in "Not quite new" and a fine recording is on the tape of the same name (played by John Stapledon who wrote the tune). Andrew is going to send me the instructions for the dances he taught. Would you be interested in them, Sharon? Philippe Callens ================================================================================ Archive-Date: Fri, 21 Mar 1997 12:31:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 21 Mar 1997 14:28:38 -0600 (CST) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Abbots Bromley Horn Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970321142838.14a-AT- GEORGE.BAKERU.EDU> Boston people were major sources for information on the Abbots Bromley in America. Pinewoods people, George Fogg, Boston Revels folks, etc. I thkink you'll like it and you can hardly beat the price! Forbes/OCM&G ================================================================================ Archive-Date: Sat, 22 Mar 1997 17:25:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 22 Mar 1997 20:22:35 -0500 (EST) From: Philip Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Lady William's Delight To: ECD Message-ID: <970323012234_101454.633_IHP47-1-AT- CompuServe.COM> This is really to Rich Galloway Alan Davies called a lovely day of dance in Oxfordshire today (22nd March) and he did Lady William's Delight - which my partner and I both love - - we understand you wrote it we did it at Nick Broadbridge's Edinburgh Ball last year Who is/was Lady William? What is the beautiful music? Who wrote it? Thanks Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Sat, 22 Mar 1997 19:14:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 22 Mar 1997 22:11:33 -0500 From: Diane Schmit Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Lady William's Delight To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.1.32.19970322221133.006a2b0c-AT- popd.ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 08:22 PM 3/22/97 -0500, you wrote: >This is really to Rich Galloway > > >Alan Davies called a lovely day of dance in Oxfordshire today (22nd March) > >and he did Lady William's Delight - which my partner and I both love - > > >- we understand you wrote it > > we did it at Nick Broadbridge's Edinburgh Ball last year > >Who is/was Lady William? > >What is the beautiful music? Who wrote it? > >Thanks > >Margaret Whaley >Oxfordshire > Rich is out of town for a while, so I will answer so you won't be left wondering.... Lady Williams is the former Lynn Williams, now Lynn Jensen. The music is by Jonathan Jensen, one of our wonderful musicians (piano, ocarinas, recorders, etc.) and composer of great tunes, in Baltimore. I believe Jonathan first wrote the music for Lynn and then asked Rich to write a dance to go with it. The music, by the way, is published in CDSS' Gems. Diane Diane Schmit dschmit-AT- ix.netcom.com Gaithersburg, MD ================================================================================ Archive-Date: Sun, 23 Mar 1997 19:24:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 23 Mar 1997 22:27:36 -0500 From: dangilsp-AT- intrepid.net (Dan Gillespie) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: If All the Worls Was Paper To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199703240327.WAA13903-AT- loki.intrepid.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello from West Virginia: I was hoping that someone on this list could suggest a tape or CD that has a recorded version of the dance "If All the World Was Paper". Please respond privately if possible. Many thanks, Dan Gillespie dangilsp-AT- intrepid.net ================================================================================ Archive-Date: Mon, 24 Mar 1997 03:40:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Mon, 24 Mar 1997 12:39:47 +0100 From: Philippe Callens Subject: Re: Lady William's Delight To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <33366803.921-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <3.0.1.32.19970322221133.006a2b0c-AT- popd.ix.netcom.com> I'd like to join Margaret in her comments on Lady William's Delight. Interesting movement, wonderful tune and the movement perfectly suits the tune. I am very fond of it, both as a caller and a dancer. You may like to know that both tune and dance have been published in CDSS News (where I got it from). Philippe Callens ================================================================================ Archive-Date: Mon, 24 Mar 1997 07:12:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 24 Mar 1997 10:11:37 -0500 (EST) From: CF1125-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Lady William's Delight To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970324101134_1019941581-AT- emout02.mail.aol.com> I suspect your messsage refers to "Lady Williams' Delight" - named for Lynn Williams; if memory serves, it is a dance by Rich Galloway to a tune by Jonathan Jensen, who is married to Lynn. -Carl Friedman ================================================================================ Archive-Date: Mon, 24 Mar 1997 08:32:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 24 Mar 1997 11:28:22 -0500 (EST) From: "Hanny D. Budnick" <74031.77-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: ECD, Heidenroeslein etc To: "BlindCopyReceiver:;"-AT- compuserve.com Message-ID: <970324162822_74031.77_BHT60-2-AT- CompuServe.COM> Mary, Erbsenpfluecken: as you guessed correctly, is Gathering Peascods Maerzhuehnchen: Shrewsbury Lasses (perhaps because of the - at first sight - random looking movements by the different couples or people?) Real translation is 'march chickens' (march as in after February). Exzellenz: The Bishop (that's the correct appellation for one in German) Mogeln: Picking up sticks ('mogeln' means to cheat, which is what the sheepskin hey does...) ================================================================================ Archive-Date: Mon, 24 Mar 1997 21:42:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 24 Mar 1997 23:38:44 -0600 From: Charlene Charette Subject: Re: If All the Worls Was Paper To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <333764E4.58C5-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199703240327.WAA13903-AT- loki.intrepid.net> Dan Gillespie wrote: > > Hello from West Virginia: > I was hoping that someone on this list could suggest a tape or CD > that has a recorded version of the dance "If All the World Was Paper". > Please respond privately if possible. > Many thanks, Dan Gillespie > dangilsp-AT- intrepid.net I have a recording of the tune, but it's among the baronial collection for which there is no documentation as to original source. A good source for ECD tunes is the CDSS (Country Dance and Song Society). Just be aware that their recordings are Cecil Sharp slanted (ie, substituted tunes and/or AB structures). If you get any responses, please let me know. I have a goal of owning the original recording for any dances we do. --Perronnelle ================================================================================ Archive-Date: Mon, 31 Mar 1997 16:20:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 31 Mar 1997 19:28:00 -0500 From: sheilab-AT- tiac.net (Sheila Beardslee Bosworth) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford's Music: FREE CONCERT with O'Dette & ALK! Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" No Joke!! This *almost* makes up for tonight's blizzard... Tomorrow night, Tuesday, April 1 at 8 PM St. John's Church, 27 Devens Street in Charlestown FREE! Information: 617/522-2135 David Douglass, violin Andrew Lawrence-King, harps Paul O'Dette, theorbo, cittern & guitar APOLLO'S BANQUET: Music from the publications of John Playford Program includes (partial listing) Cockleshells Hunsdon House Old Simon the King Tom Scarlett Fy Nay, Prithee John! The Bear's Dance The Glory of the West Faronell's Division on a Ground Mr. H. Purcell's Jigg Paul's Steeple, or the Duke of Norfolk Greene-Sleeves Stingo, or the Oyle of Barly and other favorites! David D reports that this is a program about to be recorded by this threesome, and you can hear "this wonderful program" -- As David says, "The rehearsals have been a riot!" Sheila Beardslee Bosworth sheilab-AT- tiac.net Editor, Boston Early Music News >>next BEMN Deadline 4/20 for May 15 issue! May 15 issue is BEMF Preview issue! Summer workshops & concert listings welcomed! 29 Main Street, Acton MA 01720-3505 voice: 508/263.9926 fax: 508/263.2366