Archive-Date: Thu, 01 May 1997 03:02:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 11:04:19 +0100 From: Michael Barraclough Subject: Re: Attachments to messages.... To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <33686AA3.86671AC4-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: Sheila Beardslee Bosworth wrote: > > Michael Barraclough wrote: > > >It looks like I shall be in Phoenix (which from my perspective includes > >Mesa, Tempe, Scottsdale etc) arriving Sunday 11 May and departing Sunday > >18 May. > > and he then told us what he likes to dance.... > > THEN APPEARED ON MY SCREEN (and later on the hard drive of my computer) > > >Content-Type: text/x-vcard; charset=us-ascii; name="vcard.vcf" > >Content-Transfer-Encoding: 7bit > >Content-Description: Card for Barraclough, Michael > >Content-Disposition: attachment; filename="vcard.vcf" > > > >Attachment converted: The Big One:vcard.vcf (TEXT/ttxt) (0001DF2B) > > I would like to very nicely (at least this time) like to ask folks > on this list to PLEASE NOT send ATTACHMENTS with their e-mail... > Sheila I agree with your e-mail and apologise for my sins. The attachment is in fact the new (de facto) Internet Standard "business card" which in time will probably replace the "signature" element of internet e-mails. It is added automatically by Netscape Communicator Preview 3 to all my e-mails. Howevever, the good news is that prompted by your comments I have been driven to discover how to turn it off on a message-by-message basis. Regards - Michael Barraclough ================================================================================ Archive-Date: Thu, 01 May 1997 03:03:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 06:02:02 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Twiddles on the Dance Floor To: ECD Message-ID: <970501100202_101454.633_IHP92-1-AT- CompuServe.COM> I am twiddled a lot by my partner in American Contras - he regularly goes across to American Folk Festivals, so follows the traditions of your side of the pond. He always says that if a lady does not want to be "twiddled" she brings her hand down, which is a sign to her partner not to do it. Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Thu, 01 May 1997 03:03:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 06:02:04 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Blue Mountain Band's Tour To: ECD Message-ID: <970501100204_101454.633_IHP92-2-AT- CompuServe.COM> Rick Smith has asked me to thank all who contancted me re the Blue Mountain Band tour of America in July Special thanks and greetings to Mike and Norma Briggs, Bob Fraley, and Roger Broseus. Rick says - perhaps next time! BMB will be at the Springville World Folk Festival in Utah from July 11-20th, under the name English Lace - they will be accompanying English Lavender - A very good demonstration team here. After the festival, the band will be playing in the Denver area. Rick has 2 dates so far - Fri 25th July - English with Chris Kermet? Sat 26th July - American with Bernard Chalk If you want any more information contact: Teri Rasmusson - 303 652 3306 Box 537 Niwot Colerado 80544 Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Thu, 01 May 1997 03:03:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 06:02:08 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Eastbourne To: ECD Message-ID: <970501100208_101454.633_IHP92-4-AT- CompuServe.COM> Hoorah!! It's Eastbourne Folk Festival this weekend - the first festival of the year!! There's Bill & Barbara Kinsman, Andrew Shaw, Bob Archer, Joe Hodgson, Hugh Stewart - so it should be good!!! See you all there! Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Thu, 01 May 1997 03:04:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 06:02:06 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: what's appropriate in ECD or Playfor To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <970501100206_101454.633_IHP92-3-AT- CompuServe.COM> Alan Winston wrote:- re a swing in Barbarini;'s Tambourine >There are two interpreters still about (Jacqueline Schwab and Ken whatz-his-name of "From Two Barns") - His name is Ken Sheffield - I'll see him next week - I'll ask him!!!! Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Thu, 01 May 1997 06:25:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 09:25:13 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705011325.JAA09594-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 06:02 AM 5/1/97 -0400, Margaret Whaley wrote: >I am twiddled a lot by my partner in American Contras - he regularly goes across >to American Folk Festivals, so follows the traditions of your side of the pond. > >He always says that if a lady does not want to be "twiddled" she brings her hand >down, which is a sign to her partner not to do it. Hello, Margaret: The term "twiddle" seems a bit more used on your side of the pond than ours. In "New Wine in Old Bottles" Pat Shaw prescribes that the turn single "should be done as a small cast rather than a twiddle on the spot." Fried Herman, who did *not* learn her English in the US, regularly decries twiddles: one day, when enlightenment hit, I blurted out, "I see! When you *don't* want us to do it, it's a twiddle; when you *do* want us to do it, it's a courtesy turn!" Your partner is correct that the woman signals her partner not to twirl her by bringing down her hand. Unfortunately, some contra dancers use excessive force when twirling their partners, jerking up the woman's hand despite her efforts to keep it down. At such times I find "being twiddled" far too mild a description of what's going on-- Sharon Green ================================================================================ Archive-Date: Thu, 01 May 1997 06:44:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 09:46:09 -0500 (EST) From: SHARON MCKINLEY Subject: ARM MOVEMENTS To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: re: arm movements: interesting, dealing with contras on the ECD list. i don't contra regularly, myself, and in frederick, where i do it, they don't push at all. they're also good when i don't put my hand painfully over my shoulder for a promenade. for me, the problem is more the ECD tupes who yank my arm way past my body on changes of rights and lefts with hands. it hurts, and they rarely understand what you mean when you try to explain, if they haven't disappeared immediately down the line anyway. same with trying to hold my hands up at full shoulder height and they're 6 feet tall and i'm not. got any ideas besides yanking back? sharon "carpal elbow?" mckinley, and not an official elbow police person for any government agency ================================================================================ Archive-Date: Thu, 01 May 1997 06:50:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 08:52:29 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970501085229.6282-AT- GEORGE.BAKERU.EDU> The late, beloved Genny Shimer was death on twiddles. She got on English classes about them--something fierce. Forbes/Baker U ================================================================================ Archive-Date: Thu, 01 May 1997 07:05:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 07:01:02 -0700 (PDT) From: HUGH-AT- edsug.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IICHE4K6KI00GRJR-AT- UG.EDS.COM> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT >> The late, beloved Genny Shimer was death on twiddles. But we have an alternate name for The Dressed Ship: "Twiddle down the middle". Did she ban twiddles there too? (Mind you I have never seen more than one twiddle at a time even though I have seen some contra-twirl enthusiasts dancing it.) ================================================================================ Archive-Date: Thu, 01 May 1997 07:06:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 09:16:00 -0500 From: sheilab-AT- tiac.net (Sheila Beardslee Bosworth) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >At 06:02 AM 5/1/97 -0400, Margaret Whaley wrote: >>I am twiddled a lot by my partner in American Contras ... >>... if a lady does not want to be "twiddled" she brings her >>hand down, which is a sign to her partner not to do it. Sharon Green continued: >...correct that the woman signals her partner not to twirl her >by bringing down her hand. Unfortunately, some contra dancers >use excessive force when twirling their partners, jerking up >the woman's hand despite her efforts to keep it down. At such times > I find "being twiddled" far too mild a description of what's going on-- Hence the term "Black & Decker" twirl... I agree that this doesn't usually happen in ENGLISH dancing... But one contra guy, not content with merely "twirling" me, came at me like a bear, put both arms around me and lifted me right off the floor! It was really TERRIFYING! Responding in an equally "courteous" manner, I yelled at the top of my lungs and pounded his chest and shoulders, demanding to be put down. He was greatly surprised that I did not find this whole episode as much fun as *he* did. I avoided him thereafter.... There was much discussion of this on the folk-dance lists a while ago. Apologies for too many ssssssssss in some words.....my computer eems sto have a mind of its own today..... 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 ================================================================================ Archive-Date: Thu, 01 May 1997 07:29:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 10:30:48 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dances with the Same Formation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 1 May 1997, Martin Hungerford wrote: > Does anyone know the actual mechanism for choosing the lucky men? Did > every man bring a red bandanna in hope or what? They all had red bandanas, period. That was part of the traditional garb. (well, there were blue ones, too.) My father, who was born into a farming family in Missouri around the beginning of this century, and who recalled moving from a brief attempt to start a farm in Colorado back to Missouri in a covered wagon pullde by oxen when he was two, used the traditional bandana handkerchief in red or blue and white for the rest of his life, even though he abandoned the agricultural for the academic. I still have his 'kerchiefs, and sometimes wear them to dances. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Thu, 01 May 1997 07:54:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 09:54:27 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970501095427.64d8-AT- GEORGE.BAKERU.EDU> Don't remember about the "Dressed Ship." Need a favor from the list. Our institutional primitive e-mail system only gives me the SMTP line for the"From:" slot. If you don't put your name at the bottom, I don't know who sends the message. Thanks for your help. Forbes/Baker U ================================================================================ Archive-Date: Thu, 01 May 1997 08:24:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 11:25:25 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 1 May 1997 FORBES-AT- GEORGE.BAKERU.EDU wrote: {snip} > If you don't put your name at > the bottom, I don't know who sends the message. Thanks for your help. Please also list your location. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Thu, 01 May 1997 09:43:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 12:41:25 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance F To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>>Twiddles on the Dance Floor >At 06:02 AM 5/1/97 -0400, Margaret Whaley wrote: >>I am twiddled a lot by my partner in American Contras ... >>... if a lady does not want to be "twiddled" she brings her >>hand down, which is a sign to her partner not to do it. Sharon Green continued: >...correct that the woman signals her partner not to twirl her >by bringing down her hand. Unfortunately, some contra dancers >use excessive force when twirling their partners, jerking up >the woman's hand despite her efforts to keep it down. At such times > I find "being twiddled" far too mild a description of what's going on-- It is true that the woman signals to not twirl by keeping her hand down, but it is also the case that the gent *offers* the twirl as opposed to the courtesy turn, which can be accepted or refused. As Steve Zakon-Anderson explained _frequently_ during his and Betty's recent tango workshop in New Haven, the lead into a move is meant as a suggestion, a "would you like to do this?" At NEFFA this past weekend, however, I discovered a new twiddle on this theme during the gender-free contra session. Dancing the "armband" role (in standard contra the gents' part) I all too frequently encountered men in the line dancing the "bare-arm" role (i.e. the ladies part) who hadn't caught on to the fact that they weren't in charge, and having the opportunity to twirl out of a chain, by gum they were going to do it, without regard to whether I offered or wanted to twirl them. Since I am barely 5 ft. tall, trying to twirl an average sized man under my arm is difficult and painful. At that point I would simply let go, hoping that they'd catch on to why. Interestingly, I have previously danced gender free contras at a specifically gay event and never encountered this problem. The makeup of the NEFFA the session was much more mixed, and the problem seemed to be particularly the macho, manly men. Barbara Ruth New Haven, CT ================================================================================ Archive-Date: Thu, 01 May 1997 11:23:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 14:25:16 -0400 From: walkowit-AT- is2.nyu.edu (Daniel J. Walkowitz) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9705011825.AA03298-AT- is2.nyu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Your partner is correct that the woman signals her partner not to twirl her >by bringing down her hand. ... >Sharon Green I think it is healthy to degender coupling with "partnering," but not to diminish what I feel is a problem of male (or boy) culture: manliness as twirling(-to-death) seems to resemble strutting (as in a peacock). I've done my share, alas, and have come to think it pretty self-indulgent, not dancing WITH a partner at all, but using her as a doll for self-display. Danny Daniel J. Walkowitz Director, Metropolitan Studies, and Professor of History 285 Mercer Street, rm 703, New York University New York, New York 10003-6607 tel. (212) 998-8091 fax (212) 995-4371 ================================================================================ Archive-Date: Thu, 01 May 1997 11:48:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 13:48:44 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970501134844.64d8-AT- GEORGE.BAKERU.EDU> Here are some words of mine that appeared in the American Dance Circle, quarterly publication of the Lloyd Shaw Foundation, June, 1990--p. 18: I feel incomfortable, perhaps a little bit embarassed for my partner, when another couple, especially in a contra line (but in other formations too) does an extra flourish or turn in the dance, say at the end of a ladies chain or a right-and-left-through. Invariably, the other couple is late for the beginning of the next figure with me and my partner. As a couple-unit, they [and I've since seen lots of equal irresponsibility in both partners] have not accepted the discipline of the phrasing and figure designed to fit that musical space. And, they have not accepted the discipline of dancing with others in the dance. They are also missing the pleasure of accurate timing. Do the flourish, yes! I have no objections. But make sure you cheat the rest of that figure enough so you can get it all in without interrupting my flow of the dance. My partner and I do not want to wait for you. When, musically, it is our turn to dance together, dance with us for the whole musical space allotted. Since it's a matter of decorum, a matter of courtesy, does anyone wish to contact Miss Manners for an opinion? John Forbes, Baker University (and former editor of the ADC) ================================================================================ Archive-Date: Thu, 01 May 1997 12:04:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 15:06:17 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance F To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 1 May 1997, Barbara Ruth wrote: [snip on twirls/twiddles] At NEFFA > this past weekend, however, I discovered a new twiddle on this theme during the > gender-free contra session. Dancing the "armband" role (in standard contra the > gents' part) I all too frequently encountered men in the line dancing the > "bare-arm" role (i.e. the ladies part) who hadn't caught on to the fact that > they weren't in charge, and having the opportunity to twirl out of a chain, by > gum they were going to do it, without regard to whether I offered or wanted to > twirl them. Since I am barely 5 ft. tall, trying to twirl an average sized man > under my arm is difficult and painful. At that point I would simply let go, > hoping that they'd catch on to why. Interestingly, I have previously danced > gender free contras at a specifically gay event and never encountered this > problem. The makeup of the NEFFA the session was much more mixed, and the > problem seemed to be particularly the macho, manly men. I occasionally encounter women who are equally determined to twirl, and since I do not automatically twirl, but like to use it a bit as an element of variation or surprise. I like to know first something about the skill of the dancer, and if she is skilled, whether she likes to twirl. I have no problem with her offering the suggestion that she'd like to twirl, but I do find it a bit unpleasant if I want to do a deliberate courtesy turn, and she twirls anyway. But then, I figure I didn't lose much, anyway... Eric Arnold Ann Arbor ================================================================================ Archive-Date: Thu, 01 May 1997 13:40:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 16:41:28 -0400 (EDT) From: Eric Praetzel Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance F To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705012041.QAA14639-AT- watt.uwaterloo.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Eric Arnold wrote: > I occasionally encounter women who are equally determined to twirl, and > since I do not automatically twirl, but like to use it a bit as an element > of variation or surprise. Now what about guys who like to be twirled? :) At the past few dance weekends I've been taken by surprise by women who aren't happy with one turn; but aim for more than 2! - Eric ================================================================================ Archive-Date: Fri, 02 May 1997 08:22:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 01 May 1997 23:26:52 -0400 From: "Howard A. Markham" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I second Eric's observation, preferences, and reaction. >I occasionally encounter women who are equally determined to twirl, and >since I do not automatically twirl, but like to use it a bit as an element >of variation or surprise. I like to know first something about the skill >of the dancer, and if she is skilled, whether she likes to twirl. I have >no problem with her offering the suggestion that she'd like to twirl, but >I do find it a bit unpleasant if I want to do a deliberate courtesy turn, >and she twirls anyway. But then, I figure I didn't lose much, anyway... > >Eric Arnold > Ann Arbor > Howard Markham, Reston, Virginia ================================================================================ Archive-Date: Fri, 02 May 1997 09:58:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 12:00:15 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970502120015.672c-AT- GEORGE.BAKERU.EDU> I vividly recall one of my 'neighbors' in a contra line some years ago who was determined she was going to swing me much harder than I was going to swing her. It was at the mid-west morris ale in, I think, 1986. So for about 16 measures we had an athletic contest instead of a dancing opportunity. Any others on the list ever get 'swung' too hard for the occasion? John Forbes/Baker U ================================================================================ Archive-Date: Fri, 02 May 1997 10:11:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 18:12:44 +0100 From: Michael Barraclough Subject: Re: Twiddles and Whooshes .... To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <336A208C.359536F5-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------0603B21549C5556E423255E5" References: This is a multi-part message in MIME format. --------------0603B21549C5556E423255E5 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Just confirmed my attendance at the May Madness Contrafest in Prescott, Arizona ("a wonderful contra dance weekend with the Hillbillies from Mars, a wild band from the San Francisco Bay Area, and Kathy Anderson, an energetic caller from Ohio" as described by the organiser!). When I get back I will report on how the twiddles and whooshes compare there with the folk dance scene here in the UK. Michael Barraclough (moving around the UK) --------------0603B21549C5556E423255E5 Content-Type: text/x-vcard; charset=us-ascii; name="vcard.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Barraclough, Michael Content-Disposition: attachment; filename="vcard.vcf" begin:vcard fn:Barraclough, Michael n:Barraclough;Michael org:Motorola Cellular Infrastructure Group adr:;;;;;; email;internet:barraclm-AT- ecid.cig.mot.com title:SEI Project Manager tel;work: tel;fax: x-mozilla-cpt:;0 x-mozilla-html:FALSE end:vcard --------------0603B21549C5556E423255E5-- ================================================================================ Archive-Date: Fri, 02 May 1997 11:09:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 14:07:22 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles and Whooshes . To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>>Twiddles and Whooshes .... Kathy Anderson is a *wonderful* and energetic caller. She is way fun, and you should have a terrific time - I'm envious. Please tell her Barbara Ruth says "hello" and when is she going to come call in New Haven again. Barbara Ruth -------------------------------------- From: ECD-AT- SSRL04.SLAC.Stanford.EDU Just confirmed my attendance at the May Madness Contrafest in Prescott, Arizona ("a wonderful contra dance weekend with the Hillbillies from Mars, a wild band from the San Francisco Bay Area, and Kathy Anderson, an energetic caller from Ohio" as described by the organiser!). When I get back I will report on how the twiddles and whooshes compare there with the folk dance scene here in the UK. Michael Barraclough (moving around the UK) ================================================================================ Archive-Date: Fri, 02 May 1997 11:29:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 11:30:01 -0700 From: Robin Cohen Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9705021130.ZM2309-AT- alewench.engr.sgi.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii References: <970502120015.672c-AT- GEORGE.BAKERU.EDU> On May 2, 12:00pm, FORBES-AT- george.bakeru.edu wrote: > Any others on the list ever get 'swung' too hard for the occasion? > John Forbes/Baker U >-- End of excerpt from FORBES-AT- george.bakeru.edu Happens ALL THE TIME! I am rather strong, and over the years men have gotten the impression that I like to swing hard and fast (because I give good weight with my left hand on their back, I guess). A little trick I learned is to bend bend my knees, lower my center of gravity and become "heavy". I also will loosen up my grip and become as limp as I can without losing my dance posture, and move my feet slower. (Visualize a slug....) -- *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* Robin Cohen Mailstop - 9U-505 EBU Administrator Phone - 415-933-1368 Silicon Graphics, Inc. Fax - 415-967-8496 *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* ================================================================================ Archive-Date: Fri, 02 May 1997 11:56:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 13:57:13 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970502135713.7144-AT- GEORGE.BAKERU.EDU> Years ago, Mae Fraley, that wonderful teacher and lady from Rockville, MD, would give a 10-minute course for women on 'defensive dancing.' Marvelous! Forbes ================================================================================ Archive-Date: Fri, 02 May 1997 15:04:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 17:58:23 -0500 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: sheilab-AT- tiac.net, ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Sheila, I was gasping while reading your tale! I think I met the same guy at NEFFA a few years back. I think I told my own tale on r.f-d awhile ago, but basically when I went to do balance and swing below I found myself head and shoulders above some guy who had scooped me up. I yelled and hauled off and slugged the guy as hard as I could. The guy vanished and frankly, I never saw his face, I was in such a panic I didn't see anything. His partner told my husband that he had been a pain with her too, but hadn't pulled that. The whole thing shook me up and I felt rather assaulted, to be honest. Hope the guy will figure it out someday. I think a direct approach is best. Sometimes people (men and women both) just don't realize that something is painful or bothersome to someone. This year's NEFFA story. First move in another dance - balance and swing below - and I find myself eyeball to eyeball with someone, this guy is seriously in my face. I mean CLOSE! for both the balance and the swing. Was unable to get any distance from this guy. I finally said "well THAT was scary!" he said, "huh?" "I mean being so suddenly that close to you, wasn't expecting it" (all still nose to nose with this guy, mind you)..... brief departure caused by dance.....return..... him: "oh, I see what you mean." Mary Beth Goodman <-- must have a bigger than norm personal space....? Mary Beth ================================================================================ Archive-Date: Fri, 02 May 1997 16:38:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 14:31:46 -0400 (EDT) From: Charles Koeppen Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles on the Dance Floor To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IIEFY2ETPA0004RE-AT- SERV04.SLAC.STANFORD.EDU> In the swing/hustle dance world, a lead, while *never* being pushing or pulling, is more than just a suggestion. If the guy just puts his left arm up, she shouldn't go under unless she is led to with his right hand. If she does it can be pretty dangerous because he might be planning on turning under his own arm, and unless he planned for it, there isn't going to be enough room. For an inside (left) turn, the lead is to bring the ladies right hand towards her left ear. This is much more than a suggestion to turn, it's a very natural lead, and if she refuses for whatever reason (usually anticipating something else, which isn't following), she'll look pretty funny standing there with her arm in front of her face. Since women usually don't like to look goofy, this one's usually not a problem. The caveat here is that it is very important *never* to lead her into a right turn while her wieght is on her left foot or a left turn while her wieght is on her right foot. A left turn on the left foot or a right turn on the right foot is called a natural turn for a good reason, you're much less likely to lose your balance doing a natural turn than a reverse turn, which would best be called an unnatural turn if you're going forward because the only reason they call them reverse turns is they are what is natural if you're walking backward. In the contra dance world, except for coming out of a swing, you pretty much have no idea at all what foot your partner's wieght is on so you can forget the ballroom type leads. If you want her to turn under her right arm, just lift your left arm. If she goes, that's great, if she doesn't, maybe next time. Whatever you do, *don't* lead the turn by trying to bring the arm around the back of her head. She may be on the wrong foot and if you do she's either going to have to get on the correct (right in this case) foot fast or have exceptionally good balance in order to prevent shoulder injury. Charlie ================================================================================ Archive-Date: Fri, 02 May 1997 18:46:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 02 May 1997 21:48:01 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Tambourines To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705030210.WAA06945-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT This message guaranteed "twiddle-free!" :-] All that talk about Barbarini's piqued my interest. Just what is a tambourine. Yes, I know--a small drum with metal disks used by the Salvation Army and untalented folk rock musicians. But, why does the word keep showing up in dance titles? My dictionary says a tambourin [sic] is either a kind of drum or "a quick, sprightly dance of Provence, originally accompanied by such a drum." In the back of my mind, I've got a vague notion that maybe a tambourine was type of British military tune played on a pipe and tabor. Can anyone shed any further light on the subject? Also, Barnes 2 includes a "Tambourine Dance." Does anybody know where the modern interpretation of this dance is published? ---------------------------------------------------- For anyone that will, here are my research notes. Checking through Kitty Keller's National Tune Index and Bob Keller's American Dance Figures Index, I came up with the following references to tambourines: From English sources: JOHNSON CD-3,1744 2/4 G HERTINGFORDBURY TAMBOURINE (Same as in Walsh) C G TAMBOURINE (Same as TAMBOURINE DANCE-1 in Walsh) WALSH CD-2.4,1747 2/4 D BARBARINIS TAMBOURINE 2/4 G HERTINGFORDBURY TAMBOURINE (Same as in Johnson, 1744) 2/4 A NEW TAMBOURINE Cut G TAMBOURINE DANCE-1 (Same as Tambourine in Johnson, 1744) Cut Bb TAMBOURINE DANCE-2 JOHNSON CD-6,1751 2/4 C LORD BROOK'S TAMBOURINE RUTHERF.CD-2.1,1756 Cut D THE NEW TAMBOURIN THOMPSON CD-1,1757 2/4 A MARSHAL SAXE'S TAMBORINE 2/4 D PRINCESS AUGUSTA'S TAMBORINE SKILLERN CD,1780 C D TAMBORIN DANCE From American sources: Lady's Monitor, 1801 ? ? The Tambourin American Laides Pocket Book, 1802 ? ? The Tambourine All the tambourines from English sources were published around the middle of the 18th Century. All are in common or cut time. All are in major keys without many sharps or flats. Of the volumes above, only Thompson is in my collection. Both the tambourines in Thompson are heavily composed of 16th notes in somewhat repetitive patterns, which reminds me of military music. Most of the notes are in the upper half of the treble clef or higher. From the keys, range of notes and fingering required, I would guess that these tunes were intended to be played on a flute, fife or flageolet. (Caution, these are just ill-qualified guesses on my part. I don't read music, so I'm totally out of my element here.) Barnes 2, contains both Barbarini's Tambourine and Tambourine Dance. The Tambourine in Barnes is the same tune as Tambourine Dance-1 (Walsh) and Tambourine (Johnson, 1744) mentioned above. You can judge for yourself, but I don't believe either of these tunes match the pattern I described for the tunes in Thompson. Tambourine Dance doesn't even have any 16th notes. ---------- BTW, in routing through my library, I came across a couple more items related to Sir Roger de Coverly--a description in Wilson, and the early 18th century dances Roger and The Young Roger. If anyone is still interested in old Sir Roger, I'll fill in details on those. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Fri, 02 May 1997 22:14:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 01:16:28 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Twiddles- do I have to? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Well, guys, I just came back from five days of playing hopscotch with semis at 75mph up and down the east coast to discover that you've been talking about twiddling on the dance floor. Do I _have_ to read it all? Whaaaaa 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: Fri, 02 May 1997 22:56:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 01:58:25 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Twiddles, twirls etc To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Well, I did it! I read them all. I guess the thing I'd really like to get out about twirling is that we're dealing with two different things here - twirling and twiddling. To me twirling is what couples do, either willingly or unwillingly, as punctuation in New England contra and Square dancing. It can be solo or assisted - on the ends of a hey, during a courtesy turn, at the end of a swing, before the swing after contra corners in Chorus Jig - all are twirls. A twiddle is what happens in the Dressed Ship. Now we get to three other terms which have crept into the discussion - courtesy turn, turn single and cast. A courtesy turn has never been anything, where I've danced, except a couple in promenade position turning as a couple, generally halfway around to face back from whence they came. When it's two people of the same gender, as in right-and-left over-and-back in the older proper contras, most of the time the promenade position didn't happen and the ladies or gents were free to twirl as part of the turning as a couple. But when I began contra dancing in the late '60s in Boston the courtesy-turn-with-two-people-of-the-same-sex still retained physical contact - we put our arms about each others' waists to turn. Dudley's flashy kids in New Hampshire, I believe, introduced the twirling and other gestures in the same-sex courtesy turn. A turn single is often barely different from a cast (which is not the same as a cast off). Turning single happens more or less on the spot, but often we turn single so widely that the movement becomes a casting away from the set and back towards it where we left it. This is, of course, different from casting up or down from where we started. There you leave the side of the set in one position and arrive in another. Often, I have watched people try to figure out how to deal with the turn single away from the set, and lose all sense of direction and grace because they were advised to turn single rather than to cast away and return and do the next thing. I'd like to see more differentiation among callers about these two things, as well. Any thoughts? 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: Sat, 03 May 1997 03:31:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 05:28:40 -0500 From: sdean-AT- mhv.net Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Q: Do anyone have Phil Merril concertina recordings?? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <199705031033.GAA18524-AT- mhv.net> I play concertina and *love* English Country Dance and its music. I've been working up to something like a journeyman level at the music and am always looking to learn more...one of the best ways being by listening to others. I've the great good fortune to live (in the NE US) near Gene Murrow, who's been kind enough to work with me on occasion...but I was wondering: Does anyone have recordings of Phil Merrill playing for ECD with his concertina? I know Gene has it (Phil's concertina) now and also that there's the old 'By Popular Demand' recording available from CDSS...but he's playing piano on that. Thanks in advance.......... // "A false destiny may be spotted by the fact // that it consumes without trnasforming, // without giving back the enlarged self...." // ...Lois McMasters Bujold, from comments // on her Vorkosigan sciene fiction series // // Stewart Dean (914) 336-4815 Kingston, NY ================================================================================ Archive-Date: Sat, 03 May 1997 07:13:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 10:14:24 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Tambourin info & OED on-line To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 2 May 1997, Rich Galloway wrote: > This message guaranteed "twiddle-free!" :-] > > All that talk about Barbarini's piqued my interest. Just what is > a tambourine. Yes, I know--a small drum with metal disks used by the > Salvation Army and untalented folk rock musicians. But, why does the > word keep showing up in dance titles? > > My dictionary says a tambourin [sic] is either a kind of drum or "a > quick, sprightly dance of Provence, originally accompanied by such a > drum." In the back of my mind, I've got a vague notion that maybe a > tambourine was type of British military tune played on a pipe and > tabor. > > Can anyone shed any further light on the subject? Also, Barnes 2 > includes a "Tambourine Dance." Does anybody know where the modern > interpretation of this dance is published? The Oxford English Dictionary, 2nd ed., (OED) has for its entry: (begin quote) tambourin tambourin tanburen, tf.mburin, . [mod.Fr. (Voltaire 1769) = Pr; tamborin, Ital. tamburino, dim. of tambour drum: the earlier Fr. form down to 1700 was tabourin: see taborin. ] 1. The long narrow drum or tabor used in Provence (see taborin); applied also to `a bottle-shaped drum used in Egypt' (Cent. Dict.). 1833 Brewster Nat. Magic viii. 205 He holds in one hand a flageolet, and in the other the stick with which he beats the tambourin. 1907 Rickert Gold. Hawk xxxix. 296 The music was pipe and tambourin, of course, how else should one dance in Provence? 2. A Provengal dance, originally accompanied by the tambourin; b. A piece of music for such a dance, in duple rhythm and quick time. 1797 Encycl. Brit. (ed. 3) XVIII. 305/1 Tambourin,..name of a dance performed on the French stage. The air is lively, and the movements are quick. 1884 W. B. Squire in Grove Dict. Mus. IV. 55 Tambourin, an old Provengal dance, in its original form accompanied by a Flute and Tambour de Basque [error for Tambourin]. Hence 'tambourin v., to play on the tambourin; 'tambouri'nade after serenade, etc.; see -ade, a performance on the tambourin. 1884 J. Payne Tales fr. Arabic II. 234 They gave not over..tambourining and piping till the night waned. 1893 E. H. Barker Wand. South. Waters 27 Every morning at five the tailor..awoke the echoes of the gorge with a long and furious tambourinade. (end quote) They also have a separate entry for "tambourine", which refers more exclusively to the instrument, with references going back to the 16th century. The OED is available on-line at http://www.hti.umich.edu/dict/oed/ and you don't need a lens to read it, either! (There are some other good things on the University of Michigan Library's website, too -- have fun browsing around!) Eric Arnold Ann Arbor ================================================================================ Archive-Date: Sat, 03 May 1997 08:34:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 11:36:23 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles, twirls etc To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705031536.LAA14020-AT- panix4.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 01:58 AM 5/3/97 -0500, Emily Ferguson wrote: > >A twiddle is what happens in the Dressed Ship. > >Now we get to three other terms which have crept into the discussion - >courtesy turn, turn single and cast. > >A courtesy turn has never been anything, where I've danced, except a couple >in promenade position turning as a couple, generally halfway around to face >back from whence they came. Good for you, Emily--you're the first person to catch that. What I should have said was "a polite turn," as in when you're doing 4 changes of R&L, and you turn (politely) toward the person with whom you're doing the L-h change. Does that little flip count as a twiddle in your book? Cheers, Sharon ================================================================================ Archive-Date: Sat, 03 May 1997 09:37:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 11:13:05 +0000 From: Mary Stafford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Basic Information To: 'English Country Dance List' Message-ID: <01BC57B6.A71A14E0-AT- mes.world.std.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I'm sorry to send this to the whole list, but I find I have no = information on file on how to temporarily unsubscribe from the list. I = will be going on a vacation in a month, and will want to tune out and = tune back in. Can our list-master please post these, either to me = privately (mes-AT- world.std.com) or to the list? Thanks! Mary Stafford Boston, MA ================================================================================ Archive-Date: Sat, 03 May 1997 10:21:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 13:22:22 -0400 (EDT) From: jbeer-AT- juno.com (Jennifer Beer) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Now is the month of Maying.... To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970503.132104.7167.2.jbeer-AT- juno.com> References: <199705031536.LAA14020-AT- panix4.panix.com> Last night I was leading a dance and looking around for May Day theme dances besides ol' Gathering Peascods, and "The Spring" which never really seems to gel -- too disorienting. So I made this one up and it seemed to work out nicely. I'm posting it to see if anyone else might try it out in their dance groups this month. Suggested changes to choreography or dance explanations welcome! The music is "Now is the Month of Maying", the madrigal by Thomas Morley (in the grey a cappella singer's madrigal book, you choral types), which he kindly wrote as a 32-bar AABB piece. 4/4 key of G. Now Is the Month of Maying Longways duple minor A1 1st corners set forward, turn single; 1st corners continue that momentum into a single file circle L (CW), partners curling in behind to follow. All end progressed and PROPER. A2 2nd corners (now in 1st position) repeat the figure, all ending in original places. B1 Women half figure eight through men; CCW half poussette with opposite B2 Men half figure eight through women (1st man in front? play with it, tell me what you think) CCW half poussette with partner. Notes: A: The May Day romp :-) I don't quite know how to describe the first figure, but it is easy to dance. The trailing partner sort of does a half gypsy with partner and then follows -- it is much like the Maggot Pie follow-and-go-nowhere figure (Jovial Beggars, Green Willow) except the follower ends up one place L of his/her starting point. B: Poussettes feel different from each position. For the women, it feels like half a poussette, wait for half figure 8, finish the OTHER half of the poussette. For the men, 2nd man always pushes, 1st man always pulls to begin. Enjoy, and happy May! --Jenny Beer-AT- dancingherlifeaway ================================================================================ Archive-Date: Sat, 03 May 1997 11:06:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 14:08:07 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Twiddles, twirls etc To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >> >>A courtesy turn has never been anything, where I've danced, except a couple >>in promenade position turning as a couple, generally halfway around to face >>back from whence they came. Sorry - all the way around, not halfway. > >Good for you, Emily--you're the first person to catch that. What I should >have said was "a polite turn," as in when you're doing 4 changes of R&L, and >you turn (politely) toward the person with whom you're doing the L-h change. >Does that little flip count as a twiddle in your book? > >Cheers, >Sharon Well, now here we have a regional difference under discussion. Where I dance the norm is not to turn toward the person with whom you are passing in four (or any number of) changes, but instead to give them full attention while turning about 110 degrees, not skimping on the turn unless it's very crowded, and then, without actually looking backwards, or turning your shoulders or hips back to that person, moving on to the next. Generally the folks who mess this up are the ones who've learned some Scottish and don't grasp the difference in style. Indeed, the Scotties definitely do turn far enough so they are facing back towards the person they are finishing turning with before moving on to the next. Now, wherever you dance, and however to do this passing by, with or without hands, I still don't subscribe to the concept of that acknowledgement being a twiddle. To me a twiddle really has to go all the way around, as in the Dressed Ship, and really has to include holding hands with the partner. In fact to me it also has to include a certain spaciousness between the partners, or an intention of spaciousness. When it gets close and rapid, with much swirling of skirts, it becomes a twirl. 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: Sat, 03 May 1997 20:27:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 03 May 1997 23:28:41 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Tambourin info & OED on-line To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705040351.XAA12811-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > The OED is available on-line at > > http://www.hti.umich.edu/dict/oed/ > > and you don't need a lens to read it, either! > (There are some other good things on the University of Michigan > Library's website, too -- have fun browsing around!) > > Eric Arnold Thanks Eric! The OED quotes on Tamborin were most helpful. It sounds like the pipe and tabor image I had wasn't too far off. It appears likely that tambourines were lively tunes in the style of those used for the Provencal dance. There seems to be no reason to give credence to my conjecture that tambourines were related to military music. BTW, The University of Michigan Library is indeed a fun website to browse. Unfortunately, some of the best parts--including the OED--are restricted to UM folks and a few other universities. You are most lucky to have access. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Sun, 04 May 1997 05:36:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 04 May 1997 08:38:10 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Tambourin info & OED on-line To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Sat, 3 May 1997, Rich Galloway wrote: > BTW, The University of Michigan Library is indeed a fun website to > browse. Unfortunately, some of the best parts--including the > OED--are restricted to UM folks and a few other universities. You > are most lucky to have access. Oops! Sorry for the bum steer -- it isn't conspicuous to one inside the system which things have restricted access. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Sun, 04 May 1997 16:34:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 04 May 1997 19:34:57 -0400 (EDT) From: BHFrancis-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: tambourines/Roger de Coverley To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: BHFrancis-AT- aol.com Message-ID: <970504193454_-299130275-AT- emout15.mail.aol.com> Would Rich Galloway please be kind enough to provide some more nuggets of information on Roger de Coverley? About "Princess Augusta's Tambourine," originally published in _Thompson's Compleat Collection Vol. I _ and currently published in _From Two Barns, vol 4_. It most likely refers to Princess Augusta ( 1768 - 1840), daughter of George III. She was the sixth of his fifteen children and the second daughter. Beverly Francis ================================================================================ Archive-Date: Sun, 04 May 1997 16:46:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 04 May 1997 19:47:30 -0500 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Now is the month of Maying.... To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" References: <199705031536.LAA14020-AT- panix4.panix.com> Looks great to me Jenny! Now is the month of maying, is one of the first madrigals I ever learned! and yes, I still have my gray covered copy! Mary Beth ================================================================================ Archive-Date: Mon, 05 May 1997 09:46:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 05 May 1997 09:46:18 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Basic Information To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01III84WQQFA9KM1HQ-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Folks -- This is a response to Mary's request. I thought it might be of interest to other subscribers, so am posting to the whole list. Please save this message if you think you'll ever want to stem the ECD flow temporarily. There is no command which, of itself, will unsubscribe you for a fixed period of time and then automatically resubscribe. You'll have to send a message to turn mail off and another one to turn it back on. Send messages to ECD-REQUEST-AT- PLAYFORD.SLAC.STANFORD.EDU Don't bother with subject lines, signatures, or salutations; the robot at ECD-REQUEST only looks at the body of the message. It also figures out who you are by looking at the return address information, and will ignore anything else you try to tell it. 1) to turn off your mail SET NOMAIL 2) to turn it back on SET MAIL (The first one leaves you subscribed, but with no mail getting sent. If you feel a strange compulsion to post to the list while you're on vacation, you can do so. The second one restarts your mail.) A SIDE NOTE This can also be useful if you're likely to post from more than one address but only want to get mail in one place. You subscribe from each address, then send the SET NOMAIL command from all but one of those. A REMINDER You can get a list of available commands by sending the message HELP to ECD-REQUEST-AT- PLAYFORD.SLAC.STANFORD.EDU If you're puzzled about what to do after that, you can mail me privately at WINSTON-AT- SSRL.SLAC.STANFORD.EDU Happy ECDing in the merry month of May! -- Alan (whose dance books are all still in boxes, but is pretty sure he knows where the boxes are). =============================================================================== 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: Mon, 05 May 1997 10:05:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 05 May 1997 13:05:44 -0400 (EDT) From: jbeer-AT- juno.com (Jennifer Beer) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Now is the month of Maying.... To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970505.130514.15711.2.jbeer-AT- juno.com> References: <199705031536.LAA14020-AT- panix4.panix.com> > Mary Beth Goodman writes: >Now is the month of maying, is one of the first madrigals I ever >learned! and yes, I still have my gray covered copy! Surprisingly, the musicians had never heard of it (I wrote it out as a single line of music for them) but sure enough, after a few rounds of the dance, there was a tenor line and and alto line going out there on the floor, with me doing the soprano up front. I *do* love dances one can sing. I keep threatening to do an entire evening with a swingle-singer style vocal band.... Anyone out there ever tried this? Rich Galloway asked for clarification of part A: The trailing partner curls in behind AFTER the corners turn single. Jenny-AT- lovetotwiddle_whenIwanttotwiddle ================================================================================ Archive-Date: Mon, 05 May 1997 20:03:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 05 May 1997 23:06:23 -0400 From: peggyl-AT- netdepot.com (Peggy Lamberson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD Workshop for Dancers and Musicians To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705060310.XAA13028-AT- jupiter.netdepot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Fiddles, Flutes and Feet, a music and dance workshop scheduled for May 31, in Atlanta, GA, will take participants back to the earliest years of English country dancing. The workshop promises a delightful day of dance, music, and stimulating discussion of the best way to perform—and enjoy—dances in the tradition of John Playford’s English Dancing Master. The workshop will be followed at 7:30 p.m. by an English country dance in 20th-century style led by popular caller Bob Thompson of Asheville, NC. Bob has been teaching and calling traditional and historical dances from the English and American traditions for almost 20 years. (The dance is open to the public—you do not need to be a workshop participant to attend.) Teachers for the workshop are Peggy Lamberson (dance), Patricia Nordstrom (historical winds and strings), and Jeanne Johnson-Watkins (Baroque violin). All three are experienced teachers and performers specializing in 17th and 18th century performance practice. No dance experience is required to participate in Fiddles, Flutes, and Feet as a dancer; musicians should be able to sight-read music of moderate difficulty. The workshop is limited to 30 dancers and 15 musicians. The workshop cost is $45; a deposit of $20 is refundable before May 24. Admission to the the evening dance alone is $7 (included in the workshop fee for participants). The workshop and dance will be held in the Arts & Sciences building of Clayton College and State University. For more information, or to register, contact Peggy Lamberson at 770/482-8717 or peggyl-AT- netdepot.com. Y'all come! Peggy ================================================================================ Archive-Date: Tue, 06 May 1997 13:11:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: bolker-AT- phoenix.Princeton.EDU Date: Tue, 06 May 1997 16:12:43 -0400 (EDT) From: Susie Lorand Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dances with the Same Formation To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Tue, 29 Apr 1997, Daniel J. Walkowitz wrote: [snip] > Also worth noting, nowhere in the > US have I ever encountered tapes at English. But then I do not roam > everwhere. I first heard of it in Melbourne; but how common is the practice? > Danny Walkowitz the third friday english dance in media, pa. (i can never remember whether it's spelled perdue's or purdue's!) uses tapes some of the time - and they do not take live music for granted when they have it! someone who attends the dance regularly could tell you more accurately than i can how often they use tapes. - susie lorand ================================================================================ Archive-Date: Tue, 06 May 1997 21:12:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 00:13:53 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: tambourines/Roger de Coverley To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705070438.AAA00888-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > About "Princess Augusta's Tambourine," originally published in > _Thompson's Compleat Collection Vol. I _ and currently published in > _From Two Barns, vol 4_. It most likely refers to Princess Augusta > (1768 - 1840), daughter of George III. She was the sixth of his > fifteen children and the second daughter. Since Thompson's Vol. I was first published in about 1757, I think it more likely that it refers to her aunt, Princess Augusta (Hanover) (1737 -1813), sister of George III and granddaughter of George II. Another possibility, although less likely, is her (the 1737 Augusta's) mother, Princess Augusta of Saxe-Gotha (1719 - 1772). ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Tue, 06 May 1997 21:12:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 00:13:53 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger de Coverley To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705070438.AAA00896-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > Would Rich Galloway please be kind enough to provide some more > nuggets of information on Roger de Coverley? More is coming, but here is a first installment from Thomas Wilson's _The Complete System of English Country Dancing_. I do not find a date of publication for this volume handy. (1818 maybe?) Use Wilson with care. He clearly has an agenda and does not mind creating his own version of affairs. I'd be especially careful of his claim that Sir Roger is the only dance with a permanent standard set of figures. Elsewhere, he argues this as a reason to buy his books or services. Nevertheless, the practice of setting new figures to each tune each time it is dance has definitely begun by this time. (As an aside, Wilson recognizes that sex partners are acceptable: "A Dance may be formed in the same room in four different ways. A dance may be formed wholly of Gentlemen, or wholly of Ladies; or Of an equal number or certain portion of each.") Back to Sir Roger, Wilson gives the tune as "Sir Roger de Coverley, or the Finishing Dance." Although the tune is written in 9/8, the time signature is shown as 6/8. I believe it is a different tune than the others I've quoted so far. SIR ROGER DE COVERLEY OR THE FINISHING DANCE This Dance was composed expressly for a finishing Country Dance, about 100 years ago and derived its name from Addison's Sir Roger De Coverley, so frequently mentioned by him in his popular Essays in the Spectator, and is the only whole Dance given in this System. The Figures of which it is composed being permanent and unalterable, and thereby differing in its construction from all other Country Dances. It is capable of being performed by a whole set, however numerous; the top Lady and bottom Gentleman commencing the Dance by meeting in the centre, (see Diagrams) and has a tune bearing its name, composed expressly for in in 9/8, which is given to enable the Dance to be performed more correctly. It is necessary, that the persons who are to perform this Dance, should place themselves very widely apart, and exactly opposite to each other, that the top Lady and the bottom Gentleman may have sufficient space in which to perform the different Figures in the centre, and that the performers may with proper ease promenade and cross over, &c. and where the set is very numerous, it is allowed to the couple going down to miss every alternate couple, so as to cross over two couple instead of one, and it must be observed, that in crossing over the Lady must pass in front of or before the Gentleman. At all Balls properly regulated, this Dance should be the finishing one. as it is calculated from the sociality of its construction, to promote the good humour of the company, and causing them to separate in evincing a pleasing satisfaction with each other. FIG. I. [Shows top woman and bottom man advancing and retiring.] The top Lady at A and the bottom Gentleman at B advance and meet at C, and retreat to their places, the Lady to A and the Gentleman to B. FIG. II. [Shows top woman and bottom man advancing and retiring.] The bottom Lady at B and the top Gentleman at A, meet at C and retreat to their places; the top Lady and bottom Gentleman then advance to the same situation and turn with their right hands; the bottom Lady and top Gentleman do the same; the top Lady and bottom Gentleman then meet and turn with their left hands, the bottom Lady and top Gentleman do the same; the top Lady and bottom Gentleman then meet and turn with both hands; the bottom Lady and top Gentleman do the same; they then meet and allemande round each other, the bottom Lady and top Gentleman do the same. FIG. III. [Shows actives doing what we now call a "cross and cast" repeatedly, passing each couple in turn, until reaching the bottom.] The top couple at A B pass each other at C and cross over every couple till they get to the bottom, they pass each other at D E F G H I J. N.B. Should the set be very long, they may cross over every other couple, missing a couple each time. FIG. IV. [Shows the active couple casting from the top to the bottom of the set while inactives are taking crossed hands.] They now promenade up the centre from EF to AB, then cast off the Lading in the line C, and the Gentleman in the line D, all the couples following them beginning from the bottom, by which means they all regain their situations, except the couple which began the dance who will be now at the bottom of the room. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Wed, 07 May 1997 08:28:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 11:29:27 -0400 (EDT) From: "Christopher G. Levey" Subject: 1997 Strafford Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199705071529.LAA12931-AT- coos.dartmouth.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Announcing the THIRD ANNUAL STRAFFORD BALL and its web page: http://caligari.dartmouth.edu/~cgl/ball/ball.html Band: BLT (Barnes, Lea, Tomczak) Caller: Scott Higgs Date: October 4, 1997 Enjoy a wonderful evening of best-beloved Playford style dances in a charming Vermont village hall during the height of Autumn color. Then, if you like, socialize with other ball dancers at a country brunch and take in the fall foliage with a Vermont walk or a New Hampshire mountain hike on Sunday. For more information, including images of the flyer, photos from the previous balls, and dance programs, point your web browser to the address above. Much of the text at this site is reproduced below for those of you without web access. 1997 SCHEDULE OF EVENTS: Dance classes (optional) The ball dances will be taught in four sessions prior to ball: Monday 9/8 and 9/15 7-9:30PM Tuesday 9/23 and 9/30 7-9:30PM Callers: Chris Levey and David Millstone Music: recorded or band TBA Location: Ray School, Hanover NH Free to ball registrants. Afternoon review session: Saturday October 4, time TBA Callers: Chris Levey and David Millstone Musicians: TBA Location: Barrett Hall, South Strafford, VT Dinner: 6pm at the hall (additional charge or BYO) Strafford Ball Saturday, October 4, 8pm Caller: Scott Higgs Musicians: B.L.T. (Barnes, Lea, Tomczak) Refreshments provided at mid-ball break. Location: Barrett Hall, South Strafford, VT Country Brunch Sunday, October 5, 9AM-Noon Location: Heuboden Farm (Chris and Barbara's house), Thetford, VT No charge to ball registrants. Country Walks and Hikes We expect to lead both a mountain hike and a country walk for those who would like to spend time Sunday afternoon enjoying the fall foliage. 1996 REGISTRATION: Cost: $25 (plus $10 for those electing dinner) Please use the poster registration form if you can. Send the information below, or use the official form, your check, and a SASE ($.55 postage) to: Greg Burke PO Box 493 Hanover, NH 03755. (email for questions only: Greg.Burke-AT- Dartmouth.EDU) Registration Form Names as they should appear on nametag: Person 1______________________________________________ CIRCLE: female or male Person 2______________________________________________ CIRCLE: female or male Address 1______________________________________________________ Address 2______________________________________________________ Phone 1: ____________________ (day) Phone: __________________ (evening) Phone 2: ____________________ (day) Phone: __________________ (evening) Number of tickets: ________________ X $25 = ______________ Number for dinner: ________________ X $10 = ______________ Number of meat entrees Total: ______________ Make checks payable to The Strafford Ball. Enclose a self-addressed stamped envelope with 32 cents postage and mail to the registrar: Greg Burke, PO Box 493, Hanover NH 03755. The fine print The size of the hall limits us to 96 dancers. We will allow a gender imbalance of not more than 54/42. Applications must be accompanied by payment in full and will be processed in the order received. There will be an 80% refund for cancellations received before September 20; there will be no refunds for cancellations after that. Your cancelled check is confirmation of acceptance; a full information packet will be sent when it is ready. We will hold your check if you are wait-listed and return it if the ball is full. Those joining us for dinner will receive a vegetarian entree unless a preference for meat entree is indicated on the registration form. -- --Chris Levey Director, Microengineering Lab Thayer School, Dartmouth College email: chris.levey-AT- Dartmouth.EDU http://hypatia.dartmouth.edu/levey.html ================================================================================ Archive-Date: Wed, 07 May 1997 09:17:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 11:19:10 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: fall events? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705071619.LAA29894-AT- ux1.cso.uiuc.edu> Our local, Champaign, Illinois, ECD group will be meeting next week to plan our schedule for the fall. I'd like to be aware of any potentially conflicting events, especially in the midwest, prior to our meeting. I know we won't be able to avoid all conflicts, but I'd like to know what's going on and keep it in mind. Please let me know of any big events you know of for the fall. Thanks. Jonathan ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Wed, 07 May 1997 13:21:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 13:21:23 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Roger de Coverley To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IIL895XWR49KM1HQ-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT >> Would Rich Galloway please be kind enough to provide some more >> nuggets of information on Roger de Coverley? I'm really pleased, incidentally, with some of the more-or-less scholarly stuff Rich has been posting lately. I was curious about the "Tambourine Dance" myself -- you may note that there's no pointer in Barnes as to the text, which is because I had no clue, and neither did Peter -- and the Sir Roger stuff is fun. >More is coming, but here is a first installment from Thomas Wilson's >_The Complete System of English Country Dancing_. I do not find a >date of publication for this volume handy. (1818 maybe?) I'm under the impression that his waltz book was 1816, and that in the ECD book he says waltzing is a Bad Thing, so I think the ECD book is prior to 1816. 1814 seems likely. [I haven't looked any of this up, so take it with a LARGE grain of salt.] >Use Wilson >with care. He clearly has an agenda and does not mind creating his >own version of affairs. I'd be especially careful of his claim that >Sir Roger is the only dance with a permanent standard set of figures. >Elsewhere, he argues this as a reason to buy his books or services. I'll second this emphatically. >This Dance was composed expressly for a finishing Country Dance, >about 100 years ago and derived its name from Addison's Sir Roger De >Coverley, so frequently mentioned by him in his popular Essays in >the Spectator, and is the only whole Dance given in this System. I seem to recall James Langdell - who is on this list, but rarely posts - showing me the reference in the Spectator papers in which it says that the dance was named after his character's grandfather (or some other ancestor), which implies that the dance predates the essays and that Wilson is just wrong. The ever-dubious Millar points out undeniable similarities between 'Trenchmore' and RdC, so we can date the publication of an RdC-like dance before the Spectator papers, for whatever use that is. -- 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: Wed, 07 May 1997 13:28:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 16:23:55 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger de Coverley To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>>Roger de Coverley -------------------------------------- Rich Galloway wrote: More is coming, but here is a first installment from Thomas Wilson's _The Complete System of English Country Dancing_. Snip (As an aside, Wilson recognizes that sex partners are acceptable: -------------------------------------- How very forward thinking of him. Personally, I think having partners for sex is not merely acceptable, but tends to enhance the experience. I wasn't aware, however, that the matter was so publicly discussed back then. Barbara Ruth New Haven, CT ================================================================================ Archive-Date: Wed, 07 May 1997 20:48:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 07 May 1997 23:54:26 -0500 From: Erna-Lynne Bogue Subject: Midwest Fall Events To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <33715C7F.3A25-AT- ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199705071619.LAA29894-AT- ux1.cso.uiuc.edu> Ann Arbor will be hosting English-Contra Extravaganza II on the weekend of Oct 31 to Nov 2, with Bruce Hamilton and Carol Ormand, and Footloose (from North Carolina) The schedule has an English dance on Friday, workshops Saturday for dancers (contra, Scottish, English, Scandinavian) and for musicians, and a fancy contra dance on Saturday night. The Sunday program is still under development, but will probably include a Caller Round Table similar to the one at the February Extravaganza, and may also include some more English and couple dancing. -------------------------------- Erna-Lynne Bogue / Ann Arbor MI -------------------------------- ================================================================================ Archive-Date: Thu, 08 May 1997 06:44:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 09:45:16 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance Trivia; (was What's appropriate in ECD or Playford; was Re: International Dance) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Tue, 29 Apr 1997, Susie Lorand wrote: {snip,snip} > And I also > wish that more ecd callers would take time to reinforce the difference > between the wrist-grasp star that seems to have taken over in modern > contra dancing and the hands-across star that (again imho) works best in > english dances and some contras. The wrist hold dates from a WWII NEFFA when the Lithuanian group performed. The contra and square dancers spotted their wrist hold, tried it, and liked it. (If we knew which year, we could have had a golden anniversary.) I prefer the wrist hold in contras and the firm hand grip in English. But I'll take either in either tradition in preference to the 'slap the dead fish on the counter' star. (Two people give proper hands across and one of the other two dancers slaps his/her hand on top of the hand grip.) ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Thu, 08 May 1997 06:50:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 08:52:16 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Midwest Fall Events To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970508085216.74b8-AT- GEORGE.BAKERU.EDU> I think I remember Glen Morningstar telling me that Sunday, Nov. 2, is the date for the Lovett (sp?) Hall 60th Anniversary dance in Dearborn. ================================================================================ Archive-Date: Thu, 08 May 1997 07:11:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 09:12:56 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re: International Dance) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970508091256.74b8-AT- GEORGE.BAKERU.EDU> Follow-up on the patterns for hands in stars We have at least five commong hand-grip patterns in forming stars: 1. Wrist holds from WWII. I first encountered it in the 1970s as a Danish Mill. I don't do it often, so getting in and out smoothly is a problem for me. 2. "Bunch of banana" where you touch hand heals together, fingers pointing up. I see most often in modern square dancing. 3. Hands across, taking the first finger knuckle where it joins the hand. Sometimes the hand/fingers form a cup. Not useful in the presence of arthiritis, but I think this may be the Playford preference we've been reading about in recent list postings. 4. Thumb grips across. Good, strong, useful in vigorous, rapid turning situations. Avoids the arthritis problem, easy to get in and out of in short term stars. 5. Dead fish on the counter. I haven't come across this very often and it always startles me for a beat or two. Any others out there in-use on a regular, non-public-performance basis? My preference is to dance with people, not near them. I'm more interested in what my partner-of-the-moment and I do together in the dance, rather than what I do alone. John Forbes/Baker University ================================================================================ Archive-Date: Thu, 08 May 1997 07:48:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 09:50:16 -0500 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re: International Dance) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Any ideas on avoiding "dead fish" handholds in stars with only three people? Terry Gaffney ================================================================================ Archive-Date: Thu, 08 May 1997 08:08:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 11:09:50 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Midwest Fall Events To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>Midwest Fall Events Erna-Lynne, Is this something that requires advance registration? And what are the fees? Barbara Ruth New Haven, CT (but Michigander-born and raised!) ================================================================================ Archive-Date: Thu, 08 May 1997 08:44:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 10:53:26 -0500 From: sheilab-AT- tiac.net (Sheila Beardslee Bosworth) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; "dead fish" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Any ideas on avoiding "dead fish" handholds in stars with only three people? >Terry Gaffney Well,....you could make sure that the leader/caller reminds people that it's OK to actually *take* hands....and find some comfortable grip between letting the other person hold YOUR hand and doing a bone crusher... I had the pleasure of teaching the intro to ECD class at PW Early Music week, and one of the things I made sure to do was make sure we had no "dead fish"....folks commented later that it was really nice in the evening dances to have a secure hand hold! You might try actually shaking hands in a walk through so folks get the idea that they *all* are actively involved in this figure. [why would anyone go to a dance and be a dead fish in the first place???]. If this is a person giving the dead fish to you, why not ask them as pleasantly as possible: "Please take my hand, I'd like to know you're there!" As a last resort, once (I am ashamed to admit), that a "professional" dead fish type (p.d.f. in that in years of dancing this person was NEVER present in a hand grip!)....I simply gave her a dead fish back. I was more angry at myself for doing that than anything else... Back to my book which goes on press in 8 days.... Sheila Beardslee Bosworth sheilab-AT- tiac.net Editor, Boston Early Music News >>next BEMN Deadline 5/20 for JUNE 15 issue! Summer workshops & concert listings welcomed! WEB Calendar http://www.medieval.org/emfaq/concerts/bemn/index.html Thank you, Todd McComb! 29 Main Street, Acton MA 01720-3505 voice: 508/263.9926 fax: 508/263.2366 ================================================================================ Archive-Date: Thu, 08 May 1997 09:20:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 12:20:40 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re: International Dance) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 8 May 1997, Terence Gaffney wrote: > Any ideas on avoiding "dead fish" handholds in stars with only three people? > Terry Gaffney There is a technique used in Scottish dancing that works, but all three have to know it. Hold your hands as though you are holding a glass (of water). Now with all three hands in this formation, interlock the hands. (Don't 'spill the water' when interlocking.) Makes a grip firm enough for a fast Scottish three hands across (star). ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Thu, 08 May 1997 13:02:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 16:00:32 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: FWD>Fwd- Historical Dance W To: ECD discussion list Message-ID: Mail*Link(r) SMTP FWD>Fwd: Historical Dance Workshop (long) (fwd) Forgive me if this has already been posted on this list. My mind is in an unraveled condition from too much dance organizing work! My room-mate sent it to me and it seemed like something of great interest to this group, and I don't recall seeing it before. Barbara Ruth New Haven, CT > The Lute Society of America is sponsoring a dance workshop in conjunction > with its annual summer seminar, which is focusing on dance-related music in > renaissance and baroque lute repertoires. It will take place from June 16 > -20 at Smith College In Northampton, MA. The following is excerpted from the > seminar brochure. If you would like to receive the printed brochure, please > e-mail your postal address to MEPash-AT- aol.com, or call 413-747-0334. > > Daily Schedule > 10:30 - 11:45 a.m. Baroque Dance. Participants will learn characteristic > dances of the period, including bourree, minuet, sarabande and gigue. The > class is open to dancers, actors and musicians at a beginner to intermediate > level. The class will be accompanied by live music. Instructor: Cheryl > Stafford (with Meg Pash and Catherine Liddell working with the musicians) > > Noon - 1:30 p.m. Lunch (included in tuition fee). Much informal discussion > takes place at the lunch tables! > > 1:30 - 2:45 p.m. Historical Dance Forum. Open to dancers and actors (and > musicians who are interested in the research aspect of historical dance). > Discussion of sources, reconstruction techniques, social context, costume, > and musical performance practice. Additional studio work as desired by > participants. Instructors: Cheryl Stafford and Meg Pash > > 3:00p.m. - 4:15 p.m. Renaissance Dance. Participants will learn > characteristic dances of the period, including pavane, galliard, branles, and > canario. The class is open to dancers, actors and musicians at a beginner to > intermediate level. The class will be accompanied by live music. > Instructor: Cheryl Stafford (with Meg Pash and Douglas Freundlich working > with the musicians) > > On Monday June 16, at 7:30 p.m. there will be a lecture by noted dance > historian Rebecca Harris-Warrick on dance type and tempo in baroque music. > She will be joined by dancer Ken Pierce and lutenist Catherine Liddell. > > On Wednesday or Thursday, June 18 or 19 (tba), at 4:30 p.m. there will be a > lecture demonstration by dancer Cheryl Stafford on renaissance dance, > accompanied by members of the workshop faculty. > > Tuition is $275 for all five days, or $60 per day. Lunch is included in the > tuition fee. Dinner reservations at a cost of $12.25 may be made in advance > if you wish to stay for the lecture on June 16. There may be a limited > number of dorm rooms left for out-of-town participants at a cost of $250 > (single) or $275 (double), including meals from dinner on June 15 through > breakfast on June 21. Contact Meg Pash at 413-747-0334 for information. > > Faculty Bios > Cheryl Stafford is a consummate performer and choreographer trained in > classical, modern, ethnic and historical dance. A graduate of the University > of Cincinnati, she has received many accolades over a distinguished career. > She is the founder of the Cincinnati Court Dancers and during the past > twenty years has taught at numerous workshops and institutes. She is known > for her rigorous approach to authenticity, while at the same time cherishing > the delight and social aspects of the dances. > > Meg Pash studied historical dance with Julia Sutton at New England > Conservatory of Music in Boston. She subsequently joined the faculties of > the Early Music Performance and Music History Departments at NEC, teaching > early vocal repertoire, renaissance and baroque performance practice, and > directing the Collegium Musicum. She currently teaches the historical dance > class in the Five College Early Music Program in western Massachusetts, and > is the Director of the Outreach Program for the Boston Early Music Festival. > > Rebecca Harris-Warrick (6/16 lecture), Associate Professor of Music at > Cornell University, brings to her specialization in the field of French > baroque music an interdisciplinary background in musicology, performance, > dance history, and literature. She holds a Bachelor of Arts degree with > honors in Comparative Literature from Brandeis University and a Doctor of > Musical Arts degree in the Performance Practice of Early Music from Stanford > University. She has published extensively in her field. > > Ken Pierce (6/16 lecture), has specialized in early dance for close to > fifteen years. Currently director of the Ken Pierce Baroque Dance Company, > he has also performed with the Court Dance Company of New York, the New York > Baroque DAnce Company, Ris et Danceries (Paris), Danse Baroque Toronto, and > the baroque dance trio Hemiole (Paris) of which he was a cofounder. Director > of the early dance program at the Longy School of Music (Cambridge, MA), Mr. > Pierce has taught at workshops in Europe and the United States. > > This workshop is being given in conjunction with the Lute Society of America > Summer Seminar which offers classes to lutenists in renaissance and baroque > techniques, repertoires, and special topics. This year's distinguished > faculty includes Robert Barto, Douglas Freundlich, Catherine Liddell, Ronn > McFarlane, and Lyle Nordstrom. ================================================================================ Archive-Date: Thu, 08 May 1997 20:23:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 08 May 1997 19:49:29 -0700 From: EVANS Nan E Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re To: "ECD-AT- SSRL04.SLAC.STANFORD.EDU" (Return requested), "Priscilla M. Burrage" (Return requested) Message-ID: <"00869337290B902E*/c=us/admd= /prmd=or.gov/o=PRD/ou=MSMail/s=EVANS/g=Nan/i=E/"-AT- MHS> MIME-Version: 1.0 The noted Scottish 3 hand star from Priscilla is my personal favorite and I usually recommend it to dancers, but I have often called it the "railroad coupling" hold (but perhaps that is only because my partner is a bit of a train nut - as well as an ECD cello player! Nan Evans ---------- From: "Priscilla M. Burrage" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re Date: Thursday, May 08, 1997 9:31AM <> ================================================================================ Archive-Date: Thu, 08 May 1997 23:13:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 02:14:55 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger de Coverley (long!) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705090640.CAA05063-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT This is my final (I hope) item on Sir Roger de Coverley. It organizes my previous posts and adds much additional information. Also, note that on further examination, I concluded that the tune in Wilson is more or less the same tune as the other Roger of Coverly tunes. Although the intervals and rhythmic structure are considerably different, the tune contours are very close. If long messages like this are a problem for anyone, please let me know and I'll switch to private posts. I suspect only a handful of folks are interested in this kind of information. --------------------------------------------------------------------- Sir Roger de Coverley Reference to notes are given in square brackets []. D = Dance figures T = Tune C = Comments or additional information 1648 "Roger of Caulveley" mentioned in the King's Pamphlets as a tune played by a fiddler. [#4C] 1685 "Roger of Coverly" tune [#1T?, #2C] in _a choice collection to a ground for a treble violin_ by John Playford. [I have not confirmed either the exact name of the tune in this volume or whether the tune is the same as the others. Chappell gives the title of the volume simply as _Division Violin_.] 1695-1728 "Roger of Coverly" [#1D, #1aT] in the 9th edition (1695) of Henry Playford's _Dancing Master_ retained through the last (18th) edition (1728). Interestingly, Playford first gives the time signature as 3/9. In later editions and in Walsh it changes to the more modern 9/4. 1696 Song in _Pills to purge Melancholy_, vi. 31 includes the burden, "O Brave Roger a Cauverly." [#5C] 1702 "Roger a Coverly" by Weaver danced in the play "The Country Wife" by Whicherly at Lincoln Inn Fields. [#6C] 1710 "Young Roger" [#5D, #4T] in _Twenty Four New Country Dances for the Year 1710_ 1711 "Young Roger" [#5D, #4T] in Walsh's _New Country Dancing Master_ 1711 "Don Boin" [#3b2D, #2T] in Walsh's _New Country Dancing Master_ 1711-1714 Sir Roger de Coverly used by Joseph Addison as a primary character in his papers, "The Spectator" [#1C, #2C, #3C]. 1713-1728 "Old Roger: The New Way" [#3cD, #1bT] in editions 1-4 of John Young's _The Second Volume of the Dancing Master_ (1713-1728). In the copy in the Library of Congress, someone has written in "Sir Roger de Coverly." 1713-1728 "New Roger; or Don Boin" [#3aD, #2T] in editions 1-4 of John Young's _The Second Volume of the Dancing Master_ after immediately "Old Roger, the New Way." 1713-1728 "Young Roger" [#5D, #4T] in editions s 1-4 of John Young's _The Second Volume of the Dancing Master_. 1718 "Roger of Coverly" [#1D,#1aT] in Walsh's _The Compleat Country Dancing-Master_ 1719 "Old Roger: The New Way" [#3cD,#1bT] in Walsh's _The Second Book of the Compleat Country Dancing-Master_. 1719 "New Roger; or Don Boin" [#3bD, #2T] in Walsh's _The Second Book of the Compleat Country Dancing-Master_ immediately after "Old Roger, the new Way." 1719 "Young Roger" [#5D, #4T] in Walsh's _The Second Book of the Compleat Country Dancing-Master_. c1726 "Young Roger" [#3dD, #2T] in _A Choice Collection of Country Dances_ (c1726, Dublin) by John and William Neal. c1726 "Roger" [#4D, #3T] in _A Choice Collection of Country Dances_ (c1726, Dublin) by John and William Neal. 1731 "Roger of Coverly" [#1, #1aT] in Walsh's _The Compleat Country Dancing Master_ 1735 "New Roger; or Don Boin" [#3aD, #2T] in Walsh's _Second Book of the Compleat Country Dancing Master_. 1765 "Roger of Coverly" [#2D, #1aT] in _Thompson's _Compleat Collection of 200 Favourite Country Dances_, Vol. II. c1814 "Sir Roger De Coverley or the Finishing Dance" [#6D, #1cT, #7C] in Thomas Wilson's _The Complete System of English Country Dancing_. 1838-1859 Tune to "Roger of Coverly" [#1aT] in William Chappell's _Old English Popular Music_ (a.k.a _Popular Music of Time_ among other titles). - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Dance Figures #1D "Roger of Coverly" "The 1. man go below the 2. wo. then round her, and so below the 2. man into his own place; then 1. wo go below the 2. man then round him, and so below the 2. wo. into her own place_: The 1. cu. cross over below the 2. cu. and take hands and turn round twice, then lead up through and cast off into the 2. cu. place." #2D "Roger of Coverly" This dance resembles the modern Sir Roger de #Coverley, complete with something akin to the "strip the willow" #figure. "The 1st Man goes down & foot it to the Bottom Wo. ._. the Wo: does the same with the Bottom Man .._. the Man foot it round the Bottom Wo: ._: the Wo: round the Bottom Man .._.. turn the Bottom Wo: .=. so on till you come up to the top then cross over and turn till you come to the Bottom." #3D "New Roger or Don Boin," "Old Roger: The New Way," and "Young #Roger." Usually when a dance is published in both Playford and Walsh, the instructions are virtually identical. In this dance we find different instructions for what is essentially the same dance. Plus, we have 3 additional descriptions under different titles. This can be most instructive as to the meaning of dance instructions, the extent of variability allowed and the accuracy one can expect. #3aD "New Roger or Don Boin" in Young's _The Second Volume of the #Dancing Master_ "The 1st Cu. lead thro' the 2d Cu. and cast up, then cast off and lead thro' the 3d Cu. and cast up again, then the 1st Man turn the 3d Wo. and the 1st Wo. turn the 2d Man, then turn Partners, then the whole Figure of Eight at the Top; and the whole Figure of Eight at the Bottom, which brings you in the 2d Cu Place, then cross over, and the Wo. go between the Top Cu. and the Man at the Bottom, then sett and turn your Patner." #3bD "New Roger or Don Boin" in Walsh's _The Second Book of the #Compleat Country Dancing-Master_ "The first Cu lead thro the 2d Cu. and cast up and cast off._ Lead thro the 3d Cu. cast up and turn single_: Then the 1st Man turn the 3d Wo. and the 1st Wo. the 2d Man at the same Time, and turn your Partner._ Then the first Wo. turn the 3d man and the first man the 2nd Wo. at the same Time, and turn his Partner_:_ Then first Man whole Figure of Bottom, and the first Wo. at Top at the same Time, Then first Wo. whole Figure at Bottom, and her Man at Top at the same Time._ Then first Man cross behind the 2nd Wo. and first Wo. cross behind the 3rd Man at the same Time, and cast both into the 2nd Couple's Place, and turn your Partner." #3b2D "Don Boin" in Walsh's _New Country Dancing Master_ "Each Strain play'd twice The 1. cu lead through the 2. cu. and cast up then cast off and lead through the 3 cu. and cast up. again then the 1. man turn the 3. Wo. the 1. wo. turn the 2. man then turn partners, then the whole figure of 8 at the top and the whole figure of 8 at the bottom which brings you in the 2. Cu. Place then cross over and the wo. go between the top cu. and the man at the bottom then set and turn your Partner." #3cD "Old Roger: The New Way" "The first Couple lead down and cast up, then cast off and lead down the 3d Couple and cast up. then the first Man turn the 3rd Wo. and the first Wo. turn the 3rd Man, then turn Partners, then go the half Figure of 8 and cast up, and cross over and turn." #3dD "Young Roger" in Neal "1st cu: lead thro 2d cu: each going round their sex to their own places, & sett: 1st cu: cast off & lead thro 3d cu: & cast up into 2d cu: place: 1st ma: turn 3d wo: with his right hand, his par: the same with 2d ma: at the same time, meet in 2nd cu: place & turn his par: with his left hand: 1st ma: goe betweene 3d cu: round 3d wo: into 2d wo: place, his par: the same at the same time with 2d cu: into 2d ma: place, back to back, & end improper: 1st ma: goe betweene 2d cu: round 2d wo: into 2d wo: place, his par: the same at the same time with 3d cu: round 3d ma: into 2d ma: place, back to back, & end improper: 1st ma: goe betweene 3d cu: round 3d wo: into 2d wo: place, his par: the same with 2d cu: round 2d ma: at the same time, dance, & end improper: 1st ma: cast off round 3d wo: & goeing betweene 3d cu: his par: the same at the same time with 2d cu: round 2d ma: meet in 2d cu: place & turn both hands ending proper:" #4D "Roger." Although apparently unrelated to other "Roger" dances, #this dance bears notice as an early example of a contra corner #figure: "1st cu: turn both hands and cast off into 2d cu: place: Turn again and cast off into 3d cu: place: 1st ma: turns 2d wo: with his right hand his partner at the same time turning 3d man with her right hand, meet twixt 2d and 3d cups and turn both hands to the right: 1st ma: turns 3d wo: with his right hand his partner at the same time turning 2d man with her right hand, meet again turn both hands to the left. 1st cu: lead thro 3d cu: cast up and turn in 2d cu: place with both hands to the right The lead thro the 2d cu: cast off and turn both hands to . . ." [my copy missing a corner] #5D "Young Roger" "The first Cu. Cross over, the first Man cast off below the 3d Wo. and the first Wo. cast up._ Then Sett, the first Man cast up above the 3d Man, and the first Wo. cast off below the 2d Wo_: Then first Man turn the 2d Wo. half round, then the 2d Man; the first Wo. turn the 3d Cu. at the same Time._ Then first Man leads his Partner to the Top, and cast off_: Then the first Cu. take Hands with the 2d Cu. and go half round, and turn single._ Then Hands back again and turn single_: The first Man Figure thro' the 2d and 3d We to the Top, and the first Wo. at the same Time Figure thro' the 2d and 3d Men below the 3d Cu. and Sett._ Then the first Man cast off, and his Partner cast up at the same Time, and turn in the 2d Cu's Place._" [Walsh explicitly says "Each Strain Twice."] #6D "Sir Roger De Coverley or the Finishing Dance" "FIG. I. [Shows top woman and bottom man advancing and retiring.] The top Lady at A and the bottom Gentleman at B advance and meet at C, and retreat to their places, the Lady to A and the Gentleman to B. FIG. II. [Shows top woman and bottom man advancing and retiring.] The bottom Lady at B and the top Gentleman at A, meet at C and retreat to their places; the top Lady and bottom Gentleman then advance to the same situation and turn with their right hands; the bottom Lady and top Gentleman do the same; the top Lady and bottom Gentleman then meet and turn with their left hands, the bottom Lady and top Gentleman do the same; the top Lady and bottom Gentleman then meet and turn with both hands; the bottom Lady and top Gentleman do the same; they then meet and allemande round each other, the bottom Lady and top Gentleman do the same. FIG. III. [Shows actives doing what we now call a "cross and cast" repeatedly, passing each couple in turn, until reaching the bottom.] The top couple at A B pass each other at C and cross over every couple till they get to the bottom, they pass each other at D E F G H I J. N.B. Should the set be very long, they may cross over every other couple, missing a couple each time. FIG. IV. [Shows the active couple casting from the top to the bottom of the set while inactives are taking crossed hands.] They now promenade up the centre from EF to AB, then cast off the Lading in the line C, and the Gentleman in the line D, all the couples following them beginning from the bottom, by which means they all regain their situations, except the couple which began the dance who will be now at the bottom of the room." Tunes #1aT "Roger of Coverly" 3/9 D 2 4-bar phrases repeated 9/4 D 2 4-bar phrases repeated 9/8 D 2 4-bar phrases repeated #1bT "Old Roger: The New Way" 9/4 D 3 4-bar phrases repeated #1cT "Sir Roger de Coverley" 9/8 D 3 4-bar phrases repeated (Music written in 9/8 but time signature given as 6/8.) Although there is much variation between tunes, the 3 above are clearly versions of the same tune. Although there are some similarities with and among the next 3 tunes, the contour of each is quite distinct. #2T "New Roger; or Don Boin" 9/4 D 2 4-bar phrases repeated #3T "Roger" 6/4 D 3 6-bar phrases Although one could convert 6 bars of 6/4 to 4 bars of 9/4, this appears to be properly barred as 6/4. #4T "Young Roger" 9/4 D 4 4-bar phrases repeated 9/4 D 2 4-bar phrases repeated (Neal) Comments and additional information. #1C From "The Spectator" #2, Friday, March 2, 1711: "The first of our society is a gentleman of Worchestershire, of ancient descent, a baronet, his name Sir Roger de Coverly. His great grandfather was inventor of that famous country-dance which is called after him. . . ." #2C An annotation from an 1880 republication of the Spectator with #annotations by George Washington Greene: "The real sponsor to the joyous conclusion of every ball has only been recently revealed after a vigilant search. An autograph account by Ralph Thoresby [born 1658], of the family of Calverley of Calverley in Yorkshire, dated 1717, and which is now in the possession of Sir W. Calverley Trevelyan. Trevelyan, states that the tune of "Roger a Calverley" was named after Sir Roger of Calverley, who lived in the time of Richard the First. This knight, according to the custom of that period, kept minstrels, who took the name, from their office, of "Harper. Their descendants possessed lands in the neighborhood of Calverley , called Harperfroids and Harper's Spring. "The seal of this Sir Roger, appended to one of his charters is large, with a chevalier on horseback." [See also #3C below.] "The earliest printed copy of the tune which has yet been traced is in 'a choice collection to a ground for a treble violin," by J. Playford, 1685. It appears again in 1695 in H. Playfords's "Dancing Master." Mr. Chappell, author of the elaborate work on English Melodies, believes it to have been a hornpipe. That it was popular about the "Spectator's" time is shown from a passage in a satirical history of Powel [The History of Robert Powel the Puppet-showman] the puppet man (1715)"--"Upon the preludes being ended each party fell to bawling and calling for particular tunes. The hobnailed fellows, whose breeches and lungs seemed to be of the same leather, cried out for 'Cheshire Round,' 'Roger of Coverly,' 'Joan's Placket,' and 'Northern Nancy.'" "Steele owned that the notion of adapting the name to the good genial old knight, originated with Swift.--*" #3C Chappell's _Old English Popular Music_ gives a more complete quote #from the Thoresby MS. which he took in turn from _Notes and Queries_, #i, 369. "Roger, so named from the Archbishop [of York], was a person of renowned hospitality, since, at this day, _the obsolete tune of Roger a Calverley_ is referred to him, who, according to the custom of those times, kept his Minstriels, from that, their office, name Harpers, which became a family, and possessed lands till late years in and about Calverley, called to this day _Harpersoids_ and _Harper's Spring_." #4C Chappell's _Old English Popular Music_ includes a quote from the #King's Pamphlets (1648) describing a quarrel between a Sir Hugh #Caverley and Mr. John Griffiths, in Cheshire: "I made the fiddler play a tune called Roger of Caulveley from one end of the town to the other. This I did to shew that I did not fear to be disarmed by them." #5C According to Chappell, _Pills to purge Melancholy_, vi. 31 #includes the burden, "O Brave Roger a Cauverly," above which are #printed four bars of "Old Simon the King," which is also in 9/4 time. # The given words are: "She met with a countryman In the middle of all the Green; And Peggy was his delight, And good sport was to be seen. But ever she cried, Brave Roger, I'll drink a whole glass to thee; But as for John of the Green, I care not a pin for he. _Bulls and bears, and lions and dragons, And O brave Roger a Cauverly; Piggins and wiggins, pints and flagons, O brave Roger a Cauverly_." #6C The playbill for "The Country Wife" lists the dance "_Roger a #Coverly_, by Weaver, as it was done Originally after the Yorkshire #manner." #7C Thomas Wilson's _The Complete System of English Country Dancing_ #(c1814) says: "This Dance was composed expressly for a finishing Country Dance, about 100 years ago and derived its name from Addison's Sir Roger De Coverley, so frequently mentioned by him in his popular Essays in the Spectator, and is the only whole Dance given in this System. The Figures of which it is composed being permanent and unalterable, and thereby differing in its construction from all other Country Dances. It is capable of being performed by a whole set, however numerous; the top Lady and bottom Gentleman commencing the Dance by meeting in the centre, (see Diagrams) and has a tune bearing its name, composed expressly for in 9/8, which is given to enable the Dance to be performed more correctly. It is necessary, that the persons who are to perform this Dance, should place themselves very widely apart, and exactly opposite to each other, that the top Lady and the bottom Gentleman may have sufficient space in which to perform the different Figures in the centre, and that the performers may with proper ease promenade and cross over, &c. and where the set is very numerous, it is allowed to the couple going down to miss every alternate couple, so as to cross over two couple instead of one, and it must be observed, that in crossing over the Lady must pass in front of or before the Gentleman. At all Balls properly regulated, this Dance should be the finishing one. as it is calculated from the sociality of its construction, to promote the good humour of the company, and causing them to separate in evincing a pleasing satisfaction with each other." ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Fri, 09 May 1997 00:47:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 08:47:32 +0100 From: Martin.Collinge-AT- gpsemi.com (Martin Collinge) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger de Coverley (long!) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705090747.IAA07545-AT- psupw74.roborough_design> > I suspect only a handful of > folks are interested in this kind of information. Hi Rich I am one of that happy handful. I am very interested indeed in the historical origins of dance and dances. Thank-you for the wonderful info on the origins of Roger de Coverley. I live in hope that similar historical threads will commence on more dances. Or even on a Melusine Wood style analysis on the european history of dance itself. Thanks again Martin Collinge ================================================================================ Archive-Date: Fri, 09 May 1997 08:13:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 11:14:31 -0400 From: walkowit-AT- is2.nyu.edu (Daniel J. Walkowitz) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger de Coverley (long!) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9705091514.AA00377-AT- is2.nyu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > >> I suspect only a handful of >> folks are interested in this kind of information. > Rich, As a professional historian and dance enthusiast who one day soon hopes to combine the two, I, too, was delighted and overwhelmed with your compendium. More. More. I, too, hope the list can further my understanding of the social context which shaped dances and the changing social world in which they were danced. Thanks muchly, Danny Walkowitz Daniel J. Walkowitz Director, Metropolitan Studies, and Professor of History 285 Mercer Street, rm 703, New York University New York, New York 10003-6607 tel. (212) 998-8091 fax (212) 995-4371 ================================================================================ Archive-Date: Fri, 09 May 1997 12:29:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 12:31:03 -0700 (PDT) From: James Langdell Subject: Re: Roger de Coverley To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: jamesc-AT- Eng.Sun.COM Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199705091931.MAA02615-AT- bassclar.eng.sun.com> MIME-Version: 1.0 Content-Type: TEXT/plain; charset=us-ascii Alan Winston said: >I seem to recall James Langdell - who is on this list, but rarely posts - >showing me the reference in the Spectator papers in which it says that the >dance was named after his character's grandfather (or some other ancestor), >which implies that the dance predates the essays and that Wilson is just wrong. Alan recalls correctly. I looked up the passage from Essay 2 in "The Spectator" (this installment by Steele), published in 1710. Keep in mind the date this would have been written and read, while remembering that the "contemporary" Sir Roger is a fictional character. The first of our society is a gentleman of Worcestershire of an ancient descent, a baronet, his name Sir Roger de Coverley. His great grandfather was inventor of that famous country dance which is called after him. Casting the supposed inventor of this dance as the great-grandfather of a fictional character who was himself of venerable age suggests strongly that the dance "Sir Roger de Coverley" was thought of around 1710 as an extremely old dance. Another interesting instance of the tune appears in Hawkings' History of Music, published in 1776. An appendix to the volume includes numerous notated examples. One of these, which seems to have no reference in the body of the History, is a tune labled "Roger of Coverley". This has about a dozen phrases; the opening phrases and some other portions have a similar contour to the three phrases in the now customary Sir Roger tune. However, one group of phrases transitions to a minor key. My arrangement of Sir Roger that my band (Divertimento Dance Orchestra) plays for Regency-era dances is derived from portions of this Hawkings version and from the tune as it appears in Wilson's collection. --James Langdell jamesc-AT- eng.sun.com Sun Microsystems Menlo Park, Calif. ================================================================================ Archive-Date: Fri, 09 May 1997 12:58:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 15:58:28 -0400 From: Brad Foster Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Poor Robin's Maggot To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2.2.32.19970509195828.006a2d4c-AT- crocker.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" We (CDSS) just received an inquiry re: the dance or tune "Poor Robins Maggot" (which the note writer thought to be "Playford 1715"). We can't find the name in our index. Have any of you heard of the dance, and if so do you know any sources? Thanks. Brad Foster ================================================================================ Archive-Date: Fri, 09 May 1997 15:02:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 18:03:32 -0400 (EDT) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dance Trivia; (was What's appropriate in ECD or Playford; was Re: Internatio To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970509170451_370094259-AT- emout02.mail.aol.com> Input from John Ramsay regarding hand holds. . . Trained Danish dancers have two holds for the star (which they call a one-hand mill). (1) Taking the wrist of the dancer behind you in the star is used with the buzz step being the more robust hold; (2) for waltz tempo or a gentle walking step hands are placed to the center, palms toward the center until thumbs touch and the palm can be wrapped around the back of the hand of the dancer behind in the star. This can have the effect of placing hand on hand. Hand holds are definitely a cultural matter and will differ from "community to community". It can be either a playful matter or a source of mild irritation when dancers meet from different traditions. I suggest that callers give their preference early at a dance event so that the dancers can focus on the features of good dancing which are more important than personal preferences. However, it is better for dancers to be playful than irritated when they are left to their own devices. ================================================================================ Archive-Date: Fri, 09 May 1997 15:50:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 09 May 1997 18:50:56 -0400 (EDT) From: "Peter M. Price" <103500.1357-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <970509225055_103500.1357_IHI78-1-AT- CompuServe.COM> Nan, THANK YOU!!! I have been burning up what little grey matter I have remaining trying to think of a short and simple description of that three hand hold. Your description fits. Peter M Price New Haven, Ct 103500.1357-AT- compuserve.com ************************************************************************* Results of a contest for "theories" sponsored by Omni magazine. >> >> HONORABLE MENTION: >> >> The quantity of consonants in the English language is constant. If >> omitted in one place, they turn up in another. When a Bostonian >> "pahks" his "cah," the lost r's migrate southwest, causing a Texan to >> "warsh" his car and invest in "erl wells." ************************************************************************* ================================================================================ Archive-Date: Sun, 11 May 1997 10:03:45 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 11 May 1997 13:05:02 -0400 (EDT) From: darby.1-AT- osu.edu (Michael V. Darby) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Poor Robin's Maggot To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <199705111705.NAA02677-AT- mail3.uts.ohio-state.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >We (CDSS) just received an inquiry re: the dance or tune "Poor Robins >Maggot" (which the note writer thought to be "Playford 1715"). We can't find >the name in our index. Have any of you heard of the dance, and if so do >you know any sources? >Thanks. >Brad Foster Brad et al., I think I may be the origin of this request. Last Sunday I asked one of the leaders of our Columbus group, John Shaw if he had any info on this dance and told him I thought it might be Playford about 1715. By your letter I expect he called you up. Since I was going to try the ECD list next let me fill you in with what more I know. I've been toying with the idea of doing an evening of dance centering on the theme of John Gay's The Beggar's Opera using dances which have as their music tune's used in the Beggar's Opera. I have a number of dances in hand with tunes or variations of tunes used in the Beggar's Opera. (I'll post those at some future time). I had suspected that Poor Robin's Maggot was a country dance since I had seen the tune under that name in a collection of tunes which John's wife Betty Shaw had put together years back. That was confirmed recently from the liner notes of a CD by the Broadside Band containing music from the Beggar's Opera. It listed Playford's Dancing Master and a date from the 1710's. I didn't have the actual date at hand -- 1715 was a guestimate. I think it was actually a little earlier -- maybe1713 or 1711. Apparently from Brad's response, the dance has not been interpreted into a readily available modern source. ( I was surprised and impressed to see my inquiry come back to me by email so quickly!!) I'll try to gather up what other info I have and post it to the net. Any info on this or any other dances which might fit my Beggar's Opera theme would be helpful. Thanks, Michael Darby Columbus, OH ================================================================================ Archive-Date: Sun, 11 May 1997 12:11:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 11 May 1997 15:10:11 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Eastbourne To: ECD Message-ID: <970511191010_101454.633_IHP43-1-AT- CompuServe.COM> What a good festival!! Bob Archer doing "Difficult Dances, Strange Formations" - Marvellous session!! Hugh Stewart doing Running Set - my partner and I only attended the 3rd session - so we were rather thrown in at the deep end!!! Good Fun all the same!! Andrew Shaw (from Manchester) with a "Fried's Back" workshop - can't wait for her tour in June!! Andrew also called a super mixed Sunday Night dance - Hilarious!!!!!!! Barbara Kingsman - A feast of Maggots - what a feast!!! and Joe Hodgson with a session on Contra's from 1760 on. (his idea being to devise an 18th Century American Assembly - book 2 places for us Joe, when you've organised it!!) and a wonderful final fling with ALL the bands - together, and ALL the callers - one at a time!!!!! All that and the seaside too!!!!!! (Eastbourne is a leading seaside resort on the south coast of England) Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Sun, 11 May 1997 12:32:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 11 May 1997 15:31:26 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: re "Dead Fish Stars for 3" To: ECD Message-ID: <970511193126_101454.633_IHP83-1-AT- CompuServe.COM> >> Any ideas on avoiding "dead fish" handholds in stars with only three people? > Terry Gaffney Priscilla Burrage writes:- >.There is a technique used in Scottish dancing that works, but all three have to know it. Hold your hands as though you are holding a >glass (of water). Now with all three hands in this formation, interlock the hands. (Don't 'spill the water' when interlocking.) Makes a grip >firm enough for a fast Scottish three hands across (star). Thanks exactly what we do, and I was going to suggest it, but I could see how to describe it!!!!! Well done, Priscilla! Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Sun, 11 May 1997 19:20:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 11 May 1997 22:21:55 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Poor Robin's Maggot To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705120248.WAA18189-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > We (CDSS) just received an inquiry re: the dance or tune "Poor > Robins Maggot" (which the note writer thought to be "Playford > 1715"). We can't find the name in our index. Have any of you heard > of the dance, and if so do you know any sources? > > Thanks. > > Brad Foster > Try "Would You Have a Young Virgin, or Poor Robin's Maggot." It was published in - editions 1-4 of John Young's _The Second Volume of the Dancing Master_ (1713-1728), and - Walsh's _The Second Book of the Compleat Country Dancing-Master_ (1719). Actually, it's a little more complicated than that. Both publishers give 2 dances to the same music. (As usual, one publisher appears to have copied the other even down to using an incorrect time signature of 9/8 to music barred in 6/8.) The tune and the first of the 2 dances were published earlier under the title "Shilly Shally all Folly" in Walsh's _New Country Dancing Master._ The second dance is a rather common set of figures has been published to other tunes. I don't recall which however. Hope that helps. Let me know if you need more details. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Sun, 11 May 1997 19:20:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 11 May 1997 22:26:41 -0500 From: Erna-Lynne Bogue Subject: Re: Midwest Fall Events To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <33768DF0.22BF-AT- ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: Hi Barbara, We will probably be taking advance registrations as soon as we settle our hall situation (the one we like best isn't available). The size of hall we get determines the number of people we can have, and that in turn affects the price. I'll post more info on ECD mail group when we have it. ELB -- -------------------------------- Erna-Lynne Bogue / Ann Arbor MI -------------------------------- ================================================================================ Archive-Date: Mon, 12 May 1997 04:12:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Mon, 12 May 1997 13:12:01 +0200 From: Philippe Callens Subject: Re: Poor Robin's Maggot To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3376FB01.5A18-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199705111705.NAA02677-AT- mail3.uts.ohio-state.edu> Michael, Andrew Shaw, from Manchester, UK, runs a workshop that includes dances to music that appears in The Beggar Opera. Andrew does not have an email address. Philippe Callens ================================================================================ Archive-Date: Mon, 12 May 1997 04:16:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Mon, 12 May 1997 13:14:19 +0200 From: Philippe Callens Subject: Re: Roger de Coverley (long!) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3376FB8B.5EFB-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199705090640.CAA05063-AT- xis.com> Rich, What a wonderful contribution to this list. We need more of that. Philippe Callens ================================================================================ Archive-Date: Mon, 12 May 1997 06:20:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 12 May 1997 09:21:29 -0400 (EDT) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Report on St Louis Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970512092128_-96964885-AT- emout03.mail.aol.com> Dance Reflections on St Louis Ball -- John Ramsay The seventh annual St Louis Ball was held Saturday, May 10th, 1997 at the JUST DANCING studio. Mirrors along several walls provided the "dance reflections" theme and Prince William with its "mirror image hey" was turned to face the mirrors. Eighteen dances made up the program, divided into three sets of six dances with a bountiful pot luck of delicacies enticing everyone to sample them (I succumbed to ripe strawberries dipped in caramel). Carol Luer, Ball organizer and retiring President of the St Louis English Country Dancers, introduced band members led by Paul Stamler, and then recognized Jeff Sadler for his dedicated assistance in making preparations, which included: preparing the printed materials for both dancers and musicians, introducing the band to the use of alternate tunes for selected dances, taking charge while Carol was recovering from surgery, and peppering the program with numerous Fried Herman dances Jeff brought back from his attendance at east coast dances during the past two years. Jeff gave the most succinct talk thru of Picking Up Sticks I have ever experienced! His instructions were thoroughly rehearsed (to taped music in his codo basement) with the result that there were no time consuming repairs necessary for the brief walk-throughs. Carol, herself, called the second set of dances with her delightful, friendly touch which does so much to put dancers in a light-hearted mood, ready to enjoy the gentle, social nature of country dance. This good humor erupted into guffaws when Carol innocently announced that St Louis English Country Dancers would hold a swiming party on May 22 following which we would "dance in the park without costumes." Realizing the implications as soon as the words were uttered, Carol, herself, went into girlish giggles. What made the dance a success? Carol's good humored leadership, Jeff's responsible attention to details, the band's musical competence, and the assistance of those who volunteered to make preparations and do the necessary cleanup were primary factors. A couple of other factors stand out. The built-in sound sytem of the hall was vital because of the low ceiling; ceiling mounted speakers spread throughout, much like in restaurants, meant that music and calls permeated all areas evenly and unobtrusively (except for one speaker with a rattle in it). And finally, out of town guests made the event into a party; putting everyone on their best behavior. Fully half of the forty+ participants were from out of town: Chris Miles from London England (in St Louis for a conference), six youthful dancers from Berea KY, experienced dancers from Little Rock and Nashville, and Jonathan Sevier from Champaign-Urbana. ================================================================================ Archive-Date: Mon, 12 May 1997 08:16:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 12 May 1997 10:17:56 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Dance Trivia; (was What's appropriate in ECD or Playford; was Re To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705121517.KAA07996-AT- ux1.cso.uiuc.edu> On the topic of the three-hand star; I was at the St. Louis Playford Ball this past weekend and we did a dance (the name of which I have now blanked on) which had three couples in a circle with the women and men alternately doing stars. I thought this would be a good time to try the suggested hand hold. I failed to think of it quickly enough to prearrange it with the other couples in my set, but I found that if I held my hand out in the appropriate position in an assertive manner that the other men would fall in with the hand hold and it worked out very well. Jonathan ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Mon, 12 May 1997 08:22:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 12 May 1997 16:23:25 +0100 From: Michael Barraclough Subject: Re: Poor Robin's Maggot To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <337735ED.1FCF3D07-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------B22BB70548ABA545E867F0FC" References: <199705120248.WAA18189-AT- xis.com> This is a multi-part message in MIME format. --------------B22BB70548ABA545E867F0FC Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Would you have a Young Virgin (aka Poor Robbin's Maggot) is a dance I used to call frequently at seventeenth century ceilidhs and the like. You should be aware that each couple will need to "dwell at least 2 seconds (4 depending on interpretation) on each others lips lest they get out of time with the music" (with apologies to Will Honeycombe, the Spectator, c1710)! Michael Barraclough --------------B22BB70548ABA545E867F0FC Content-Type: text/x-vcard; charset=us-ascii; name="vcard.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Barraclough, Michael Content-Disposition: attachment; filename="vcard.vcf" begin:vcard fn:Barraclough, Michael n:Barraclough;Michael org:Motorola Cellular Infrastructure Group adr:;;;;;; email;internet:barraclm-AT- ecid.cig.mot.com title:SEI Project Manager tel;work: tel;fax: x-mozilla-cpt:;0 x-mozilla-html:FALSE end:vcard --------------B22BB70548ABA545E867F0FC-- ================================================================================ Archive-Date: Mon, 12 May 1997 09:42:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 12 May 1997 12:43:40 -0400 (EDT) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Twiddle, twaddle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970512124335_-1767670990-AT- emout04.mail.aol.com> From John Ramsay-- Apologies for zapping out the reflections on the St Louis Ball before spell checking. I have been wanting to enter the fray over twiddles in dance (by the by, I find the Stanford ECD e-mail lots of fun and informative--what a neat way to keep abreast, world-wide! It's like being at dance camp every day.). Normally, I restrain myself from twiddles, having been trained by Frank Smith, May Gadd, Jenny Shimer, Marguerite Bidstrup and Philip Merrill. I also restrain myself because after having become a dance leader myself I have seen the destructive results which often happen when twiddles are not restrained. However, I have a playfulness deep within me which will at times surface, in spite of everything I have learned. It surfaced at the St Louis Playford Ball last Saturday night. The whole evening had gone very well, I had hopefully been a good model to the new dancers as well as helpful to the callers. However, Barbarini's Tambourine was the penultimate dance. Its placement in the program meant that I couldn't color the well executed dancing which characterized the evening up to that point. In fact, a bit of interjected fun might add a bit of zest as the program was letting down. I DID query my partner, not wishing to embarrass her, about adding some twiddles. She asked if I meant 'twaddles?'. We had time to sort out definitions before following the caller's instructions for the dance: A TWIDDLE is an unnecessary embellishment in a dance A TWADDLE is an inappropriate blemish inserted in a dance I tentatively added an occasional TWIDDLE (Merril Fuson capers on upbeats or as a courtesy gesture when corners pass each other). After a few turns, my partner joined in and we got amused reactions from the other couples. This egged us on and then some others started joining in and I sort of let loose with the embellishments. It was fun! I consciously danced Sellengers Round, the final dance, with enough poise and good form, to redeem straight dancing as sufficient and preferred for any country dance. Twiddles are like candy; take one piece and you desire more and more until you are finally sick of all food. Simple, good form should be the basic fare in a dance diet; sugar should be saved for desert and then used lightly. I will be back to being alert and energized without the use of twiddles as we take up our regular country dance schedule in St Louis tonight. Twaddles? I NEVER twaddle! ================================================================================ Archive-Date: Mon, 12 May 1997 15:19:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 13 May 1997 08:28:38 +1000 From: Martin Hungerford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Poor Robin's Maggot To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705122223.IAA18653-AT- darth.netcon.net.au> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" >- editions 1-4 of John Young's _The Second Volume of the Dancing ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >Master_ (1713-1728), and ^^^^^^^^^ > >- Walsh's _The Second Book of the Compleat Country Dancing-Master_ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >(1719). > >The tune and the first of the 2 dances were published earlier under >the title "Shilly Shally all Folly" in Walsh's _New Country Dancing ^^^^^^^^^^^^^^^^^^^ >Master._ ^^^^^^^^^ > >The second dance is a rather common set of figures has been published >to other tunes. I don't recall which however. > >Hope that helps. Let me know if you need more details. > >==================================================== >Rich Galloway Silver Spring, MD >==================================================== > The details I'd like to know is whether these texts have been republished recently, and by whom etc! This is the first time I've seen citations to publishers who I presume were Playford's competition and I would love to see more. This is Martin Hungerford, aka Martin Jongleur, "They're not pagans, Frank. Everyone's wearing clothes" Major Burns of M*A*S*H ================================================================================ Archive-Date: Tue, 13 May 1997 11:28:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 13 May 1997 14:28:23 -0400 (EDT) From: Benjamin Stein <102510.477-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: SET NOMAIL To: English Message-ID: <970513182822_102510.477_HHM70-1-AT- CompuServe.COM> Sorry, we will be away from tomorrow morning through June 4 ================================================================================ Archive-Date: Tue, 13 May 1997 21:23:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 00:25:26 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford's competitors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705140452.AAA02264-AT- xis.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > The details I'd like to know is whether these texts have been > republished recently, and by whom etc! This is the first time I've > seen citations to publishers who I presume were Playford's > competition and I would love to see more. > > This is Martin Hungerford, aka Martin Jongleur, Sorry, none of these volumes have been republished. You may be interested in Christine Helwig's book on Thomas Bray's _Country Dances . . ._ (1699) or Rich Jackson and George Fogg's book on Neal's _Choice Collection of Country Dances_ (c1726). Both are available through CDSS. They were not Playford's competitors exactly. Very briefly, John Playford published _The English Dancing Master_ in 1651. Thereafter, he changed the title to _The Dancing Master_. In 1690, Henry Playford succeeded his father by publishing the 8th edition of _The Dancing Master_. John Young took over with the 11th edition of _The Dancing Master_ in 1701. Young published several editions of _The Dancing Master_ through about 1728 and added a 2nd volume which went through 4 editions and one edition of a third volume. John Walsh appeared on the scene just before the turn of the 18th century. Walsh is best known for his _Compleat Country Dancing-Master_ (1718) and _The Second Book of the Compleat Country Dancing-Master_ (1719), but also published many other volumes, including numerous annual 24s--_Twenty Four Country Dances for the Year 17##_. The_New Country Dancing Master_ (1711) I mentioned is actually the 2nd book with that title. (I think he simply added "2nd Book" to the title, but I can't be sure; the copy I saw was missing the title page.) The first volume of _New Country Dancing Master_ was among Walsh's earliest publications, but I am not aware of any surviving copies. The Walsh family continued publishing dances well into at least the 1750s. Walsh only briefly competed with Henry Playford. But, Young and Walsh were competitors for more than a quarter century. You will see the same dance described verbatim in their respective volumes. It is not clear who copied from whom since dances often appeared first in one of the annual 24s, many of which not extant. Tom Cook is the expert on the Walsh/Young competition. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Wed, 14 May 1997 05:14:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 08:15:40 -0400 (EDT) From: David.Millstone-AT- VALLEY.NET (David Millstone) Subject: Trip to Norwich To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3607112-AT- hanover.VALLEY.NET> Help! I've lost the directions for "Trip to Norwich" and need them ASAP. Could someone e-mail me with them? Many thanks. David Millstone Lebanon, NH teaching in Norwich (Vermont) ================================================================================ Archive-Date: Wed, 14 May 1997 07:52:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 10:55:17 -0400 From: peggyl-AT- netdepot.com (Peggy Lamberson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Jog On To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705141458.KAA26760-AT- jupiter.netdepot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Howdy, Has anyone ever successfully worked out how to dance the 1651 Playford version of "Jog On"? My husband and I worked on this for a couple of hours the other night and got so frustrated we ended up having a fight! (very unusual). Sharp's version of the dance is quite different, whether because it had changed by the time he got it, or he couldn't figure the darn thing out either. I'd LOVE to hear from anyone who can explain how to do this dance. TIA, Peggy A house with a cat needs no art.--Japanese saying peggyl-AT- netdepot.com ================================================================================ Archive-Date: Wed, 14 May 1997 10:35:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 13:36:19 -0400 (EDT) From: "Carol G. Marsh" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance workshops, Amherst Early Music To: English Country Dance Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE [Apologies for the cross postings] =09=09=09---------------------- =09=09TWO WORKSHOPS IN HISTORICAL DANCE =09=09offered by the Amherst Early Music Festival=20 =09=09Amherst College, Amherst, Massachusetts =09=09August 3-10 & August 10-17, 1997 PERFORMANCES: =20 AUG. 8=09 Louis, Louis! (15th- and 18th-c. dances for two French kings= ) AUG. 15=09 Le Balet comique de la royne (Paris, 1581) =09[Workshop participants will have the opportunity to dance in both =09performances.] CLASSES IN RENAISSANCE, BAROQUE, AND 18TH C. DANCE =09with =09Dorothy Olsson, New York University =09Carol G. Marsh, University of North Carolina, Greensboro =09Maris Wolff, Johnson State College =09Barbara Barr, New York Historical Dance Company FIRST WEEK (AUGUST 3-10) 8:15-9 am =09=09Wolff. Warmup.=20 9-10:30 am =09=09Olsson. Dances for Louis XIV. Technique class in=20 =09=09=09French Baroque dance, featuring dances to be=20 =09=09=09performed for theater project, Louis, Louis!=20 10:45 am - 12:15 pm=09Marsh. La le=E7on indiscr=E8te. Reconstruction of=20 =09=09=0918th-century French contredanses. 1:30-3 pm =09=09Marsh. Baroque dance notation.=20 1:30-3 pm =09=09Olsson. Dances for les Henris. Introduction to=20 =09=09=09courtly dances of sixteenth-century France. 3:30-5:30 pm=09=09Olsson. Dances for Louis XI. Rehearsal of =09=09=09fifteenth-century dances to be performed in theater=20 =09=09=09project. SECOND WEEK (AUGUST 10-17) 8:15-9 am =09=09Wolff. Warmup.=20 9-10:30 am=09=09Olsson. Late Renaissance Dance Technique. French and=20 =09=09=09Italian technique with some preparation for=20 =09=09=09Le Balet Comique.=20 10:45 am-12:15 pm=09Olsson. Graceful Intertwinings. Figures of the late=20 =09=09=0918th-century allemande from French sources. 1:30-3 pm=09=09Barr. Courtly Pastimes. Introduction to court dances=20 =09=09=09from France, England, and Italy of the 15th and 16th=20 =09=09=09centuries. 3:30-5:30 pm=09=09Barr, Olsson. Le Balet Comique Dance Rehearsal.=20 =09=09=09Rehearsal of dances for Le Balet Comique. For more detailed class descriptions and information about fees=20 send e-mail to: =09amherst-AT- compuserve.com Carol G. Marsh School of Music, UNCG Greensboro, NC 27412 910 334-5421 ================================================================================ Archive-Date: Wed, 14 May 1997 11:51:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 13:53:55 -0500 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Lilac Sunday in Boston, May 18 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" For the last couple of years the Arnold Arboretum in Boston has had an open house/festival called Lilac Sunday on the third Sunday of May. This year, the event is on May 18. As you might guess, the festival celebrates the blooming of the lilacs. As part of the festival many Morris groups perform. This Sunday, from 12:30-1:30, a group of Country dancers from the Boston Center will be demonstrating a few social dances, after which we will try to get as many of the bystanders to join in as we can. George Fogg will be the caller, music provided by John Chambers, Shelly Drowns and Christine Anderson. If you're going to be in the area, we'd welcome help from experienced dancers in drawing in new dancers. Our website will shortly have a map showing where the dancing will happen in the Arboretum. You can zoom out from this map to get directions to the Arboretum if you're new to Boston. Our URL is http://www.math.neu.edu/~gaffney/cds.html Best, Terry Gaffney ================================================================================ Archive-Date: Wed, 14 May 1997 13:43:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 16:44:09 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Woodstock NY Ren Fair To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705142044.QAA16163-AT- panix4.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" This Saturday and Sunday at the 2nd Annual Woodstock Renaissance Faire there will be sessions of English country dancing from 2-3 at the Woodstock Stage. On both days a brief demonstration of country dancing will be followed by dancing for all. Saturday the Rakes of Woodstock [a pickup group of CD*NY and Westchester regular dancers] will work with the band Hudson Crossing [George Davis, Stewart Dean, and Robin Russell]; Sunday Howard Rust and local Woodstock dancers will work with the Woodstock house band. Any experienced English dancers passing through this cradle of hippiedom on either day are more than welcome to join in the fun. Cheers, Sharon Green ================================================================================ Archive-Date: Wed, 14 May 1997 19:02:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 15 May 1997 12:11:52 +1000 From: Martin Hungerford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford's competitors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705150207.MAA14997-AT- darth.netcon.net.au> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" >==================================================== >Rich Galloway Silver Spring, MD >==================================================== > Thanks muchly for this. While I knew of the dates for the "Playford Family Press" as one might call it - I just had no idea for other ECD publishers at all. Now I might be able to find them. Again thanks. This is Martin Hungerford, aka Martin Jongleur, aka Martin o' Lyos OL (Called the Juggler) Piper, Juggler, Stiltwalker, Unicyclist, Singer, Firebug, Idiot ================================================================================ Archive-Date: Wed, 14 May 1997 19:05:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 21:06:04 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford's competitors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970514210604.f91-AT- GEORGE.BAKERU.EDU> ================================================================================ Archive-Date: Wed, 14 May 1997 19:16:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 21:17:44 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford's competitors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970514211744.11ac-AT- GEORGE.BAKERU.EDU> I'm at work, away from my sources, but I do know of two items that may be of interest: Humphries, Charles, and William Smith. Music Publishing in the British isles. [list of Music printers/publishers working during the time of John Playford's output, 1650-ca1686, and beyond] Also a bibliography of the known works printed by John Young, not well done but at least a starting place. If my memory is still reasonably intact, I remember that John Young made very few changes during his years with the 'first edition' of the 'Dancing Master,' that is through the 18th edition of it. He picked up Henry's last compilation and pretty much repeated it over the next twenty years. The repertory is virtually the same in all four editions of what we call 'the second volume.' And I think I remember that only one edition is available for 'vol. III." Forbes/Baker ================================================================================ Archive-Date: Wed, 14 May 1997 19:20:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 14 May 1997 21:21:47 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Poor Robin's Maggot To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970514212147.11ac-AT- GEORGE.BAKERU.EDU> Sorry, but I already deleted the entry on "Playford's Competitors" when I remembered the following: Krummel, Donald W. English Music Printing: 1553-1700. London: The Bibliographical Society, 1975. Had the pleasure of working with Krummel at Charlottesville a couple of summers ago. A musicologist and a superbe librarian from Illinois. If you don't know this work and other related items, run--don't walk. John Forbes/Baker University ================================================================================ Archive-Date: Thu, 15 May 1997 08:43:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 15 May 1997 11:44:40 -0400 (EDT) From: David.Millstone-AT- VALLEY.NET (David Millstone) Subject: Trip/Way to Norwich To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3620900-AT- hanover.VALLEY.NET> Many thanks to many folks for the dance. By the way, it was fascinating to read different people describing the exact same dance. I remember some years ago, when there was a large party celebrating Bob McQuillen's birthday, all the callers lined up on the front of the stage and we all (simultaneously!) called "Chorus Jig." The dance was the same, but the vocabulary and the phrasing were quite different. David Millstone Lebanon NH and no longer lost on the Way to Norwich (Vermont) ================================================================================ Archive-Date: Thu, 15 May 1997 11:09:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 15 May 1997 14:10:24 -0400 (EDT) From: "Carol G. Marsh" Subject: SDHS Conference To: Renaissance Dance Mailing List CC: English Country Dance , csmall_feuillet-AT- indiana.edu Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE =09[APOLOGIES FOR THE DUPLICATIONS] The Society of Dance History Scholars annual conference will take place from June 19-22 at Barnard College in New York City. This year there are a number of papers devoted to early dance (15th-19th centuries); they are listed below. For a complete program check the SDHS website: =20 =09http://www.public.asu.edu/~njackson/sdhs.html Carol G. Marsh | Phone: 910 334-5421 School of Music, UNCG | Fax: 910 334-5497 Greensboro, NC 27412 | E-mail: c_marsh-AT- hamlet.uncg.edu =09=09=09___________________________ *Renaissance Dance* (15th-16th centuries) Ingrid Brainard. "Form in 15th-century dance" Yvonne Kendall. "Passeggi and mutanze: the choreographic treatment of=20 =09variation form in the 16th century" Katherine McGinnis. "At home in the 'Casa del Trombone': a social- =09historical view of 16th-century Milanese dancing masters" Barbara Sparti. "What can pictures tell us (and not tell us) about dance?= =20 =09Reading Italian Renaissance dance iconography" *17th-Century Dance* Lynn Matluck Brooks. "Bodily depictions: clues for evolving style in=20 =09dance performance from 17th-c. Spain" Anne Daye. "The sun-king eclips'd" Angene Feves. "Applying theory to practice: reconstructing a hitherto=20 =09unknown 17th-century manuscript" Julia Sutton and Carol Pharo. "Cadential formulae in music and dance,=20 =091600 and 1700" Juliette Willis. "Dancing cultural identity: grotesque bodies and liminoid= =20 =09spaces at London's Bartholomew Fair" *18th-Century Dance* Thomas Baird and Hugh Murphy. "The practical application of 18th-century= =20 =09French music treatises to the reconstruction of virtuosic solo dances"= =20 =09(lecture-demonstration) Deda Cristina Colonna. "Comparative study of different choreographies of t= he=20 =09Passacaille d'Armide" (lecture-demonstration) Sibylle Dahms. "New light on 18th-century social dance in Germany" Carol G. Marsh. "'Regular and irregular figures': symmetry in Baroque=20 =09dance choreographies" Ken Pierce. "Dance vocabulary in the early 18th century as seen through=20 =09Feuillet's step tables" Catherine Turocy. "Reflections on Gilbert Austin's notation of The Miser"= =20 =09(lecture-demonstration on 18th-century gesture) Paige Whitley-Bauguess (with Thomas Baird and Hugh Murphy). "Same music,= =20 =09different dance: choreographies by P=E9cour and L'Abb=E9 set to the=20 =09same music" (lecture-demonstration) Karen Woods and Nena Couch. "The Rape of the Lock, a ballet in the=20 =0918th-century style" (lecture-demonstration) *19th-Century Dance* Lisa Arkin. "The Mazourka and the Krakovia: two Polish national dances=20 =09in Michel St. L=E9on's dance notebooks, 1830" (lecture-demonstration) Judith Chazin-Bennahum. "Fashion, costume, and the appearance of things" Brady Earnhart. "Giselle's onstage audience" Sandra Hammond. "Windows into romantic ballet: content and structure of= =20 =09four early 19th-century pas de deux" Giannandrea Poesio. "Galop, gender and politics in the Italian ballo grande= " Libby Smigel. "Masquerading intentions: the bal masqu=E9 in Victorian=20 =09perception and practice" ================================================================================ Archive-Date: Fri, 16 May 1997 06:05:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 16 May 1997 09:08:50 +0000 (GMT) From: "Ferlazzo,Carol" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: To: ecd-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <1314C0A2EB0-AT- obgyn.amc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT subscribe ================================================================================ Archive-Date: Fri, 16 May 1997 11:28:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 16 May 1997 14:27:56 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Roger and Ginny To: ECD discussion list Message-ID: Subject: Time: 3:26 PM OFFICE MEMO Roger and Ginny Date: 5/16/97 Well, my iniquiries about Roger de Coverly certainly yielded a lively response. However, I am left with one of my original questions and with a new one that has come out of the discussion. I gather that there are or have been a number of variants of the dance called (Sir) Roger de Coverly as well as a number of versions of the Virginia Reel. But no one has explained how Roger became Virginia (the first documented sex change in history?) and whether that well-known Virginia gentleman, George Washington's alleged fondness for Roger de Coverly had anything to do with this. The second question is this: Given that Roger de Coverly is, by all reports, a delightful dance and apparently second to none in popularity, as attested by it's position as the ubiquitous final dance at Balls, and it's preeminence in dance allusions in literature . . . how come it never gets danced anymore? In the five or six years I've been avidly English dancing, I have never attended a regular dance, ball, festival, camp week or special event at which Roger de Coverly has been danced. Callers and teachers, what say you? Where has Roger gone and are we ever likely to see him again? Barbara Ruth New Haven ================================================================================ Archive-Date: Fri, 16 May 1997 12:12:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 16 May 1997 12:11:58 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Roger and Ginny To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IIXQ68N2ZM9S3Z6T-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Folks -- Barbara wanted to know where Sir Roger has gone, since she hasn't seen him (or her, under his trans-oceanic guise as the Virginia Reel) in six years of CDSS-style dances, balls, camps, or festivals. He is alive and well in the Bay Area, at least. Not, to be sure, at CDSS-style dances, balls, camps or festivals, but at historical-recreationist events. The bi-monthly Gaskell Balls (Victorian events spun off from the Dickens Christmas Fair, featuring most waltzes, polkas, schottisches and mazurkas but with a few CDM-style country dances, like Galopede and Sir Roger (with a brass band!)); many of the almost-monthly Period Events and Entertainments Recreation Society (PEERS) balls, which go all over the map historically (Macbeth Coronation Ball to Starfleet Academy Graduation; I believe the music for Sir Sean de Connery at the Secret Agent's Mardi Gras Masquerade Ball was a medley of the Ventures' greatest hits), and in the last several years at many of the Bay Area English Regency Society's balls (although we called it 'The Virginia Reel' at the Battle of New Orleans Victory Ball last weekend, since we were celebrating whipping the pants off the Brits.) I have always found it curious that CDM gives 'The Virginia Reel' (to the tune of 'Turkey in the Straw') rather than Sir Roger, but editorial discretion is a wonderful thing. (I just found "Hull's Victory" in "O'Neill's Music of Ireland" last night, after all.) -- 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: Sat, 17 May 1997 00:19:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 17 May 1997 17:28:34 +1000 From: Martin Hungerford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford's competitors To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705170720.RAA03491-AT- darth.netcon.net.au> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" My thanks to all of you who have responded to my request for info. All I need to do now is find the physical volumes! Again, ta muchly! This is Martin Hungerford, aka Martin Jongleur, "They're not pagans, Frank. Everyone's wearing clothes" Major Burns of M*A*S*H ================================================================================ Archive-Date: Sat, 17 May 1997 01:59:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 17 May 1997 01:54:59 -0700 (PDT) From: HUGH-AT- edsug.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger and Ginny To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IIYJDVR5CY003X8Y-AT- UG.EDS.COM> MIME-Version: 1.0 Content-Transfer-Encoding: 7BIT >> many of the almost-monthly Period Events and Entertainments Recreation Society >> (PEERS) balls, which go all over the map historically (Macbeth Coronation Ball >> to Starfleet Academy Graduation; Dare one ask what were the historically correct dances for a Starfleet Academy Graduation? (I can think of a few contras, but not that many) ================================================================================ Archive-Date: Sat, 17 May 1997 12:29:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 17 May 1997 15:29:45 -0400 (EDT) From: BHFrancis-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger and Ginny To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: BHFrancis-AT- aol.com Message-ID: <970517152943_-1934204480-AT- emout16.mail.aol.com> Barbara Ruth asks why Roger de Coverley isn't danced much nowadays. For what it's worth, I've danced it a few times over the years and seem to remember Jim Morrison calling when he was a regular in New York in the late 70's. A couple of reasons come to mind for the dimming popularity of Sir Roger. First, there's quite a bit of standing around for the inactive dancers, and this doesn't appeal to the buzy bees of the 1990's. Secondly, the original tune is usually in 9/8 time, an elusive time signature for dancers accustomed to more even rhythm patterns. Beverly Francis ================================================================================ Archive-Date: Sat, 17 May 1997 22:30:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 17 May 1997 22:30:46 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: Roger and Ginny To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IIZQIQGDK29S4BED-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT I'll follow up Beverly's remark about that elusive 9/8 time signature by pointing out that at the Gaskell balls, virtually no attention is paid to phrasing, and out of the perhaps 30 sets dancing Sir Roger at once, you will rarely see two that are at the exact same place in the dance. (These balls are *huge*, running between 200 and 500 attendees. I don't go very often; too crowded, and too many people polkaing for speed rather than control.) -- 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: Mon, 19 May 1997 14:27:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 19 May 1997 11:50:10 -0700 From: EVANS Nan E Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Roger and Ginny To: Barbara Ruth (Return requested), ecd (Return requested) Message-ID: <"012803380A0E200D*/c=us/admd= /prmd=or.gov/o=PRD/ou=MSMail/s=EVANS/g=Nan/i=E/"-AT- MHS> MIME-Version: 1.0 Oh where, oh where, has Sir Roger gone? Oh where, oh where can he be??? Well, I don't do either Sir Roger or VIrginia at my ECD dances, but I do know where they are alive and well. Every year for the past several I have called/taught at the annual Northwest Civil War Council's Ball. The adult "Blues and the Grays", as well as a goodly number of young folks, know and love Virginia. I usually don't even call Virginia - just announce that - as is historical times the dancers would have had little need of a caller - I will start the music and the dancers will dance without calling (of course the sets are of different lengths and the notion of phrasing differs among these basically non-dancers - so some sets will go around more than once before I stop the music.) One year I did teach Sir Roger first and then a little later in the program we did Virginia without calling - interesting. Another note - I found that Virginia was so well loved that one year we did it twice - once in the first half of the evening and then again later. ---------- From: Barbara Ruth To: ECD discussion list Subject: Roger and Ginny Date: Friday, May 16, 1997 4:12PM <> ================================================================================ Archive-Date: Tue, 20 May 1997 06:26:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 20 May 1997 09:26:08 -0400 (EDT) From: "Hanny D. Budnick" <74031.77-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Fried for Fall To: ECD list Message-ID: <970520132608_74031.77_BHT33-1-AT- CompuServe.COM> Because it's almost the end of the season for many groups and folks go away for the summer, you are the FIRST to find out about this exciting new venture: FRIED FOR FALL Weekend near Philadelphia, PA September 5 - 7, 1997 Fried de Metz Herman will just have come back from her 2nd teaching tour to England A Joyful Noise (Barbara Greenberg, Dan Beerbohm, Kathie Talvitie) will play for us. Residential conference center, great dance hall, outdoor pool etc. Costs for program, room & board: lodge $ 125, cabin $ 120 Early bird: $ 5 less for full prepayment by June 20, 1997 For registration contact Ray Tackett 76416.276-AT- compuserve.com Hanny Budnick ================================================================================ Archive-Date: Tue, 20 May 1997 12:00:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 20 May 1997 14:58:56 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: TRUE BRIT Weekend New Date (long) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705201858.OAA06722-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The TRUE BRIT English country and ritual dance benefit weekend supporting English country dancing in New York will take place Friday through Sunday, October 3-5, at Circle Lodge in Hopewell Junction, New York. Note that TRUE BRIT is 1 week early this year! This year's All-Volunteer staff features: (Workshop Leaders) Beverly Francis, Elizabeth Freedman, Yonina Gordon, Bertha Hatvary, Christine Helwig, Sarah Henry, Fried DeMetz Herman, Colin Hume, Gene Murrow, Gary Roodman, Paul Ross, and Sue Salmons. (Musicians) John Austin, Leah Barkan, Norma Castle, George Davis, Paul Friedman, Michael Gorin, Margaret Ann Martin, Bill Peek, Sue Polansky, Cynthia Shaw Simonoff, Jim Stevenson, and more. Weekend activities include: The Ice Cream Social The Predominantly Playford Ball The NeverNeverland Tea Dance (in a Peter Panic...) The Sherry Neverlands Hour The Noisy Auction The Silent Auction The Late-Night Party All for only $195 ($50 deposit and $145 by September 9) [Some less expensive, unheated accommodations available] Background: In 1987 the escalating costs of maintaining an office in New York City caused the Country Dance & Song Society to move its headquarters to Northampton. Since that time, country dancing has existed in New York through the all-volunteer efforts of Country Dance * New York. Costs, however, have continued to escalate: hall rental costs, for example, have more than tripled over the years to the current $225 minimum. TRUE BRIT is a benefit weekend sponsored by Country Dance * New York to raise money to support our dance programs. All musicians and teachers donate their services to ensure that English (and American!) country dancing will flourish in Greater New York. We invite all of you who believe, as we do, that New York _needs_ country dancing to join us for this 5th TRUE BRIT fund-raiser. Great music, great partners, a great cause: can you think of any better way to spend a weekend? Members of CD*NY receive priority registration until July 1 New members always welcome! To request registration forms, E-mail David Green at mls-AT- panix.com For further information, call Sharon Green (212) 741-5192 or Kit Campbell (212) 942-0520 ================================================================================ Archive-Date: Wed, 21 May 1997 00:31:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Wed, 21 May 1997 09:29:10 +0200 From: Philippe Callens Subject: Re: TRUE BRIT Weekend New Date (long) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3382A446.19F-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199705201858.OAA06722-AT- mail2.panix.com> Sharon, You wrote: Costs, however, have continued to escalate: hall rental costs, for example, have more than tripled over the years to the current $225 minimum. Would that be the cost for one night? Just curious to know. Philippe Callens ================================================================================ Archive-Date: Wed, 21 May 1997 07:56:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 21 May 1997 10:58:01 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: TRUE BRIT Weekend New Date (long) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705211458.KAA21814-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 09:29 AM 5/21/97 +0200, Phillipe Callens wrote: >Sharon, > >You wrote: >Costs, however, have continued to escalate: hall rental costs, for >example, have more than tripled over the years to the current $225 >minimum. > > >Would that be the cost for one night? Just curious to know. One Friday or Saturday night, from 7:30pm to 11:00pm, counting setup & takedown time. Tuesdays we get from 6:30pm to 10:30pm at the same price, and we consider ourselves lucky to have the extra half-hour. Cheers, Sharon Green ================================================================================ Archive-Date: Wed, 21 May 1997 19:11:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 21 May 1997 21:44:40 -0400 From: The Dupre Family Reply-To: ECD-AT- playford.slac.stanford.edu Subject: The Virginia Reel To: 'ECD List' Message-ID: <01BC6634.4AF16D80-AT- ppp13.nerc.com> At a Victoria's Revenge weekend some years ago, Tony Parkes called the Virginia Reel. 75% of my set groaned when it was announced, but when the Capitol Quicksteps began playing, it was magic - and it's the only dance I remember from that night. I'm very admiring of Tony for having had the guts to do it. My theory (this theory which is mine - and mine alone - and has nothing to do with dinosaurs, for a cryptic comic reference I couldn't resist) about why it doesn't show up at events other than one-nighters is that many experienced dancers think that a dance has nothing to offer them if it's an easy dance that beginners know and enjoy. How can it be suitable for an experienced dancer if even a beginner can do it? Curmudgeonly, Sue Dupre Lawrenceville, NJ dupre-AT- nerc1.nerc.com ph: (609) 844-0459 ================================================================================ Archive-Date: Thu, 22 May 1997 07:02:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: Peter.Fricke-AT- noaa.gov Date: Thu, 22 May 1997 10:10:34 -0400 From: Peter Fricke Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The Virginia Reel To: dupre-AT- nerc1.nerc.com (Return requested), ecd-AT- SSRL04.SLAC.STANFORD.EDU (Return requested) Message-ID: <04BE2338453DA013*/c=US/admd=ATTMAIL/prmd=GOV+NOAA/o=CCNMFS/s=Fricke/g=Peter/-AT- MHS> Sue... I couldn't agree with you more about the attitudes of many/some "experienced" dancers about "popular"/"community" dances. Speaking for myself, I thoroughly enjoy them and regret that programs don't include the hornpipes, rants and reels of the English/American repertoire. The only caller I know in the States, other than me, who uses community dances regularly is Mike Richardson and the room wakes up and livens up when he uses them. Peter Fricke ================================================================================ Archive-Date: Thu, 22 May 1997 12:35:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 22 May 1997 15:32:10 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The Virginia Reel To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>The Virginia Reel Okay, okay Sue. I'll be the one to ask. I give up. What does this all have to do with dinosaurs? Is that a Calvin and Hobbes reference somehow? And I have danced the Virginia Reel a few times in the past few years, although only once that I can think of at a regular contra evening. Once was at a squares and contras session by an old-time caller whose name I don't recall, at the Falcon Ridge Festival. And once was called by Chris Ricciotti at a gender-free dance, heavily aimed at beginners. Which is not to say that it wasn't a great deal of fun. None of these dances was the same as the Virginia Reel of my 8th grade gym class. I do find the Virginia Reel as an extremely useful reference tool. It is the only longways dance that just about everybody in this country knows by name, so when I am trying to describe what contra dancing is to people who've never seen it, even though it is a whole-dance progression, naming the Virginia Reel gives them a picture of what I'm talking about. Barbara Ruth New Haven ================================================================================ Archive-Date: Thu, 22 May 1997 15:24:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 22 May 1997 18:24:14 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Roger and Ginny To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>>Roger and Ginny Well that makes sense. It's not the only once-loved dance to suffer the slings and arrows of changes in fashion. But I am still left with my original question - how did Roger become Ginny? I know someone posted that some book gave the whole history, but I don't have access to that book, and besides I'm lazy. I want someone here to give a brief, but compelling summary of the events. Please? Barbara Ruth New Haven -------------------------------------- Date: 5/17/97 3:38 PM Barbara Ruth asks why Roger de Coverley isn't danced much nowadays. For what it's worth, I've danced it a few times over the years and seem to remember Jim Morrison calling when he was a regular in New York in the late 70's. A couple of reasons come to mind for the dimming popularity of Sir Roger. First, there's quite a bit of standing around for the inactive dancers, and this doesn't appeal to the buzy bees of the 1990's. Secondly, the original tune is usually in 9/8 time, an elusive time signature for dancers accustomed to more even rhythm patterns. Beverly Francis ================================================================================ Archive-Date: Thu, 22 May 1997 15:25:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: bolker-AT- phoenix.Princeton.EDU Date: Thu, 22 May 1997 18:26:02 -0400 (EDT) From: Susie Lorand Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Lambertville Country Dancers web page update To: 'ECD List' Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i have just updated the lambertville country dancers' english dance web page, http://eno.princeton.edu/lcd/main.html. besides the schedule of first friday english dances in titusville, new jersey, the page includes a list of summer english dances in princeton, nj; pointers to various other dance groups and camps; and gene murrow's "a note to the band" (click on "resources for dance musicians"). any suggestions for other items to include on the "resources for dance musicians" page? please let me know if you would like your page linked to this one. - susie lorand (using one of ben bolker's e-mail addresses) ================================================================================ Archive-Date: Thu, 22 May 1997 15:39:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: bolker-AT- phoenix.Princeton.EDU Date: Thu, 22 May 1997 18:39:32 -0400 (EDT) From: Susie Lorand Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Lambertville Country Dancers web page address correction To: 'ECD List' Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > i have just updated the lambertville country dancers' english dance web > page, http://eno.princeton.edu/lcd/main.html. besides the schedule of [snip] make that http://eno.princeton.edu/~ben/lcd/main.html - sorry! - susie lorand (who usually manages to proofread other people's writings more carefully than her own!) ================================================================================ Archive-Date: Fri, 23 May 1997 01:53:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 09:54:15 +0100 From: Michael Barraclough Subject: Re: Lambertville Country Dancers web page update To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <33855B37.32D92423-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: I get a "File Not Found - The requested URL /lcd/main.html was not found on this server." message when trying this URL. Michael Barraclough ================================================================================ Archive-Date: Fri, 23 May 1997 07:56:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 10:57:59 -0400 From: Albert Blank Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The Virginia Reel To: The Dupre Family , ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <212D8F21BF5-AT- POSTBOX.CSI.CUNY.EDU> Dear Sue, You and Peter Fricke are raising points that resonate with me. The bouncy energetic dances that were all part of the repertoire in past years seem to be gone in today's tradition. Are we getting so very old? Or have we ceded the entire ground to the contra dancers? I could name dozens of dances suitable for beginners and fun for everyone that we used to do frequently. Does anyone do Galopede, Bridge of Athlone or Goddesses, nowadays? For myself, an ideal dance program has a good sprinkling of high voltage uncomplicated material spaced out to avoid exhaustion. The pleasure derived from dancing depends as much or more from the style put into it as from satisfaction in executing complex figures. All the best, Albert ================================================================================ Archive-Date: Fri, 23 May 1997 10:24:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 13:27:16 +0000 (GMT) From: Margherita Modica Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The Virginia Reel To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <1DDA00828F9-AT- obgyn.amc.edu> On 23 May 97 at 10:57, Albert Blank wrote: > The bouncy energetic dances that were all part of the repertoire in > past years seem to be gone in today's tradition. Are we getting so > very old? Or have we ceded the entire ground to the contra > dancers? I could name dozens of dances suitable for > beginners and fun for everyone that we used to do frequently. Does > anyone do Galopede, Bridge of Athlone or Goddesses, nowadays? I am sure aging has something to do with the waning popularity of these dances, but not necessarily because they were too much wear & tear on our deteriorating bodies. Even before my 2nd knee operation I grew to dislike these dances. I can trace my annoyance with them to becoming a more skilled dancer with an appreciation for timing and phrasing. I noted that far too often the joy of these elements were lost in the galloping dances or strip the willow figures. Perhaps mismatched couples with different strides would get to points at different times, resulting in one dragging the other, often clunking folks in the head on figures where arches were involved. Then there was the fumbling to execute arm turns down the line which too often produced dizzy folks who wound up on the wrong side or way behind. It seemed to me that even though we worked on them, the whole set really never got it well enough for many of us to feel the same satisfaction that we got from other set dances which were more forgiving. Margherita Davis ************************************************************************ Margherita M. Modica mmodica-AT- obgyn.amc.edu Obstetrics & Gynecology (518) 262-6405 Albany Medical College (518) 262-5292, fax ************************************************************************ ================================================================================ Archive-Date: Fri, 23 May 1997 10:42:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 13:43:20 -0400 From: O_Krasner-AT- ACAD.FANDM.EDU (Orly Krasner) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Galopede To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT Hi, everyone. When I taught my college class on American music this year, I read a lovely passage in the textbook describing a dance. Then I realized that my students would understand absolutely none of it. Remedy? Teach them to dance. Sam Rotenberg suggested Galopede and quickly sketched out the moves for me. Next class, after discussing the structure of the music, etc., etc., I had them on the floor dancing. By the end of it, they were actually beginning to get a sense of the timing and to adjust the speed of their movements accordingly. It was a wonderful sight! Who knows, maybe someday one of those kids will see a sign for a local contradance and will decide to check it out! --Orly Krasner (soon to be back in NY, her dance "home"!) ================================================================================ Archive-Date: Fri, 23 May 1997 11:27:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 14:24:09 -0400 From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Galopede To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: Reply to: RE>Galopede It was only long after I had read Jane Austen, both recreationally and in college, that I began dancing ECD and some of the passages finally made sense. I never understood before that how, for instance, Elizabeth and Mr. Darcy could have those long conversations while dancing together, or Mr. Bingley, while still in the midst of a dance could walk over to chat with his chum. I've since come across passages in Hardy, Elliot (George not T.S.) and Louisa May Alcott that make sense now that I know how a set dance is structured and what a progression is. I think anyone teaching 18th or 19th century English literature ought to consider at the very least describing these kind of dances. Ideally, having someone or a group in to demonstrate/teach, or even assigning students to attend a local dance. Ooh, ooh, sudden promotional opportunity strikes. Contact English Professors of local colleges and universities specializing in that literature and explain how sending their students to a dance or having some of us come and demonstrate can improve their students' understanding of what they are reading. Yes! Barbara Ruth New Haven Shameless Promotor of English Dancing -------------------------------------- Date: 5/23/97 1:52 PM To: Barbara Ruth From: ECD-AT- SSRL04.SLAC.Stanford.EDU Hi, everyone. When I taught my college class on American music this year, I read a lovely passage in the textbook describing a dance. Then I realized that my students would understand absolutely none of it. Remedy? Teach them to dance. Sam Rotenberg suggested Galopede and quickly sketched out the moves for me. Next class, after discussing the structure of the music, etc., etc., I had them on the floor dancing. By the end of it, they were actually beginning to get a sense of the timing and to adjust the speed of their movements accordingly. It was a wonderful sight! Who knows, maybe someday one of those kids will see a sign for a local contradance and will decide to check it out! --Orly Krasner (soon to be back in NY, her dance "home"!) ------------------ RFC822 Header Follows ------------------ Received: by QuickMail.Yale.edu with SMTP;23 May 1997 13:50:36 -0400 Received: from ssrl04.slac.stanford.edu (SSRL04.SLAC.Stanford.EDU [134.79.33.14]) by mail-relay2.its.yale.edu (8.8.5/8.8.5) with SMTP id NAA03031 for ; Fri, 23 May 1997 13:49:04 -0400 (EDT) X-ListName: Discussion of modern and historical English Country Dance Warnings-To: <> Errors-To: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU Sender: owner-ecd-AT- SSRL04.SLAC.Stanford.EDU Date: Fri, 23 May 1997 13:43:20 -0400 From: O_Krasner-AT- ACAD.FANDM.EDU (Orly Krasner) Reply-To: ECD-AT- SSRL04.SLAC.Stanford.EDU Subject: Galopede To: ECD-AT- SSRL04.SLAC.Stanford.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7BIT ================================================================================ Archive-Date: Fri, 23 May 1997 11:37:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 11:37:48 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: Re: The Virginia Reel To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IJ7H4XSDAAA733QE-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Albert Blank wrote: >The bouncy energetic dances that were all part of the repertoire in >past years seem to be gone in today's tradition. Are we getting so >very old? Or have we ceded the entire ground to the contra >dancers? I could name dozens of dances suitable for >beginners and fun for everyone that we used to do frequently. Does >anyone do Galopede, Bridge of Athlone or Goddesses, nowadays? An interesting question. Out here in the Bay Area, some of these dances have found regular homes in the historical recreationist groups, and some of them are still done occasionally in the 'mainstream' ECD groups. ("Galopede" gets done regularly at the bi-monthly Gaskell Ball, a Victorian-dress spinoff from the Dickens Faire, and at any PEERS (Period Events and Entertainments Recreation Society) ball into which it will fit, as does Sir Roger de Coverley. "Goddesses" gets performed at various Renaissance Faires, so members of those troupes who also morris dance will sometimes get up and do it at morris ales.) I called 'Double Lead Through' at the Palo Alto English dance a few months back, and people seemed to enjoy it. 'Nottingham Swing' is done there pretty often. The occasional CDM dance gets done in San Jose as well; I've called 'Bonnets So Blue', 'Durham Reel' and 'Bonny Breast Knot*' there myself. [* I called the 'Sussex' version, by the way, and discovered that the version in Barnes is *not* that version, so if you're calling it, make sure you get the right music. The character of the dance is considerably altered.] I do note that some of the raucous fun of the community dances has been subsumed into some Pat Shaw dances like 'Walpole Cottage,' which people may find more interesting from a dance perspective. There are always more new dances, and only so much time in an evening, so some older ones will inevitably tend to slip out. -- Alan (Who intends to call at least 'Durham Reel' and 'Bonnets So Blue' at a science-fiction convention tonight.) =============================================================================== 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: Fri, 23 May 1997 11:47:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 13:48:33 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Galopede To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705231848.NAA06221-AT- ux1.cso.uiuc.edu> Barbara Ruth wrote: >progression is. I think anyone teaching 18th or 19th century English >literature ought to consider at the very least describing these kind of >dances. Ideally, having someone or a group in to demonstrate/teach, or even >assigning students to attend a local dance. Ooh, ooh, sudden promotional > opportunity strikes. Contact English Professors of local colleges and >universities specializing in that literature and explain how sending their >students to a dance or having some of us come and demonstrate can improve >their students' understanding of what they are reading. Yes! Good idea. I'll check around the English department and see what I can turn up. I call Galopede quite frequently, though usually for groups with lots of children or beginners, such as at a program at a grade school or a wedding reception. However our local ECD group did do Galopede as one of the dances at our Christmas Ball a year and a half ago, along with Sir Roger. Jonathan ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Fri, 23 May 1997 11:59:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 14:59:00 -0400 (EDT) From: "Hanny D. Budnick" <74031.77-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Traditional/Historical To: ECD list Message-ID: <970523185900_74031.77_BHT138-1-AT- CompuServe.COM> Hi all - apparently the favoring of historical over traditional ECDs is not all THAT new. During one of her classes at Pinewoods May Gadd said "If you cannot enjoy dancing 'Cumberland Square' anymore, because it is too simple a dance, perhaps you should reexamine your reasons for participating in ECD altogether'. Amen to that! Give me Nottingham Swing, Speed the Plough and Thady U Gander any day, I love them! A sad comment by Margherita, injured knees notwithstanding, that folks cannot do a strip the willow figure or a rant in time to the music, when dances like Easter Thursday - or the chestnut Hole in the Wall with their 3/2 rhythm are really much more demanding. Unless I do the teaching, I don't see La Russe, Corn Rigs, The Rifleman etc being done. Sure, they are lively, boisterous - (for you contra dancers: some of them even contain SWINGS!!!) and their patterns are simple... No Al, we are NOT too old to do them, we just don't encounter them at many programs anymore and can't prove it. An interesting phenomenon: much current ECD leaves out the traditional and more lively dances, Contra Dancing leaves out the relatively slow waltz contras (although there is usually a closing partner waltz) while adding extraneous faster movements - and SCD sprinkles the slow strathspeys among the faster jigs and reels. Could it be that newcomers are attracted to a genre of country dance (once they've been exposed to the varieties) because of the prevailing dance TEMPO? _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny Budnick, Philadelphia PA ================================================================================ Archive-Date: Fri, 23 May 1997 12:19:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 14:20:59 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Galopede To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705231920.OAA19083-AT- ux1.cso.uiuc.edu> A quick follow-up possible classes that might be interested in coming to a dance to get some practical experience. A quick look through the fall catalog didn't turn up any english classes that looked promising, but I'll try to make some contacts to get some suggestions. However the dance department has a class on the history of dance. The one in the fall will cover social dance up through the early 19th century. This looks like just the group to contact. I'm going to find out who is teaching this class and let them know about our group. Jonathan ================================================================================ Archive-Date: Fri, 23 May 1997 14:27:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 23 May 1997 17:29:01 -0400 From: walkowit-AT- is2.nyu.edu (Daniel J. Walkowitz) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Galopede To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9705232129.AA26013-AT- is2.nyu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I dutifully forwarded your note to my daughter and her partner, both of whom are doing PhDs in English lit. at their respective Universities. I have been pushing this line for a long time; maybe your note will be more effective. Danny Walkowitz > Reply to: RE>Galopede > I think anyone teaching 18th or 19th century English literature >ought to consider at the very least describing these kind of dances. Ideally, >having someone or a group in to demonstrate/teach, or even assigning students to >attend a local dance. >Ooh, ooh, sudden promotional opportunity strikes. Contact English Professors of >local colleges and universities specializing in that literature and explain how >sending their students to a dance or having some of us come and demonstrate can >improve their students' understanding of what they are reading. Yes! >Barbara Ruth >New Haven >Shameless Promotor of English Dancing Daniel J. Walkowitz Director, Metropolitan Studies, and Professor of History 285 Mercer Street, rm 703, New York University New York, New York 10003-6607 tel. (212) 998-8091 fax (212) 995-4371 ================================================================================ Archive-Date: Sat, 24 May 1997 14:04:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 24 May 1997 17:05:14 -0400 (EDT) From: David.Millstone-AT- VALLEY.NET (David Millstone) Subject: Re: Galopede, etc. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3698389-AT- hanover.VALLEY.NET> ---Albert Blank wrote: Does anyone do Galopede, Bridge of Athlone or Goddesses, nowadays? --- end of quoted material --- I call Galopede, Bridge of Athlone, Cumberland Square Eight and similar dances regularly, but not at ECD sessions. I use them at family dances and weddings and include them from time to time at our monthly series of contras and squares. They're wonderful dances for near the start of the evening when the beginners need lots of success. Galloping over at the start of Cumberland Square is a sure-fire way of lifting the mood of a crowd and the basket swing is fun for even the most hard-core contra lovers who can't stand squares. Dances like these give all dancers--beginners and experienced alike--the opportunity to dance to the music, without having to worry constantly about tight timing and unforgiving figures and complex patterns. Experienced dancers--at least the ones I see-- frequently comment favorably on such dances. They like being able to just dance without having to devote so much attention to helping out the beginners. I think we all win when we include such dances in an evening's program. David Millstone Lebanon, NH ================================================================================ Archive-Date: Sat, 24 May 1997 22:49:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 25 May 1997 01:55:23 -0500 From: Erna-Lynne Bogue Subject: ECD for English classes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3387E255.3FF4-AT- umich.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: Working with an English professor can be a delight: I have done it for several years. However, to make a dance/class combo come off well takes much more work that you would imagine. Prof Emily Cloyd teaches 18th century literature at U.Michigan. She includes a lot of multi-media in her teaching: slides of the inside and outside of British houses, lectures on the various fashions in decorating, etc. (She has done an amazing study of English country gardens, including pictures drawn of the same estate at different points in the century: amazing they took on totally different appearances!) She includes information on clothing, music, art, food, education, etc. Students learn this so they can understand the literature in context. Several times, we have included a "Ball" as part of the program. It's outside of class time, usually 6-8 pm. The English Dept pays me, and a band. The event is open to students in all the English classes, and some faculty also come; we usually have about 30-50 people. I prepare some information ahead of time, and set social rules. The women are required to wear a dress (although I don't define what this means; one woman wore one of those lycra tubes!) There are only half as many chairs as we expect dancers, and men are not to sit if there is a woman nearby standing. Men ask women to dance and not vice versa. The students take all of this good naturedly: it's a field trip to another culture. Sometimes I've been able to recruit a demonstration group of ECD folks; more often not. It's a daunting task, to try to convey a sense of English historical dance to a group of gawky adolescents who have never seen ECD. I've found some things that work better than other (they tend to take well to things like Come Lets Be Merry because of the schmalz appeal). They also do well with the usual simple dances: Knole Park, Indian Queen. The time period is a bit tricky. If you take a look through, say, The Playford Ball, you quickly realize that what we call ECD is primarily dance before 1800. Anyone teaching 19th century literature would need to focus on quadrilles and the various polkas, waltzes etc which became more prevalent in that time frame, I've never recruited a regular dancer by this method. But I think a heck of a lot of students have a better notion about the material they read, and the seeds are planted. -- Erna-Lynne Bogue / Ann Arbor MI -------------------------------- ================================================================================ Archive-Date: Mon, 26 May 1997 17:55:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 26 May 1997 20:54:36 -0400 (EDT) From: webatcheler-AT- juno.com (Wayne Batcheler) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ICWM ONLINE Tenth International Congress on Women in Music Discussion List To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19970526.205345.6999.6.webatcheler-AT- juno.com> I hope no one will consider it "spam" for me to forward this from the New-List list. Wayne Batcheler New York --------- Begin forwarded message ---------- From: Sally Reid To: NEW-LIST-AT- LISTSERV.NODAK.EDU Subject: NEW: ICWM - ICWM ONLINE Tenth International Congress on Women in Music Discussion List Date: Mon, 26 May 1997 17:15:13 -0500 ICWM on listproc-AT- shoko.calarts.edu Tenth International Congress on Women in Music Discussion List An Invitation to Attend the Tenth International Congress on Women in Music ONLINE ONLINE MAY 29-June 1, 1997 The International Alliance for Women in Music presents The Tenth International Congress on Women in Music May 29, 30, 31 & June 1, 1997 at California Institute of the Arts Valencia, California Professional Career Development and Enhancement http://music.acu.edu/www/iawm/festivals/icwmla.html During the Tenth International Congress on Women in Music you will be able to receive online Congress reports, biographies, summaries, updates and other news. CalArts graduate student Ritsuko Ueda will be organizing the project. Each day a Congress schedule will be posted along with bios of speakers, composers, and performers. There will be summaries of major sessions and invitations to e-mail your questions for panelists. We know that many IAWM members and our women-in-music friends around the world are not able to join us in person at this important international conference, but this online component offers yet another way to participate. TO SUBSCRIBE to the Tenth Congress online (anytime between now and June 1) send the message: subscribe ICWM your name to listproc-AT- shoko.calarts.edu For example: subscribe ICWM Pat Smith To post to the list during the conference, address mail to: ICWM-AT- shoko.calarts.edu The list will be discontinued on June 2, 1997, but the contents of the postings will be archived at the IAWM Web Site as part of a report on the Congress. Join us on-line! Owner: Sally Reid reid-AT- acuvax.acu.edu [P.S. If you want to attend in person, there is walk-in registration during the weekend for all events, on a per-event fee basis. There are tickets for the Thursday and Friday evening concerts at CalArts featuring the CalArts New Century Players and Friends available at the door. More more information, call 818-248-5775.] or visit: http://music.acu.edu/www/iawm/festivals/icwmla.html ------- Use this information at your own risk. For more information and disclaimer send E-mail to LISTSERV-AT- LISTSERV.NODAK.EDU with the command INFO NEW-LIST in the body. --------- End forwarded message ---------- ================================================================================ Archive-Date: Wed, 28 May 1997 03:36:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Wed, 28 May 1997 12:32:18 +0200 From: Philippe Callens Subject: Barnes To: 75213.2435-AT- compuserve.com, ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <338C09B2.1FD8-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit In August I will be working with several musicians for ECD at Pinewoods and I wonder whether I can rely on the NEW edition of Peter Barnes blue tune book. What do you think? Philippe Callens ================================================================================ Archive-Date: Wed, 28 May 1997 06:18:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: bolker-AT- phoenix.Princeton.EDU Date: Wed, 28 May 1997 09:19:42 -0400 (EDT) From: Susie Lorand Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 28 May 1997, Philippe Callens wrote: > In August I will be working with several musicians for ECD at Pinewoods > and I wonder whether I can rely on the NEW edition of Peter Barnes blue > tune book. What do you think? > > Philippe Callens it depends what you mean by "rely on". there were a few errors in the first printing; i believe the errors that people reported to peter barnes have been (or will be) corrected in a second printing. if peter is lurking on the list, perhaps he can comment on errata. as a musician, i find it very convenient to have so many newer dance tunes in one volume along with the old favorites. i still have to compare chord preferences with the other musicians, though. some of the "new barnes" chords are different from those in the "old barnes", and some piano players i work with prefer the "old barnes" chords. thanks again for the new edition, peter! - susie lorand princeton, n.j., usa ================================================================================ Archive-Date: Wed, 28 May 1997 10:51:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 28 May 1997 10:51:02 -0800 (PST) From: Alan Winston - SSRL Central Computing Subject: new Barnes errata as of last June; corrected in second edition? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IJEFAYACQAA733QI-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=ISO-8859-1 Content-Transfer-Encoding: 8BIT This was from Peter, in response to a query about fixing some errors in my index: The Barnes Book of English Country Dance Tunes - ERRATA June 5th, 1996 Pg. vii 2nd para. 'others now known' include 'n' on known Pg. 18 Chelmsford Assembly - 4th note in 7th bar of A (under A chord) is a low 'E', not an 'A'. Pg. 19 Chestnut - last (8th) measure of A should match 4th measure (same notes and rhythm). Pg. 21 tune 'Christina' is by Naomi Alexander Pg. 27 Dissembling Love - there are only three B's in this tune. Eliminate the repeats around the last eight bars. Pg. 36 Face The Music - starting meas. 3, line 3 - make 8th note into 16th note, following note into dotted eighth. Additionally, the repeat at the very beginning should be removed. Pg. 48 Handel With Care - 'Bourée' has an accent over the first e, not the second. The Happy Pair - played 6 times, not three. Pg. 49 Heidenroslein - played 4 times, not three. Pg. 52 Hole in the Wall - tune by Henry Purcell Pg. 57 Indian Queen - time signature is 2/2, not 4/4 Pg. 61 Joy After Sorrow - 3 times. Chord on B part, first full meas. Should be A(G). (Then Dm, G, C.) Juice of Barley No repeats on A part. Tune by Henry Purcell Pg. 63 Kill Him With Kindness - tune attributed to Henry Purcell Pg. 66 Levi Jackson Rag - tied note between beams (on 'D' notes), 2nd full meas. of A. Pg. 67 Lilliburlero - tune by Henry Purcell Pg. 68 Long Pond - First line, 6th full measure, the 'B' notes should be tied together. Pg. 74 The Mary and Dorothy - B does not repeat. Pg. 75 Michael and All Angels - time sig. is 3/4, not 6/8. Pg. 83 The Mulberry Garden - 2nd line, 2nd measure, last note should be 'A' (one step above the 'G' before it) not 'F#'. Pg. 86 A New Beginning - three times through? Pg. 88 Nobody's Jigg - 4th meas. half note should be a dotted half. Pg. 99 Pool's Hole - Repeat at beginning of 'A' part should be moved to beginning of first full measure, which should then start with a double bar (the measure that starts with an 'F' quarter note). Pg. 102 Punch Bowl - B is not repeated. Queen Victoria's Country Dance - 3rd line should be played only the very last time of the dance, taking the place of the second B. Pg. 105 The Real Princess - 'B' part (starting second line) is not repeated. Pg. 109 Round Pond - at end, put 'to 2' on line one, 'to 3' on line 2, 'to 1' on line three. Pg. 117 Shrewsbury Lasses - 4th meas. should start with F#, not E. Pg. 118 Siege of Limerick - tune by Henry Purcell Pg. 130 Trip to the Jubilee - no repeats, B. Pg. 133 Volpony - tune by Henry Purcell Pg. 154 Third line from top - should read (e.g., E-B-G instead of E-B-E). Pg. 155 First Para. at bottom, second line should read (e.g., C-G-Eb vs. C-G-C). Pg. 170 Under 'MOTS' (More of the Same) - author is Charles Bolton, not Colin Hume. Pg. 175 move Mr. Lane's Maggot (see The Round) to previous page with the other 'Misters'. Pg. 178 correct Hands Four Productions address is -Box 641, Bedford, MA 01730 =============================================================================== 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: Wed, 28 May 1997 11:42:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 28 May 1997 11:30:24 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: 75213.2435-AT- compuserve.com, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 28 May 1997, Philippe Callens wrote: > In August I will be working with several musicians for ECD at Pinewoods > and I wonder whether I can rely on the NEW edition of Peter Barnes blue > tune book. What do you think? What I think, as a longtime player, is that for the most part you can rely on his tunes without problems, but his chording needs to be gone over with a fine-toothed comb. His harmonic sense is, er, eccentric, and he has a tendency to insert Bulgarian (flatted) seconds, playing a C chord against a B-natural for example, that IMnsHO are seriously at odds with the idiom and the gestalt of the tunes. I'm not an authenticity freak. (I'd better not be, considering I play instruments (steel-string guitar and resonator guitar) that hadn't been invented when most of these tunes were being written!) While I'd be fascinated to hear an "original instruments" reconstruction of some of these tunes, if that's even possible, I don't mind putting in stylistic touches that come from later. Our band does that all the time. My quarrel with Barnes, and especially with Barnes 95, is that his chording clashes so badly in my ears with the implicit idiom of the tunes, and my personal musical ear does not detect a good musical reason for it. Perhaps I'm turning into an old curmudgeon, but for me Barnes 95 is only a starting point on the chords, to be approached with a large container of salt. I also take issue with his rechording of recent tunes, especially Pat Shaw's. It's been my experience that what Pat Shaw writes, we should play; not once have I ever found a better chord for one of his tunes than the ones he suggests. (Please pardon the convolutions of that sentence; I haven't had my coffee yet.) I usually avoid seventh chords in playing ECD tunes; they just don't sound right to my ears. But when Pat Shaw says play a seventh, he's right. Barnes rechords Pat Shaw, and to my ears his chords are less appropriate, less interesting, less *right*. Take these as the rambling opinions of one musician who's worked from Barnes 3.1 and Barnes 95, no more and no less. I'm grateful for (and staggered by) the work PB has put into these volumes; they're invaluable. But I would suggest that your musicians be cautious about his chording, and bring their saltshakers. Strictly my $.02. Peace. Paul (wearing his Leather Britches) ================================================================================ Archive-Date: Wed, 28 May 1997 13:23:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 28 May 1997 16:24:15 -0400 (EDT) From: RLHAYDEN-AT- amherst.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IJEQUCTXLI9FMAJ8-AT- amherst.edu> MIME-Version: 1.0 On Wed, 28 May 1997, Philippe Callens wrote: > In August I will be working with several musicians for ECD at Pinewoods > and I wonder whether I can rely on the NEW edition of Peter Barnes blue > tune book. What do you think? I was wondering whether Philippe might not have meant, could he rely on the musicians at Pinewoods having a copy of Barnes's second edition and being reliably familiar with the repertoire it contains; in which case, I'd say, yes, you can rely on the new edition of Barnes. Robin Hayden Amherst, MA ================================================================================ Archive-Date: Wed, 28 May 1997 14:02:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 28 May 1997 16:02:58 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970528160258.17d8-AT- GEORGE.BAKERU.EDU> I have used the Barnes book, old and new, with any number of musicians I respect. We always check/change some of Barnes' chord choices to the point that they have taken on a 'tradition' of their own. As a generality, with lots of exceptions, Barnes harmonizes melodies in his two books as if they were contra tunes. Much of that harmonizing 'attitude' is part of current-day ECD performance practice. I do not speak against it when some very fine musicians we know and love to dance to, play an ECD tune, in harmony, playing style, and general approach, as if it were a 19th century tune. And I confess (and apologize at the same time) that I am an authenticity nut. I am still waiting for a collection of recorded ECD performances that match the style, harmonization, instrumental practices of the main period (ca 1650 - ca 1750) If you wish to hammer at me, please do so at the following address "Forbes-AT- george-AT- bakeru.edu" No sense fuming over the whole list Forbes/Baker University ================================================================================ Archive-Date: Wed, 28 May 1997 14:32:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 28 May 1997 14:33:15 -0700 (PDT) From: James Langdell Subject: Re: Barnes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: jamesc-AT- Eng.Sun.COM Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199705282133.OAA10322-AT- bassclar.eng.sun.com> MIME-Version: 1.0 Content-Type: TEXT/plain; charset=us-ascii > On Wed, 28 May 1997, Philippe Callens wrote: > > > In August I will be working with several musicians for ECD at Pinewoods > > and I wonder whether I can rely on the NEW edition of Peter Barnes blue > > tune book. What do you think? > Then Robin Hayden wrote: > I was wondering whether Philippe might not have meant, could he rely on the > musicians at Pinewoods having a copy of Barnes's second edition and being > reliably familiar with the repertoire it contains; in which case, I'd say, > yes, you can rely on the new edition of Barnes. To continue the Rashomon effect of reading mailing list messages... MY interpretation of Philippe's question had been whether he could count on all the dances to be called at the Pinewoods gig being covered musically within new edition of Barnes, or if he and the other musicians at the event would need some other sources of tunes to accompany the dance repertoire there. --James Langdell jamesc-AT- eng.sun.com Sun Microsystems Menlo Park, Calif. ================================================================================ Archive-Date: Thu, 29 May 1997 04:08:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Thu, 29 May 1997 13:06:18 +0200 From: Philippe Callens Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <338D632A.59F0-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <01IJEQUCTXLI9FMAJ8-AT- amherst.edu> Robin Hayden wrote: " I was wondering whether Philippe might not have meant, could he rely on the musicians at Pinewoods having a copy of Barnes's second edition and being reliably familiar with the repertoire it contains; in which case, I'd say, yes, you can rely on the new edition of Barnes." Sorry for being unclear. Instead of "rely on" I had better written "have got". Anyway, it appears to me that most of the Pinewoods musicians will have the new edition with them. So there will be no need to bring copies of tunes in Peter's book. Interesting to read different opinions about Peter's chords. As a caller, I feel working out the chords is really the band's responsability and I would never interfere with that. Thanks again to all of you. Philippe Callens ================================================================================ Archive-Date: Thu, 29 May 1997 08:55:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 29 May 1997 11:54:10 -0400 From: Brad Foster Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Digest V1 #203: Picking up Sticks/Newcastle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2.2.32.19970529155410.006ccb70-AT- crocker.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Date: Mon, 12 May 1997 09:21:29 -0400 (EDT) >From: JohnBerni-AT- aol.com >Subject: Report on St Louis Ball >...Jeff gave the >most succinct talk thru of Picking Up Sticks I have ever experienced! John, do you remember what he said? Does he have an email address? Here are some helpful hints I've picked up/developed for Newcastle's last figure: I start my teaching with the end of the dance (the lines, etc), by asking everyone circle 1/2 way and then asking the sides to pull into the middle and heads face partner to make the two lines of four facing the side walls (in other words putting everyone into the position they would be in after the last arm left). Lines fall back, come forward, turn single is as stated. Then, to get the lines crossing over into the new orientation, I point out that the middles are standing next to their original partner but facing someone else across the set. Before having them cross, I tell them that they will cross and immediately turn the easy way to face their original partner. I have the middles do this first, then have the ends cross and move in to the gap between the others. This is generally both quicker to get through and better for the dancers understanding than the ways I've seen in the past. I picked up the "circle and make lines" part from George Fogg, who used it while teaching at the CDS Boston Centre dance a number of years ago. (I thought it made no impression on any of the other dancers, perhaps because it went by so quick -- we immediately moved back to our original positions -- and perhaps because everyone already knew the dance). George recently told me he picked it up from someone in England, but I forget who that was. The bit about the middles in the line standing (and later turning to face) their original partner was pointed out by a dancer in a class of mine at Buffalo Gap. All of that makes it possible to do Newcastle in the big hall at NEFFA with a mixed crowd of dancers. Anyway, other tips on teaching specific figures would be appreciated. Brad Foster ================================================================================ Archive-Date: Thu, 29 May 1997 15:21:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 08:31:57 +1000 From: Martin Hungerford Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705292226.IAA21729-AT- darth.netcon.net.au> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" > > And I confess (and apologize at the same time) that I am an authenticity >nut. I am still waiting for a collection of recorded ECD performances that >match the style, harmonization, instrumental practices of the main period >(ca 1650 - ca 1750) If you wish to hammer at me, please do so at the >following address > > "Forbes-AT- george-AT- bakeru.edu" > >No sense fuming over the whole list > >Forbes/Baker University > May I ask for your opinion of Jeremy Barlow's "Broadside Band" CDs? I think they're too sweet for dance music but I'm fascinated to hear what a self-confessed "authenticity nut" thinks off them. This is Martin Hungerford, aka Martin Jongleur, aka Martin o' Lyos OL (Called the Juggler) Piper, Juggler, Stiltwalker, Unicyclist, Singer, Firebug, Idiot ================================================================================ Archive-Date: Thu, 29 May 1997 17:14:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 01:14:21 +0100 From: Michael Barraclough Subject: Re: Barnes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <338E1BDD.D7D122BE-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199705292226.IAA21729-AT- darth.netcon.net.au> Martin Hungerford wrote: > > May I ask for your opinion of Jeremy Barlow's "Broadside Band" CDs? I > think they're too sweet for dance music but I'm fascinated to hear > what a self-confessed "authenticity nut" thinks off them. > I'm not sure about 'too sweet' but I would observe that English Country Dance would not have survived for as long as it has if the music for it was played the way the Broadside Band does. IMHO I do not believe that the music provides the appropriate degree of lift to be deemed to be good 'dance' music. Michael Barraclough (used to be a dancer - now just a research nut) ================================================================================ Archive-Date: Thu, 29 May 1997 21:12:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 00:12:59 -0400 (EDT) From: JohnBerni-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Digest V1 #203: Picking up Sticks/Newcastle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, Godfrey-AT- icon-stl.net, brad.foster-AT- cdss.org Message-ID: <970530001258_576696876-AT- emout19.mail.aol.com> To Brad et al from John Ramsay Jeff's e-mail address is above. He possibly can reconstruct his succinct go-thru of Picking Up Sticks but the succinctness is dependent on several conditions: 1. Planning ahead how to present each figure AND each transition Tricks such as you mention in teaching Newcastle are vital and I find the folklore of such to be fascinating. There has been a steady evolution and improvement in how we teach country dance. Good tricks become global almost in the wink of an eye! I recall being amazed with your Newcastle trick and will never teach the dance any other way from now on. Thanks for documenting the pathway of the trick as far as you know it. We are all indebted to the originator, George Fogg and to you. 2. Matching what is said to the condition of the group being taught Some callers are skillful enough to use vocabulary which creates the visual image desired in both experienced or inexperienced dancers. A bad choice of vocabulary can send dancers of both kinds in the wrong direction. This is a cultural matter and requires that a caller knows how a group of dancers will think. There is also a threshold level in the mix of experienced and inexperienced dancers which allows inexperienced dancers to take visual cues or to have their errors covered by experienced dancers--a joyful experience for all concerned when it happens. 3. Making no errors Errors, eg. inadvertently omitting a movement, cannot be easily "erased." Correcting errors at least triples teaching time and undermines confidence in the caller. I sometimes use your technique of teaching the most difficult part of a dance first because what is learned first is retained most easily; but it is imperative that everyone understand that the dance is not being taught sequentially. So, a succinct go-thru cannot necessarily be captured, printed and reused. But when succinctness is reached it is very satisfying! ================================================================================ Archive-Date: Fri, 30 May 1997 03:43:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Fri, 30 May 1997 12:44:17 +0200 From: Philippe Callens Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <338EAF81.3FA5-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <199705292226.IAA21729-AT- darth.netcon.net.au> Martin Hungerford wrote: "May I ask for your opinion of Jeremy Barlow's "Broadside Band" CDs? I think they're too sweet for dance music but I'm fascinated to hear what a self-confessed "authenticity nut" thinks off them". I'd like to answer this question, too (I don't think I am a authenticity nut, but let other people decide that). I don't feel Jeremy Barlow's music is too sweet. As I feel it, "sweet" is not the word that comes in my mind when I listen to his recordings. I agree though that not everything is suitable for modern day practice ECD (differing tempi, repeats, etc.), but some recordings are really good. I use Portsmouth (for Pat Shaw's interpretation), Mad Robin and a few others. Also, it is a matter of taste and/or experience. At the moment, I am leading a series of nine evenings of Playford dancing for a group of historical dancers. And they like that sort of playing a lot. Philippe Callens ================================================================================ Archive-Date: Fri, 30 May 1997 05:40:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 08:42:00 -0400 (EDT) From: Richard Jackson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Picking up Sticks/Newcastle To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705301242.IAA07643-AT- waters.sanders.lockheed.com> >> John Ramsay said: >> Correcting errors at least triples teaching time and undermines confidence >> in the caller. I have always said, at the first sign of weakness, you lose them. This is even more evident at a dance with a lot of experienced dancers. As soon as you make a mistake, or show a lack of confidence in yourself, the more knowledgeable dancers take over for their section of the room. This causes a general hubbub around the room and the noise level from the floor goes up tremendously. Sarah Gregory Smith and I have discussed this in the past. She has a unique perspective on this in that she cannot see the dancers. She can pinpoint a problem area on the floor based on the level of noise from that area. I think it is important to regain control as quickly as possible. Get everyone's attention focused on you again (humor helps). Try to stifle some of the "helpers" from the floor if possible. Straighten everything out and keep going. Rich Jackson ================================================================================ Archive-Date: Fri, 30 May 1997 06:39:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 08:39:29 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <970530083929.19ba-AT- GEORGE.BAKERU.EDU> Asking a whole list their separate, individual opinions of Jeremy Barlow's Broadside Band recordings of ECDs is not particularly polite or fair. Every recorded group who wanders into this combination of scholarly/reality quick- sand is guaranteed to produce supporters and detractors and that includes one of our all-time favorite ensembles, "Bare Necessities." The key to this query is to form your own opinion on criteria that is impor- tant to you. Let me suggest a possible train of thought: What instruments does the Broadside Band employ? When were these instruments most widely used in performances, dance music or other forms of music? What is the ideal instrumental ensemble during what I'm coming to call the "Playford Century" (ca 1650-1750)? How do the answers to the last two questions match up? What kind of playing style is employed: straight-blast through or perhaps some tasteful elbatorationi (that's decorating to us folks)? Is the result pleasing and worth dancing too, giving sufficient weight or heaviness to the sound? What does other music from the period sound like when performed in a reasonably enlightened/authentic way? How do these two sounds/approaches match up? Sure, you can play ECD tunes in 19th century styles, many groups do so and we, as dancers, prefer this kind of intensity because we hear it in virtually every other kind of music we listen to. And I think it's fine. I dance to it like the rest of you, with great, great pleasure and aesthetic return. But, as long as we've opened the can of worms, wouldn't it be nice to have something for special occasions, when we have one, two, or three couples over for an evening of fun which may include some of this? Such recordings would also present an alternative approach for all of us to consider. Permit this rather long run of prose one more paragraph. In my library, as part of a superbe Bible collection, we have a 17th century manor house room from England. Furniture, walls, rugs on the floor, are from the period, with chandeliers from the mid- to late-18th century. We invited some friends over to do 2, 3, and 4 couple Playford things. Something was missing and we couldn't figure it out until sometime later. The music transformed the evening into a 20th century event. I say even this with some reluctance because, among our readership, there are some who, in good faith and sincerity, have recorded ECD tunes in what they believe is a reasonably accurate period style. They are entitled to believe that; I'm not qute there yet. Forbes/Baker University ================================================================================ Archive-Date: Fri, 30 May 1997 10:46:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 13:43:41 -0400 (EDT) From: Margaret Whaley <101454.633-AT- CompuServe.COM> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Hoorah! Fried Arrived! To: ECD Message-ID: <970530174341_101454.633_IHP91-1-AT- CompuServe.COM> Fried Herman has arrived in England for her long awaited tour. So I am at last going to meet her. Have heard such a lot about her! First dance is tomorrow at Neston on the Wirral in Cheshire. (Afternoon workshop and evening dance) Can't stop - my partner's picking me up in about 10 minutes (Cheshire is about 150 miles away - so we are going to stop with my sister tonight) Tell you all about it when we get back Margaret Whaley Oxfordshire ================================================================================ Archive-Date: Fri, 30 May 1997 11:49:30 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 11:30:55 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Barnes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Of course, using *any* recorded music automatically transforms the occasion into a 20th century (or very late 19th century) event. Peace. Paul [PS Except a music box, I suppose.] ================================================================================ Archive-Date: Fri, 30 May 1997 12:03:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 14:04:23 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD webpages To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199705301904.OAA12195-AT- ux1.cso.uiuc.edu> Is there a site with links to ECD webpages. I know the CDSS page has some. However there seems to be many contra dance pages, but very few ECD pages. I've finally gotten around to setting up a webpage for the Central Illinois English Country Dancers and would like to have it referenced from the appropriate location(s). The URL is http://www.staff.uiuc.edu/~j-sivier/ciecd/ciecd.html Thanks. Jonathan ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Fri, 30 May 1997 17:19:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 30 May 1997 17:23:00 -0700 From: Laurie Buchanan Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD at Folklife was great! To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I just want to delurk long enough to tell the list about the great job done by Judi Rivkin of Seattle and Nan Evans of Portland in their ECD sessions, and Seattle's Nonesuch Dancers led by Vicki Bestock, at Seattle's Folklife Festival which was held over Memorial Day Weekend. Judi had a workshop at 1:00 on Saturday afternoon followed by a dance from 1:30 - 2:30. As expected, we had hordes of newbies for both. It was really nice to see so many people turn out for this session, and there was lots of recruiting from the sidelines by experienced dancers. My personal goal was to show every Eugene contra dancer willing to give it a try, how much fun ECD is (I succeeded, too). We danced a fairly traditional program including Take a Dance, Juice of Barley, Indian Queen, Jack's Health, and Well Hall. Very nice choices and well taught - as usual. On Sunday morning, Nan had the ideal session - first dance of the day at 11:00. She started right in with Smithy Hill while there was room for the leading out figure and went on to Bar a Bar (the Fried Herman version), Barbarini's Tambourine and ending with Gary Roodman's the ... Wife (nice dance, but I can't seem to retain the whole title). I plan to steal this program for teaching beginners, while keeping experienced dancers happy! Vicki's performance group did a splendid job and the band - Knives and Forks - was just perfect. I don't have it in front of me today, but they put together a program to hand out with several suites and descriptions of the dance, and a list of the dancers and musicians. What a nice touch! The dancing was always interesting and the dancers glowed with their love of dance and performing. The choreography was well thought out for this staged production and I was especially fond of the way she presented Hudson Barn. My apologies for any misstatements here - I only consulted my own memory and even _I_ know what a mistake that is! Laurie Buchanan Eugene, OR ================================================================================ Archive-Date: Sat, 31 May 1997 11:49:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 31 May 1997 14:51:19 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Now is the month of Maying.... To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thanks so much for contributing your seasonally appropriate dance! We enjoyed it a lot last Wednesday evening in Boston. The general opinion seemd to be thoroughly positive, and people came up to me to comment favorably on the dance. 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.