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/pl