Archive-Date: Fri, 01 May 1998 02:09:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 02:03:49 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 30 Apr 1998, Priscilla M. Burrage wrote: > On Thu, 30 Apr 1998, Smith, Kent wrote: > 'The Bear Came Over the Mountain' was a marching tune of one of the > Crusades. Hum it and then hum 'Petronella.' Notice any resemblance? Ummm...no. Is there more than one tune for "The Bear Came (Went) Over the Mountain"? I know it to the same tune as "For He's a Jolly Good Fellow", which isn't, to my ear, even close to "Petronella". Peace. Paul ================================================================================ Archive-Date: Fri, 01 May 1998 05:11:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 09:42:23 -0230 From: "Martin E. Mulligan" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" To add to more to this thread, I was browsing through "Traditional Dancing in Scotland" by J.P. Flett and T.M. Flett when I came across the following in a footnote: "The dance Petronella seems to gave enjoyed remarkable popularity throughout the last three-quarters of the nineteenth century, for it appears in every ballroom guide published in Scotland from 1823 to 1914, and it was also included in the repertoire of all the dancing-teachers whom we know to have practised in Scotland within living memory." They cite 15 guides as sources. Martin Mulligan ========================================================================= Dr. Martin E. Mulligan mulligan-AT- morgan.ucs.mun.ca Department of Biochemistry phone (709) 737-7978 Memorial University of Newfoundland fax (709) 737-2422 St. John's, Newfoundland, CANADA A1B 3X9 ========================================================================={o{o{ ================================================================================ Archive-Date: Fri, 01 May 1998 05:50:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 08:50:15 -0400 From: "Howard A. Markham" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.1.32.19980501085015.006aecac-AT- mail90.mitre.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I confess that I am in the Paul Stamler camp of "Bear Went Over the Mountain". I'm curious to learn whether there is a Petronella-like tune with that name. At 02:03 AM 5/1/98 -0700, Paul J. Stamler wrote: >On Thu, 30 Apr 1998, Priscilla M. Burrage wrote: > >> On Thu, 30 Apr 1998, Smith, Kent wrote: >> 'The Bear Came Over the Mountain' was a marching tune of one of the >> Crusades. Hum it and then hum 'Petronella.' Notice any resemblance? > >Ummm...no. Is there more than one tune for "The Bear Came (Went) Over the >Mountain"? I know it to the same tune as "For He's a Jolly Good Fellow", >which isn't, to my ear, even close to "Petronella". > >Peace. >Paul > > ================================================================================ Archive-Date: Fri, 01 May 1998 06:22:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 09:24:37 -0700 From: Marti Sterin Reply-To: ECD-AT- playford.slac.stanford.edu Subject: NEFFA workshops and geographical differences To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3549F745.4EBE-AT- together.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <009C56C4.E6330AB0.1-AT- playford.slac.stanford.edu> Howard A. Markham wrote: > Why not a workshop at such events as NEFFA as Traditional Contra Dancing? > I'm sure it's been done on occasion, but perhaps not with the following > slant. I would give at least as much emphasis to the style of dancing as > to the clear differences in choreography. I believe that Todd Whittemore and MaryAnn Taylor did this type of a workshop at NEFFA years ago. I was not at NEFFA this year, but this discussion brings back memories of attending my first contra dance in Philadelphia years ago and being shocked to see that the dancers there clapped while changing from a left hand to a right hand star. We don't travel much any more so I don't know if it is still being done there or if it has spread. Marti Sterin samrah-AT- together.net ================================================================================ Archive-Date: Fri, 01 May 1998 06:25:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 09:25:27 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII nOn Fri, 1 May 1998, Paul J. Stamler wrote: > On Thu, 30 Apr 1998, Priscilla M. Burrage wrote: > > > On Thu, 30 Apr 1998, Smith, Kent wrote: > > 'The Bear Came Over the Mountain' was a marching tune of one of the > > Crusades. Hum it and then hum 'Petronella.' Notice any resemblance? > > Ummm...no. Is there more than one tune for "The Bear Came (Went) Over the > Mountain"? I know it to the same tune as "For He's a Jolly Good Fellow", > which isn't, to my ear, even close to "Petronella". It's not the tune, it's the beat. They are both strong marches with strong downbeats for marching and rather simple tunes, at that.. (And almost no upbeat for getting dances off the ground). ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Fri, 01 May 1998 07:23:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 10:23:25 -0400 (EDT) From: Stephen D Corrsin Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Petronella saw the bear To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII With regard to claims of popular tunes going back to the Crusades (namely that Petronella could be thus a 12th c. tune, or whenever exactly it was): beware, oh beware. That sounds suspiciously like all those morris dance claims of profound antiquity, which always turn out to be based on, "Well, it must be old, right?" . So far we've consistently heard (read) of some publication ca. 1820 as a date of origin. It's a long way to jump from E of Aquitaine to 1820, whether the bear is comin' round the mountain in order to smite those naughty crusaders or saracens or anything else. Common sense would lead one to believe that "tune drift" would have set in. Especially if it wasn't written down. Let's not jump back to those Cecilian statements that country dancing is (like alleged morris) a relict of primitive rituals. Those sometimes the *dancers* may seem like survivors ancient rituals... Steve Corrsin ================================================================================ Archive-Date: Fri, 01 May 1998 08:15:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 10:14:47 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford - 3rd edition To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <980501101447.fd7-AT- GEORGE.BAKERU.EDU> Actually, the Lloyd Shaw Foundation Archives that Dr. Bill Litchman heads up has copies of all editions. You might want to contact him at Dr. William Litchman LSF Archives 1620 Los Alamos SW Albuquerque, NM 87104 Phone: 505/247-3921 ================================================================================ Archive-Date: Fri, 01 May 1998 08:21:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 10:21:08 -0500 (CDT) From: FORBES-AT- GEORGE.BAKERU.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Playford - 3rd edition To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <980501102108.e05-AT- GEORGE.BAKERU.EDU> I have two e-mail addresses for Bill Litchman From a message on 2/24/98: Litchman-AT- unm.edu And an earlier one: Litchman-AT- neon.unm.edu Bill is a retired Chemistry professer at U New Mexico/Albuquerque Forbes/Baker ================================================================================ Archive-Date: Fri, 01 May 1998 10:02:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 17:10:41 +0200 From: Antony Heywood Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Greenwich Park - why? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bd7513$4ecc9260$0100007f-AT- localhost> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan Winston wrote: >Last month I called Greenwich Park at my second-Friday Regency dance. I hadn't >ever actually done the dance (which is not commonly done in the Bay Area), but >the tune seemed nice and the figures given in "The Playford Ball" looked easy >enough. > >The dance worked okay, but, watching, it really seemed kind of dorky. (It's >a longways duple minor where the ones lead up and back and then the twos lead >up and back.) You can't go very far on the lead up without running into the >currently-inactive couple above, so it's hard to do an oomphy lead, and most of >the rest of the dance didn't seem to afford much opportunity for oomphiness >in general. > >What am I missing? Most of the dances in TPB are cool, and I can usually see >why they were included even if they're not to my individual taste. Can >somebody who likes this dance point out its virtues to me? I've danced Greenwich Park for over 40 years and like it very much. I always have the couple leading up going between and beyond the inactive couple above, turning before the half way point in the phrase and returning passing outside the inactive couple who move up on the last 4 beats. The real virtue in the dance comes in the B-music with that swing up the middle for the first couple. Antony Heywood ================================================================================ Archive-Date: Fri, 01 May 1998 11:16:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 13:13:21 -0500 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford - 3rd edition To: English Country Dance List Message-ID: <354A10C1.C111F191-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I had been trying to thank everyone individually, but I fear I've missed one or two. For all those who gave me suggestions on tracking down a copy of this edition... Thanks! --Charlene -- Nothing is beyond the capability of two determined women. ================================================================================ Archive-Date: Fri, 01 May 1998 11:55:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 May 1998 11:11:58 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 1 May 1998, Priscilla M. Burrage wrote: > It's not the tune, it's the beat. They are both strong marches with > strong downbeats for marching and rather simple tunes, at that.. (And > almost no upbeat for getting dances off the ground). But "Petronella" is in 4:4 time, whereas "The Bear Went Over the Mountain" is in 6:8... Peace. Paul ================================================================================ Archive-Date: Sat, 02 May 1998 08:19:56 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 02 May 1998 11:17:27 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Obituary, Ethel Capps To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <199805021120_MC2-3BAE-D02F-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all - I just found out that Ethel Capps, the former director of the Berea College Country Dancers and Christmas Dance School died on April 27th. May there be dance in her afterlife, buoyed by the thanks and admiration of those who learned from her! _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny ================================================================================ Archive-Date: Sun, 03 May 1998 05:50:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 03 May 1998 08:53:56 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805031247.IAA01766-AT- ns.kreative.net> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > The tune was also used for a French folk tune, "Marlborough s'en-va > ta guerre" in the 18th & 19th centuries. There were a number of > virtuoso variations written for it (for guitar & violin, among > others). > > Dawn Culbertson Which tune did you mean, Dawn. Petronella or the Bear Came Over the Mountain? ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Sun, 03 May 1998 05:50:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 03 May 1998 08:53:56 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Petronella To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805031248.IAA01775-AT- ns.kreative.net> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT I came across a bit more on Petronella. Although any connection to the dance is highly doubtful, there is a character named Petronella in "The Rover, or the Banish'd Cavaliers" by Aphra Behn, 1677. Petronella Elenora is the bard (and conscience) to La Nuche. Of more interest, I discovered an Australian version of Petronella, done in a "longways set of 4" "Petronella top 2 couples diamond petronella (2s step up at start, straight out at end); tops slipstep down & back; tops swing to bottom" This description was from a dance medley put together as a performance piece. It's not clear how much the dance has been modified for performance. (See http://www.canb.auug.org.au/~lpb/MCD/braidwood98.html to judge for yourself.) Still it's interesting that Petronella survived as a Scottish, English, American and Australian dance. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Sun, 03 May 1998 20:10:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 03 May 1998 23:10:57 -0400 (EDT) From: Dawn Culbertson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Sun, 3 May 1998, Rich Galloway wrote: > > The tune was also used for a French folk tune, "Marlborough s'en-va > > ta guerre" in the 18th & 19th centuries. There were a number of > > virtuoso variations written for it (for guitar & violin, among > > others). > > Which tune did you mean, Dawn. Petronella or the Bear Came Over the > Mountain? The latter. Dawn dcculb-AT- peabody.jhu.edu ================================================================================ Archive-Date: Mon, 04 May 1998 17:49:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 04 May 1998 20:49:03 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Theme dances To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > As a complete neophyte to this forum, having only seen the two latest >contributions (from Rich and Erna-Lynne) I was moved to a chuckle by Erna- >Lynne's this a.m., regretting a surfeit of Apted some years ago. Welcome, Nicolas. A pleasure to have you with us! > I seem to have got myself a reputation (not necessarily good, I hasten to >say) for running "theme Balls". > Now I am sweating on the top line for this year, having set >myself to do a programme of dances all published in Jane Austen's lifetime - >not easy from the point of view of variety! Some thing has happened to contra dancing here in the US. Altnough, not being a contra caller, I'm not certain the callers feel that way about it. Certainly most of the dancers seem delighted with the endless improper duple scene. > I must say, given the vast canvas of Country Dance available to us these >days, I do find a theme helpful, in that it imposes some kind of restriction >on the choice of dances, which also incidentally seems to add, in some cases, >an overall coherence to a programme. I think you have a knack for finding fruitful themes, however. Emily L. Ferguson - Cape Cod, Massachusetts eferguson-AT- umassd.edu Photographer, English Country Dance leader, weaver/spinner % of parents who would like to limit their kids' TV watching - 73 % of American kids who have a TV in their bedroom - 54 Data compiled by TV-free America ================================================================================ Archive-Date: Mon, 04 May 1998 20:03:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 04 May 1998 22:53:33 -0700 From: stepstately-AT- juno.com (Ellie Hansen & Bob Erenburg) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: England in July To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19980504.225334.4510.1.stepstately-AT- juno.com> We would like to enlist your help in planning our first trip to England. We'd love to do some ECD, and see some Morris while we're there. So any info would be appreciated. We've bought our plane tickets and will arrive in London on 7/13. We plan to spend the first four nights in London, and then visit Oxford and the Cotswolds. We'll be leaving from London on 7/22, on a 2.00pm flight from Heathrow. The guidebooks answered a lot of our questions re where to go. Our next need is to locate housing. 1. We'd like your specific suggestions for a B&B or small hotel in London. The British Museum- area or another quiet, centrally located area. We'd like to spend under US$100 per night for 2, if possible. We'll be making reservations asap. We've found the following in a guidebook. Does anyone have any info about them? Garth Hotel Harlingford Hotel Mentone Hotel Vicarage Private Hotel Demetriou's Guesthouse 2. For Oxford and the Cotswolds, we'd like some help in planning an itinerary. Villages to visit and B&Bs to stay at, etc. Thanks for your help. Ellie and Bob New York City _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ================================================================================ Archive-Date: Mon, 04 May 1998 20:37:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 04 May 1998 23:37:26 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: England in July To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805050337.XAA09198-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" When David & I last traveled in England, we did a lot of our booking through the Smooth Hound system [found under UK Hotel & Guest House Directory after searching "hotels UK" on Yahoo]. You can click on hotel & B&B brochures, email inquiries directly, etc. >1. We'd like your specific suggestions for a B&B or small hotel in >London. The British Museum- area or another quiet, centrally located >area. We'd like to spend under US$100 per night for 2, if possible. >We'll be making reservations asap. We've most recently stayed at the Jenkins Hotel overlooking Cartwright Gardens--clean, ok, definitely not glamorous, but comfortable. I'll check where our daughter stayed when she took her high school students to London over spring break. >2. For Oxford and the Cotswolds, we'd like some help in planning an >itinerary. Villages to visit and B&Bs to stay at, etc. I'll bring my 1998-1999 Folk Directory to tomorrow's dance, plus some of our AA stuff. And I bet Graham & Margaret can give you plenty of tips not that they're back on their side of the pond. Happy planning! Sharon Green ================================================================================ Archive-Date: Mon, 04 May 1998 21:06:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 05 May 1998 00:07:08 -0400 (EDT) From: "m.a.j. mckenna" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: England in July To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <1.5.4.16.19980505000650.2ca72618-AT- pop.mindspring.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" until recently, i was going to England quite frequently on hols and my preference was usually to stay in small cheap country places, the closer to a farm the better. my most reliable source was the AA (Automobile Association, equivalent to AAA) B&B guide, available from the British Tourist Authority - they must have an office in NYC, and if they don't have it, you can probably order it on the web now that Amazon.com has bought that Brit bookseller they just acquuired... ignore the ads and go for the individually printed listings, which i think are by county and village. as to what counties and villages you want: if it were me, and on a couple of trips it has been me, i would stay near Chipping Camden but east of Evesham - one of the Hidcotes or Swells or Slaughters. it's a major area for design history, dance history (well, morris anyway) and gardens, if those matter. and The Baker's Arms in Broad Camden is the Great Pub in the Sky (one room, 6 real ales, two fireplaces, three cats). you might consider querying the Morris Dance Discussion List to see whether any of the Cotswold sides have days of dance planned in July. not that you'd want to join in, necessarily, but they're usually somewhere atmospheric like Stow-in-the-wold or Moreton-in-Marsh and are wicked fun to watch... and teh local sdies would know what else amusing is going on. have fun. maryn mckenna atlanta (grew up in surrey, not that that matters) ================================================================================ Archive-Date: Wed, 06 May 1998 00:45:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 06 May 1998 02:42:28 -0500 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: seeking album review To: English Country Dance List Message-ID: <35501464.AB3D6305-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I was browsing through an internet CD store and came across "Early American Roots" by Hesperus. The CD has lots of ECD tunes and from the little snippets available it sounds pretty good. Is anyone familiar with this recording? Do the dances have the right repeats to actually be danceable? --Charlen -- Nothing is beyond the capability of two determined women. ================================================================================ Archive-Date: Wed, 06 May 1998 07:16:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: philippe.callens-AT- uia.ua.ac.be Date: Wed, 06 May 1998 16:15:31 +0200 From: Philippe Callens Subject: Re: seeking album review To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <35507083.DD7-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <35501464.AB3D6305-AT- flash.net> Take a look at the latest issue of CDSS News where this album appears in the sales department section. Philippe Callens ================================================================================ Archive-Date: Wed, 06 May 1998 10:32:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 06 May 1998 13:32:00 -0400 From: "Roger W. Broseus, CHP, Ph.D." Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: seeking album review To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 03:42 AM 5/6/98 , you wrote: >I was browsing through an internet CD store and came across "Early >American Roots" by Hesperus. The CD has lots of ECD tunes and from the >little snippets available it sounds pretty good. Is anyone familiar >with this recording? Do the dances have the right repeats to actually >be danceable? > >--Charlen On a similar note, the Baltimore Consort came out with Trip to Killburn* a little over a year ago. Not very danceable but the ECD tunes are arranged in a way that makes for great listening, at least to my ear. *The Baltimore Consort. A Trip to Killburn: Playford Tunes and their Ballads (1996). From the CDSS catalog. Cheers, -- Roger __ _ _________________ _ ______________________________________________ /__) _,___, _ _ /_) Contra dancing fanatic, English country / \__(_) (_/_(/__/(_ /__). dance aficionado. Superfluous disclaimer - _/_ my opinions are mine. Email: IDo-AT- exist.com ________ (/_______________________________________ or __ Dancer-AT- exist.com _ ================================================================================ Archive-Date: Wed, 06 May 1998 15:18:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 06 May 1998 18:17:32 -0400 (EDT) From: Sallen Nic Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Ethyl Anderson To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit There is a small book in the process of being compiled in memory of Ethyl Anderson, containing a collection of dances which she used to teach. Difficulty is being experienced in establishing the authorship of two dances in particular, and it occurred to me that there may be someone out there who can help. The first is "Professor Martin's Maggot", a 3 Co. longways set dance. All that is known is that it was found tucked into the back of a "Playford book" (?CDB?) among the papers of Professor Martin of Liverpool University after he died. Can anyone tell me any more about its origins or authorship than this? The other dance is "Bebbington Capers", about which I know nothing more than its title. Can anyone help with information on these two dances? If so, speed would be much appreciated, as the book is nearing completion. Nicolas. ================================================================================ Archive-Date: Wed, 06 May 1998 21:43:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 06 May 1998 23:40:10 -0500 From: Charlene Charette Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: seeking album review To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <35513B2A.2CFFEFCB-AT- flash.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <35501464.AB3D6305-AT- flash.net> <35507083.DD7-AT- uia.ua.ac.be> Philippe, I tried to sent this to you privately, but your internet provider blocks all mail from Flashnet. I don't get CDSS News. Did they offer a review? Could you perhaps send a brief summary of their opinion? Thanks, --Charlene Philippe Callens wrote: > Take a look at the latest issue of CDSS News where this album appears in > the sales department section. > ================================================================================ Archive-Date: Thu, 07 May 1998 10:50:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 07 May 1998 13:51:17 -0400 From: Country Dance and Song Society Reply-To: ECD-AT- playford.slac.stanford.edu Subject: space at English & American Week To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2.2.32.19980507175117.0069a05c-AT- crocker.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" There is still space at both of CDSS's English & American Dance Weeks and Folk Music Week! Join us! English & American Dance Week at Buffalo Gap (in West Virginia) is July 4-11. English & American Dance Week at Pinewoods (in Massachusetts) is August 29-September 5. Each offers English country and contra dance classes as well as morris, sword, dance band, singing and other good stuff. Folk Music Week at Pinewoods is July 25-August 1 and offers singing, singing, and more singing, lots of music, plus contra, square and couple dancing. Write the Country Dance and Song Society, camp-AT- cdss.org for details. ================================================================================ Archive-Date: Thu, 07 May 1998 15:24:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 07 May 1998 18:24:24 -0400 (EDT) From: SFORDNYC Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: seeking album review To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit I picked up "Early American Roots" a year or so ago. It's a very nice album -- lots of variety of tunes and the arrangements are quite interesting -- and extremely well played. But I don't think it was intended for dancing. It's great for listening, though. Along the same lines, I recently found a CD by The Broadside Band -- "English Country Dances, from Playford's Dancing Master 1651-1703 (Saydisc CD-SDL 393) which has been made for dancing. It has many of the "usual suspects" -- Well Hall, Newcastle, Mad Robin, Childgrove, Red House, Portsmouth, Mr Bevridge's Magot (sic) and others. They give an intro and play each tune through a couple of times (mostly 3, a few 5). I wouldn't say this is enough for serious dancing but it's a thought. Anyway, it's perfectly enjoyable for listening. This group has evidently made quite a few recordings -- the arrangements are by Jeremy Barlow. I assume these are familiar to musicians and others in the dance community. Suzanne ================================================================================ Archive-Date: Sun, 10 May 1998 21:12:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 11 May 1998 00:11:42 -0400 From: "Mary K. Friday" Subject: Preliminary Announcement of Baltimore Playford Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <35567A7E.2935-AT- erols.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <01IWG1FACHRM9AUCY4-AT- SSRL.SLAC.STANFORD.EDU> This year's Baltimore Playford Ball will be held on SATURDAY, OCTOBER 3, 1998 The Baltimore Folk Music Society cordially invites you to attend. We will, of course, provide hospitality for those requesting it. More details will be available later. I personally believe that out-of-town dancers are one of the essential elements that make a ball festive and -- a ball! So I encourage you to check your calendars and plan to attend if you possibly can. We're a relatively small ball, but we always have excellent music, and the hall is lovely. Plus, it's catered by Bertha's! I promise that if you come, you won't regret it! Mary Kay Friday ================================================================================ Archive-Date: Mon, 11 May 1998 03:30:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 11 May 1998 06:29:54 -0400 (EDT) From: Sallen Nic Reply-To: ECD-AT- playford.slac.stanford.edu Subject: The Assembly Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Date for Travellers' diaries:- The Assembly: 16th Annual Ball, Edinburgh, Scotland. Saturday, July 4th, 1998. If anyone plans to be in Scotland around July 4th, they would be more than welcome at our annual Ball. The company is always very pleased to see new faces, the food is excellent, and we shall once again be dancing to our own home grown talent, the stunning A&B. What better way to celebrate independence? Nicolas Broadbridge. ================================================================================ Archive-Date: Mon, 11 May 1998 15:33:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 11 May 1998 18:39:05 -0500 From: Loretta Holz Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Special English Country Dance in Morristown, New Jersey To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit If you live anywhere near Morristown NJ, come to a special English County Dance Workshop on Wednesday, May 20, 1998 from 7:30 PM to 11 PM sponsored by the Morristown Folk Dancers. We do dances from many different countries including some ECD. We will have quite a few experienced ECDers as well as many dancers experienced in many other forms of dancing. In other words it should not be a beginner dance. The workshop features Gene Murrow, with music by Robin Russell on piano and Marnen Laibow-Koser on violin, viola, recorder, pennywhistle & flute. From 7:30 to 8:00 PM we'll have a Review of Basics and the dance will begin at 8. It will be held at the High School Cafeteria/Auditorium, College of St. Elizabeth, Convent Station. On Route 124 it's beween Morristown and Madison. NJ next to Farleigh Dickinson Univ. Come over the RR tracks onto the campus and get directions from the guard. See: www.att.com/community/nj_folk Please come and join us. I think you'll see a lot of people you know. ================================================================================ Archive-Date: Tue, 12 May 1998 00:56:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 12 May 1998 00:53:36 -0700 (PDT) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: This Saturday -- St Louis Playford Ball! To: English Dance Maillist Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi folks: This Saturday, May 16th, the St. Louis Country Dancers will host the St. Louis Playford Ball. Dancing begins at 8 pm, and this year the ball is being held at the Monday Club, 37 S. Maple, Webster Groves. Dance leaders are Carol Luer and Peter Wollenberg; music will be provided by the Speckled Band (Pam Carson, Paul Ovaitt, Elliott Ribner, Paul Stamler & Marcia Whelan). It's a lovely hall with a great dance floor, but no air conditioning, so if it turns out to be a hot day, plan accordingly. For more information, to make reservations or to get directions, call Kevin Keach at 314-427-0108 or e-mail Peter Wollenberg at: 105520.641-AT- compuserve.com Peace. Paul ================================================================================ Archive-Date: Tue, 12 May 1998 14:32:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 12 May 1998 14:29:15 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Branford, CT summer dances To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19980512212916.17180.rocketmail-AT- attach1.rocketmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm sorry, was someone asking about hotbeds of English dancing? I seem to have misplaced a couple of months somewhere. Here it is the middle of May and I haven't gotten around to announcing the 2nd annual series of English dances in Branford, CT, called and taught by Helen Davenport, which begins THIS FRIDAY, MAY 15. After that, for the convenience of all we will be switching to a Saturday night schedule for the rest of the summer. Complete schedule follows. If you live in the neighborhood please join us; if you have friends or relatives here (you know who you are) please pass the information on. New Haven Country Dancers Presents the 2nd Branford Summer Series of English Country Dancing Calling and teaching by Helen Davenport at the Branford Community Center, 46 Church St., Branford, CT (easy access from I-95) 8:00 p.m.- 11:00 p.m. Admission $7.00 Beginners' Workshop at 7:30 p.m. Dancing will begin promptly at 8:00 p.m. with a Playford classic FTWK Information (203) 776-1812 or (203) 777-5114 Sumptious refreshments by Helen and/or myself (chocolate chip brownie fans, take note) • Friday, May 15, with Norb Spencer on accordion and Paul McGuire on wind instruments • Saturday, June 20, with Larry Wallach on piano, Anna Legêne on violin and possibly Paul McGuire on wind instruments • Saturday, July 11 with Leah Barkan on piano, George Davis on violin, and possibly Paul McGuire on wind instruments • Saturday, July 25, with Norb Spencer on accordion and Paul McGuire on wind instruments • Saturday, August 8 - tentative!!- call to confirm. This depends on whether or not the BCC is having their floor finished at this time. With Norb Spencer on accordion and Paul McGuire on wind instruments Directions to Branford Community Center: I-95 to exit 54 (Cedar St. exit). Take Cedar St. south toward Branford Center (crossing Rte 1), until it ends at Main St. Go left on Main, immediately getting into the right hand lane. When Main forks, stay on the right fork (South Main), and take the first right-hand turn after that fork onto Eades St. Take Eades about two blocks until it ends at a parking lot, jog left and then right into the parking lot of the Community Center. Dance is on the second floor. === Barbara Ruth New Haven, CT _________________________________________________________ DO YOU YAHOO!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Tue, 12 May 1998 15:22:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 12 May 1998 15:22:21 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: First Lady's Choice: a dance history question To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IWY7YK3GIQ9AUCY4-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Folks -- I've heard frequently that, during the Regency at least, the standard practice at balls was that the first lady in the longways set (who was the lady of highest precedence who hadn't yet been a first lady) would choose figures impromptu and then call them as she went down the set. (This was one of the reasons that the couples below the minor set containing the first lady didn't dance until she reached them -- they couldn't tell what the dance was.) [This seems unbearably tedious to modern tastes, but does help explain all the conversation Jane Austen's characters manage on the dance floor (along with the triple minor dances where the third couples just stood there), and since this might be your only unchaperoned time with someone of the opposite sex, there were compensations.] The only documentary justification I've seen is in Wilson's "Complete System of Country Dancing." He complains about first ladies who call figures that don't fit the length of the music, and uses this to launch his amazing set of tables of figures, tune lengths, and complexity; any lady who memorizes these tables will never go wrong. I have trouble reconciling this practice with 150 years of dance books showing specific dances to specific tunes. It does appear that there aren't as many of these being published by the time Wilson writes (1816, I think); the country dance is losing popularity in favor of the quadrille and the waltz. Was the lady's choice of figures a recent innovation at the time? Did she have the option of choosing a published set of figures for a particular tune? Was this practice restricted only to the _ton_, and the middle classes would use dances from books? Can anybody clear this up for me? Thanks, -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Tue, 12 May 1998 16:03:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 12 May 1998 16:03:46 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: (Fwd) Village Music Project To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IWY9VF5L4Y9AUCY4-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII [This was just posted on the eceilidh mailing list; I repost it here with permission. It's fine with me if some general discussion happens here, but the poster doesn't subscribe to ECD, so if you want him to see your comments, you need to mail him specifically. Personally, I think this is just swell. -- Alan] From: Johnny Adams This open letter is just about to go up on my research web page and out to a few relevant newsgroups. But you saw it here first. Forgive me if this is classed as advertising, but it isn't commercial!!! 12 May 1998 An Introduction to the Village Music Project Dear Colleague, Allow me to introduce you to the Village Music Project, a new initiative primed with funding from the University of Salford , Manchester, UK., and run at the Institute of Social Research in partnership with the Ryburn 3 Step folk development project in West Yorkshire. One aim of the project is to provide a focus for research into the history of the country dance tunes of England. The project is promoting a range of activities including the identification and dissemination of previously unexploited manuscript material fiddler's and piper's tunebooks, etc.), the publication of information relating to research already undertaken by individuals, the location of published collections of dance music not presently in print, the re-publication of significant historical collections, and comparative study of the dance tune repertoire with similar material from elsewhere including the rest of the British Isles, Eire, mainland Europe, Australia, America, etc. A parallel aim of the project is to encourage the playing of the tunes both for dancing and for general musical entertainment. To this end, the project has a long term aim to provide music copy and/or recordings of significant collections of tunes, where not already published. It is hoped that much of this output will be aimed at young musicians and we seek sources of funding to enable this strand of our work. In promoting the wider dissemination of this music, we are keen to use all of the technologies available. As well as encouraging the paper publication of major collections of music, we wish to make available, by other means, backup material which is not ikely to be published in the normal way, but may still be of interest to players and researchers. This might include the provision of a photocopy service or ABC format tunebooks on computer disk or on the World Wide Web. In all this, we recognise that the publishing of conventional tunebooks is presently the most effective way of disseminating the tunes and it is important that the project not only protect the sales of commercially published tunebooks, but also promote their sale and consequently courage further publications. We are trying to recruit a variety of voluntary helpers to undertake some of the work of the project. The sort of tasks that need to be done? Visit specific libraries and archives to inspect manuscript tunebooks and published collections and report back on contents, etc. Perform detective work to track down items that have disappeared, never been catalogued or exist on difficult to access manual systems. Compile lists of tune titles, alternative titles, etc.; Use experience to identify untitled tunes and cross reference tunes to other collections, countries, continents, genres, etc. Negotiate copies (photocopy or photographic) of interesting material and assist in making it available to the project. Transcribe original materials into ABC format for electronic publication via computer disk or the Internet. Play tunes onto tape for the benefit of people who don't or can't read music. For your efforts, you get access to all the unpublished tunes we have, as they become available. Any Takers? Contact John Adams at the above (address, phone number or) email. If you are connected to the Internet, look at http://www.salford.ac.uk/media/research/vmpaims.htm tel: 01 422 822413 =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Tue, 12 May 1998 19:00:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 02:55:58 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: First Lady's Choice: a dance history question To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3558FDAE.1B15AFBA-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <01IWY7YK3GIQ9AUCY4-AT- SSRL.SLAC.STANFORD.EDU> Alan Winston - SSRL Central Computing wrote: > > Folks -- > .. snip > > I have trouble reconciling this practice with 150 years of dance books showing > specific dances to specific tunes. It does appear that there aren't as many of > these being published by the time Wilson writes (1816, I think); the country > dance is losing popularity in favor of the quadrille and the waltz. > > Was the lady's choice of figures a recent innovation at the time? Did she have > the option of choosing a published set of figures for a particular tune? Was > this practice restricted only to the _ton_, and the middle classes would use > dances from books? > Alan I can confirm that until the beginning of the nineteenth century this was the case. There is ample orseographic evidence from 1684/5 onwards for this. There is also evidence in litterature for it, eg in the famous letter to the Spectator (1710) about the dancing master's ball. In fact Thomas Wilson is credited with inventing the new system of turning longways triple minor improper dances into circles (circassian, but that term comes from something else) so that everybody could start working at once. When reading literature about country dancing in the C17/18 it is worth remembering that you only "danced" your way DOWN the set. As a 2nd or 3rd couple working your way up the set you were not "dancing". There is also plenty of evidence of many sets of figures applied to the same tune or the same set of figures applied to different tunes. You can see this in the many collections published in the form 24 Dances for the Year ... etc. Finally, if you look at Scottish Country Dance as purveyed by the Royal Scottish Country Dance Society (actually has little to do with real scottish country dancing - I'm sure I'll get lots of flak about that!) you will find that the four couple longways set is in fact a triple minor dance done by the top couple with the next two couples and then by the top couple (now in 2nd place) with the bottom two couples (ie the same principle but with a very short set). I am starting to put a web site together with the results of my research but this will take a while. Its not there yet but the URL will be http://www.tgis.co.uk/~mab Michael Barraclough ================================================================================ Archive-Date: Tue, 12 May 1998 23:12:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 12 May 1998 23:11:46 -0700 (PDT) From: Paul and Vicky Bestock Reply-To: ECD-AT- playford.slac.stanford.edu To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Seattle has just hosted the first Cascadia English Occasional Dance Weekend, and it wa a great success. The festival was the brainstorm of Frank Clayton, but its success was due mainly to the efforts of Anita Anderson who organized music for the events. We are blessed in Seattle with extraordinary music for English dancing-- three regular bands plus many, many other outstanding musicians who played together in wonderful mix-anbd-match combinations. Truly glorious stuff, inspiring great dancing. Bruce Hamilton taught half the workshops. Most of you know that Bruce's focus is more on dancING than dancES, and the workshops were not mere mini-dances, but opportunities to learn connections, style, carriage, and what I'd call ensemble-- awareness of other dancers and of dancing together. Irfona Larkin taught the other half of the weekend. An elegant dancer herself, Irfona has researched the authentic way the dances we love were danced in the period in which they evolved. Though some of the footwork can be extremely complicated, Irfona was able to present a few simple steps, allow us to dance familiar dances with the original patterns and footwork, and to be totally forgiving of all approximations. The evening dances were great parties, with a variety of callers, both local and guest. The breaks in the dances had entertainment by Seattle Morris, North by Northwest, and Nonesuch English Country Dance. The weekend ended with an outdoor picnic, which provided a chance to chat with the many newcomers and out-of towners who are not part of our regular community. All our events are advertised as fragrance-free, since quite a few people both in Seattle and among the visitng Portland community, have serious adverse health effects from chamicals including those in perfume. For about a dozen of us, it was pretty amazing to even BE in a room with 90 people. Thank you from the bottom of our hearts, particularly to the newcomers or out-of-towners who are less familiar with this issue, and who sought out information, bought new products they never heard of before, and went out of their way to make it possible for us to dance with them!! We are lucky to dance with such loving, generous people!!! Since my husband was the registrar for the event, and I am one of the local callers and organizers, the e-mail below came to us to share with the community. The author wished to be anonymous, so I won't include her name, just her message. "I'm writing to let you know how much I enjoyed this weekend. I've danced various forms all my life but am a beginner at English Country dancing (having been to exactly 3 dances before this weekend). I learned from the other dancers as well as from the callers--and really appreciated the good-natured, non-judgemental and non-intrusive methods people used to correct my mistakes. I felt welcomed, which is considerably better than feeling tolerated. Thanks to all the people who made it such a good experience for me." See you all at next year's Cascadia weekend. A big thank you to the callers, musicians, organizers and dancers who made it such a success. Victoria Bestock ================================================================================ Archive-Date: Wed, 13 May 1998 13:37:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 16:37:15 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Cascadia Occasional English Dance Weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805132037.QAA04475-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:11 PM 5/12/98 -0700, Vicky Bestock wrote: >We are blessed in Seattle >with extraordinary music for English dancing-- three regular bands plus >many, many other outstanding musicians who played together in wonderful >mix-anbd-match combinations. Truly glorious stuff, inspiring great dancing. I was lucky enough to be at the Cascadia Weekend and have come home still feeling high from the wonderful music and dancing and hugs. It was especially lovely to meet some of the new, enthusiastic dancers from Vancouver, who have held only three dances to date (led by Russell Owen & Judi Rivkin from Seattle) and to watch them realize just how great English dancing can be. A splendid event. Sharon Green ================================================================================ Archive-Date: Wed, 13 May 1998 14:23:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 14:21:42 -0700 From: "Gary D. Shapiro" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'm teaching Mad Robin tonight. I have the Sharp description but then I found a variation on the net: it had the 2's do, in B2, what the 1's did in B1. I can't remember how I've done it at dance camps etc. I'm sure the Sharp version will work fine but how is it generally "done" in US ECD circles nowadays? If I don't get an answer before tonight, I'll do it one way this week and the other way next week. Muchas gracias... -- Gary D. Shapiro (That's "Gary Yes! at...") Enlightenment is both a floor wax and a dessert topping. ================================================================================ Archive-Date: Wed, 13 May 1998 14:39:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 17:39:47 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805132139.RAA12333-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 02:21 PM 5/13/98 -0700, you wrote: >I'm teaching Mad Robin tonight. I have the Sharp description but then I >found a variation on the net: it had the 2's do, in B2, what the 1's did in >B1. > >I can't remember how I've done it at dance camps etc. I'm sure the Sharp >version will work fine but how is it generally "done" in US ECD circles >nowadays? The generally done version has the Twos active in B2: B2 1-4 2nd couple repeat B1, woman going down center and casting up to 1st place, her partner moving down outside and returning up the center. 5-8 2nd couple turn two-hands once around. [The Playford Ball, Keller & Shimer] Sharon Green ================================================================================ Archive-Date: Wed, 13 May 1998 15:51:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 18:54:22 +0600 From: Christine Robb Subject: Regency dancing To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <199805132251.SAA00231-AT- smtp.interlog.com> I seem to recall you being active in Regency dancing, from your posts on the ECD list. I'm interested in researching the footwork done during the Regency, in ECD. Do you know of any sources that talk about this? Primary resources are preferred, but anything is a start. Thanks for your help, Christine cedar-AT- interlog.com ================================================================================ Archive-Date: Wed, 13 May 1998 16:25:03 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 19:24:35 -0400 (EDT) From: Sallen Nic Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <48b4e5b4.355a2bb4-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Gary Shapiro asks about Mad Robin. I know it is commonly done these days in the US with the 2nd Co doing in B2 what the 1st Co did in B1: however, we used to do the dance at the Round (CD Group) in Cambridge in the early 60's more or less as Sharp transcribed it, and used to enjoy the feeling, after turning at the end of B1, of the Man sending his partner up the outside as he moved up the middle, and then we used to turn anticlockwise at the end of that strain - really just for variety. Of course I realise that it is a great deal more interesting for the 2's to do the second bit, but when I was dancing it at Pinewoods, I must say that when I was a 1st Man I missed the double movement with the swishing feeling, which I remembered as the main attraction of the dance! Nicolas Broadbridge - Scotland. ================================================================================ Archive-Date: Wed, 13 May 1998 19:20:22 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 21:23:36 +0000 From: Mary E Jones Subject: Re: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <355A0F59.FD8-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <48b4e5b4.355a2bb4-AT- aol.com> Nicolas Broadbridge wrote: > Gary Shapiro asks about Mad Robin. I know it is commonly done these days in > the US with the 2nd Co doing in B2 what the 1st Co did in B1: I've never done it any other way but it certainly sounds to be really something for the first couple. Of course the 2's would probably be calling out for pizza on their cell phones for want of anything to do...we Americans are not a patient lot! > however, we used > to do the dance at the Round (CD Group) in Cambridge in the early 60's more or > less as Sharp transcribed it, and used to enjoy the feeling, after turning at > the end of B1, of the Man sending his partner up the outside as he moved up > the middle, and then we used to turn anticlockwise at the end of that strain - > really just for variety. Of course I realise that it is a great deal more > interesting for the 2's to do the second bit, but when I was dancing it at > Pinewoods, I must say that when I was a 1st Man I missed the double movement > with the swishing feeling, which I remembered as the main attraction of the > dance! For me, the *real* magic moment of that dance is for the 1st woman (ta dahhhh) when she makes the transition from the A1 to the A2: she is finishing her left-hand turn to her partner and barely breaks eye-contact with him as he moves to 2nd place; she, with her left hand still somewhat extended, then turns him by the left again. Zoweeee! Mary (a moment almost better than chocolate) Jones Amherst, MA ================================================================================ Archive-Date: Wed, 13 May 1998 20:56:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 13 May 1998 23:58:41 +0000 From: Rich Galloway Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805140352.XAA17786-AT- ns.kreative.net> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT > Mary (a moment almost better than chocolate) Jones Indeed. That was one of the "magic moments" I taught in my workshop last month. BTW, It's just as good for M1. Another wonderful moment is at the end of M1's turn with W2 as he gradually extends his arm to allow her to dance down the outside behind W2. ==================================================== Rich Galloway Silver Spring, MD ==================================================== ================================================================================ Archive-Date: Thu, 14 May 1998 04:07:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 14 May 1998 07:07:29 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Mary (a moment almost better than chocolate) Jones Well............... Almost.......... But, yes, a pretty wonderful moment. Emily L. Ferguson - Cape Cod, Massachusetts eferguson-AT- umassd.edu Photographer, English Country Dance leader There are two spiritual dangers in not owning a farm. One is the danger of supposing that breakfast comes from the grocery; and the other that heat comes from the furnace. Aldo Leopold ================================================================================ Archive-Date: Thu, 14 May 1998 07:02:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 14 May 1998 10:02:50 -0400 (EDT) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Mad Robin/blind leading the blind To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 13 May 1998, Gary D. Shapiro wrote: > I'm teaching Mad Robin tonight. I have the Sharp description but then I > found a variation on the net: it had the 2's do, in B2, what the 1's did in > B1. > > I can't remember how I've done it at dance camps etc. I'm sure the Sharp > version will work fine but how is it generally "done" in US ECD circles > nowadays? I've taught it both ways; Sharp's version is closer to the original Playford instructions, and the story line is *very* different -- the 1's can make much of the fact that first one of them is "escaping" up the outside, while the other is "chasing", and then the roles are reversed, suggesting, Cosi fan tutte style, that the first "escape" backfired and alienated more than intended, and the second figure is reaction & apology for the first. This also gives room for much play with initiating the trip up the outside: it can begin with a cast, completely breaking with partner and abandoning him/her for the moment... it lends itself to lots of wonderful variations. Let the 2's enjoy the spectacle, and see if they can match it when it's their turn! Another point I like to make is that, in A2, the first woman should be the initiator of the L hand turn with partner on the diagonal, reflecting the symmetry of the dance and sharing the initiative for these moves, rather than having the first man charge in to initiate it as a continuation of his cast. I know that folks like the continuity of this motion, and that is still possible if the 1st woman is prepared to initiate this precisely on time, and the 1st man doesn't arrive at the 2nd man's position too early, but it is really nice to see the the 1st woman's hand go up just an instant before the 1st man's as an invitation to this turn, to establish her leadership at this point. Too often I see the 1st man usurp this role, which somehow seems symbolic of much of the rest of life. I like it much better when the leading roles are shared equally. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Thu, 14 May 1998 08:16:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 14 May 1998 16:17:35 +0100 From: martin.sheffield-AT- wanadoo.fr (M Sheffield) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: First Lady's Choice: a dance history question To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Michael Barraclough wrote: > >Finally, if you look at Scottish Country Dance as purveyed by the Royal >Scottish Country Dance Society (actually has little to do with real >scottish country dancing For those unfortunates (like myself) living too far from Scotland to know what "real scottish dancing" is like, and for those for whom the RSCDS's words are gospel, do enlighten us about the difference. Are you thinking of ceilidh dancing? Martin, Grenoble, France. ------------------ http://perso.wanadoo.fr/scots.in.france ================================================================================ Archive-Date: Thu, 14 May 1998 10:54:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 14 May 1998 10:54:49 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: First Lady's Choice: a dance history question To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01IX0RI6ZRDG9AUCY4-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Martin asked: > >Finally, if you look at Scottish Country Dance as purveyed by the Royal >Scottish Country Dance Society (actually has little to do with real >scottish country dancing For those unfortunates (like myself) living too far from Scotland to know what "real scottish dancing" is like, and for those for whom the RSCDS's words are gospel, do enlighten us about the difference. Are you thinking of ceilidh dancing? "Traditional Dancing in Scotland," by Flett, has a very good discussion of, well, traditional dancing in Scotland, both sociological and technical. (That is, it talks about the context and the content of pre-RSCDS dance, both from documentary material and interviews with, usually, islanders.) RSCDS dancing is a construct of the current century, not altogether unlike Sharp-style ECD. -- Alan =============================================================================== Alan Winston --- WINSTON-AT- SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Physical mail to: SSRL -- SLAC BIN 69, PO BOX 4349, STANFORD, CA 94309-0210 =============================================================================== ================================================================================ Archive-Date: Thu, 14 May 1998 12:51:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 14 May 1998 12:50:50 -0700 (PDT) From: Margherita Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Come to Columbia County, New York! To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19980514195050.25480.qmail-AT- hotmail.com> Content-Type: text/plain Columbia County Country Dancers starts its second summer season, Saturday, May 23 (Memorial Day weekend), 7:30-10:30pm. The opening dance will be led by two of our very own chocoholics: Mary Jones of Amherst and Sharon Green of NYC. Music will be by Hudson Crossing: George Davis, fiddle & harmonica; Cara Friedman, flute & recorders; and Robin Russell on piano. Refreshments (including you-know-what) will be served. The dance will be held in the Community House of The Church of St. John the Evangelist, County Route 25, Stockport, NY. You can find a neat map at: http://www.vicinity.com/ by just completing the form at MapBlast. They'll also give you driving directions. For those of you contemplating travel through the area to the Brattleboro Dawn Dance, you might stop here on the way. Overnight hospitality is available. Other dates in the series are: June 20, July 25, August 15, September 19, and October 17. All are Saturdays. Mary Jones will call many of the dances, but we'll also have Paul Ross, Gene Murrow, John Huhn and Patricia Evans. Music will be mainly by Hudson Crossing with guests: Roger Davidson, Sue Polansky, Larry Wallach and others. We hope to see many of you there, to make this season even more successful than the first. Margherita Davis ******************************************************** Margherita Modica Davis NYC: (212) 724-1707 margheritad-AT- hotmail.com Upstate: (518) 828-6181 mandgdavis-AT- earthlink.com mmodica-AT- obgyn.amc.edu ******************************************************** ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Thu, 14 May 1998 21:38:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 15 May 1998 00:37:42 -0500 From: eferguson-AT- umassd.edu (Emily L. Ferguson) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: First Lady's Choice: a dance history question To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > >I can confirm that until the beginning of the nineteenth century this >was the case. There is ample orchesographic evidence from 1684/5 onwards >for this. There is also evidence in literature for it, eg in the >famous letter to the Spectator (1710) about the dancing master's ball. You mean the first lady invented the dance? When did the dancing masters come in, who promulgated the women's dances, and how did they get solidified from imagination to print? Were there women dancing masters? Travelling, or attendant on a specific place? Do I understand you to be saying that this dancing we do is primarily the product of women's creative energy? Primarily invented by women? Emily L. Ferguson - Cape Cod, Massachusetts eferguson-AT- umassd.edu Photographer, English Country Dance leader There are two spiritual dangers in not owning a farm. One is the danger of supposing that breakfast comes from the grocery; and the other that heat comes from the furnace. Aldo Leopold ================================================================================ Archive-Date: Thu, 14 May 1998 23:12:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 14 May 1998 17:18:35 -0400 From: solweber-AT- juno.com (sol weber) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Come to Columbia County, New York! To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19980515.020904.3670.0.solweber-AT- juno.com> References: <19980514195050.25480.qmail-AT- hotmail.com> Hi Thanks for the info. Re Oct 17, is there a competing English dance at Amherst, or is that one on Sun.? I don't have details, but thought you might want to check. \+++++Sol "Roundman" Weber --- "So many rounds, so little time" 25-14 37th St, Astoria, NY 11103; 718-278-4389 (after 11am) _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ================================================================================ Archive-Date: Fri, 15 May 1998 04:59:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 15 May 1998 12:53:15 +0100 From: Michael Barraclough Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: First Lady's Choice: a dance history question To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <355C2CAB.9CA9D813-AT- ecid.cig.mot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: Emily L. Ferguson wrote: > > > You mean the first lady invented the dance? > > When did the dancing masters come in, who promulgated the women's > dances, and how did they get solidified from imagination to print? > > Were there women dancing masters? Travelling, or attendant on a > specific place? > > Do I understand you to be saying that this dancing we do is primarily > the product of women's creative energy? Primarily invented by women? Do I perceive a hidden agenda here?! My remarks were primarily addressed to the structure of the dance, ie starting with the top minor set and then progressively bringing in other dancers. This was in place by 1651 when Playford first published and was clearly still happening in the early ninettenth century. I have seen little evidence that people were taught "country dances" (as opposed to minutes, gavottes, etc. but there is evidence that the steps, gestures and other movement aspects learned from dancing masters for "proper" dancing were employed by those who knew them when doing country dances. There is evidence for English country dances being taught elsewhere. For example, Andre Lorin was despatched to London to learn these dances after a dancing master (Monsieur Isaac if I recollect correctly) taught one at the French Court. It would seem that by 1651, those who did them already understood how they should be done. The books of dances were primarily an aide memoire to existing or proposed sets of figures. As to the role of women in all this - I would speculate that at the top of the social pyramid both men and women took dancing lessons from male (I have seen no evidence for female dancing mistresses in seventeenth and eighteenth century England). As you moved down the social scale the proportion of men relative to women taking these lessons probably declined. Having read the early nineteenth century descriptions of how english country dances were done (especially Wilson) it is possible to extrapolate back somewhat (using known constructs from later to overlay comments from earlier) for the 1650-1800 period. It seems likely that: + the first country dance of the evening had couples arranged in order of social importance (most important at the top etc) + the next dance would have the second most important couple at the top and so on + someone in the top couple (apparently the woman by the nineteenth century) would ask the musicians to play a tune + someone in the top couple would explain to the next couple (duple minor) or two couples (triple minor) what the figures were going to be + the musicians would play some of the tune as an introduction (so that the dancers would know the rhythm and speed) + people further down the dance would observe what was happening above them so that by the time the original top couple had reached them they knew what to do + country dance books were primarily crib sheets Were women the creative force? Behind the dance structure, emphatically no. The English Country Dance form (progressive longways single, duple, triple and quadruple minor) can be explained as a natural progression from earlier dance forms such as the branle. Behind individual dance choreographies, maybe but the evidence is scant. We do know that women were (sometimes and in some situations) dictating what figures were danced (for certain from early nineteenth century) but it is most probable that they were using sets of figures published by male publishers, provided by male dancing masters ... Michael Barraclough ================================================================================ Archive-Date: Fri, 15 May 1998 08:22:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 15 May 1998 08:22:31 -0700 (PDT) From: Margherita Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Come to Columbia County, New York! To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19980515152232.11349.qmail-AT- hotmail.com> Content-Type: text/plain >Hi Thanks for the info. Re Oct 17, is there a competing English dance >at Amherst, or is that one on Sun.? Both. Bruce Hamilton is doing an open dance Sat night & experienced dance Sun afternoon. There's always a conflict somewhere... Margherita ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Sat, 16 May 1998 14:23:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 16 May 1998 17:27:48 -0400 From: catdancer-AT- juno.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Cascadia Weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19980516.172750.9718.3.catdancer-AT- juno.com> References: I too was one of the lucky ones to attend Seattle's Cascadia Weekend. The musicians were wonderful and the dancing devine. Irfona Larkin had lots of interesting footwork to share, and Bruce Hamilton was truly inspirational as always. An added feature was the thoughtfulness of the Seattlites who took the time to welcome me and invite me to their homes. Thanks to all of you. This was my first trip to Seattle, and it won't be the last. Besides, I still have to see the mountains (there ARE mountains out there somewhere, I'm told). My co-workers can't believe I'd fly across country for a weekend. But I'm the one still smiling. :-) Helen Tuzio New York _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ================================================================================ Archive-Date: Mon, 18 May 1998 16:11:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 18 May 1998 19:05:05 -0400 From: solweber-AT- juno.com (sol weber) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: thoughts To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19980518.190505.3670.7.solweber-AT- juno.com> I can't imagine a world without the great dances of Pat Shaw, and one of these days I'd love to see a film or video about him (and SHOWING him). Hopefully there are such films, or perhaps the bits and pieces for assembling them. Advancing technology has of course made such projects more manageable, and how nice it would be if various folks in the best position to do so could initiate projects to immortalize, on film or video, our premiere English Dance creators while they're still with us -- Fried Herman, Colin Hume, Gary Roodman, and so many others. (Please forgive any omissions.) There could be commentary and footage ABOUT each plus words of wisdom from their own lips, interspersed with their dances (teaching demos and/or scenes from various events). Learning tapes for older dances would be useful as well. Since there are often regional differences -- proper vs. improper, casting vs. crossovers, duple vs. triple minor versions, etc -- the different customs should be described or actually shown (rather than endlessly argued about). Suggestions or volunteers? (Note: "Bilingual" folks might wish to encourage similar projects to immortalize our leading creators of contras, squares, and other American forms.) +++Sol "Roundman" Weber --- "So many rounds, so little time" 25-14 37th St, Astoria, NY 11103; 718-278-4389 (after 11am) _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ================================================================================ Archive-Date: Mon, 18 May 1998 18:13:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 18 May 1998 21:11:43 -0700 From: Stephanie Smith Subject: Re: thoughts To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <3561067F.24DE-AT- ix.netcom.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <19980518.190505.3670.7.solweber-AT- juno.com> sol weber wrote: > I can't imagine a world without the great dances of Pat Shaw, and > one of these days I'd love to see a film or video about him (and SHOWING > him). Hopefully there are such films, or perhaps the bits and pieces > for assembling them. > > Advancing technology has of course made such projects more > manageable, and how nice it would be if various folks in the best > position to do so could initiate projects to immortalize, on film or > >video, our premiere English Dance creators while they're still with us >-- Fried Herman, Colin > Hume, Gary Roodman, and so many others. (Please forgive any omissions.) > There could be commentary and footage ABOUT each plus words of wisdom > from their > own lips, interspersed with their dances (teaching demos and/or scenes > from various events). > > Suggestions or volunteers? You are right, Sol, such things would be nice to see. I'm working on what is clearly a long term project for lack of a lot of spare time assembling recollections of Pat Shaw when he was in the U.S. I lived in Edinburgh and was a student in the School of Scottish Studies at the University of Edinburgh at the very time when Pat was editing the wonderful Greig-Duncan folksong manuscript. I don't know if the School has any film documentation of Pat, but there may certainly be some audio which I intend to follow up when I am next across the pond. I don't know if Cecil Sharp House in London has any film or not, but that would be another logical place to look. Nicolas Broadbridge, if you're out there, do you have any thoughts on this? Pat Shaw pointed me in the direction of Berea, where I of course met our fellow listmember, John Ramsay. John, was Pat ever filmed while he was in Kentucky? I also know that Leslie Lassiter, formerly in New York and now in Boston, is planning a dissertation about Pat Shaw. As far as our current leaders, perhaps it's time to do some kind of documentation project with good videographers and perhaps some grant funding. I'd be very happy to explore these possibilities with others interested in this. My day job is as an archivist in the Center for Folklife Programs & Cultural Studies at the Smithsonian, so I have some potentially useful contacts. Stephanie Smith ================================================================================ Archive-Date: Mon, 18 May 1998 20:49:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 18 May 1998 23:49:31 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Documenting Current Dance Leaders To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805190349.XAA26402-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Stephanie Smith wrote: >As far as our current leaders, perhaps it's time to do some kind of >documentation project with good videographers and perhaps some grant >funding. I'd be very happy to explore these possibilities with others >interested in this. My day job is as an archivist in the Center for >Folklife Programs & Cultural Studies at the Smithsonian, so I have some >potentially useful contacts. Well worth exploring. Some of our New York dancers have connections in the film & video production industries; others have professional experience in PR and grant-writing. Anybody else out there with relevant day jobs? Sharon Green ================================================================================ Archive-Date: Tue, 19 May 1998 19:19:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 19 May 1998 22:18:16 -0400 From: "Roger W. Broseus, CHP, Ph.D." Reply-To: ECD-AT- playford.slac.stanford.edu Subject: www Dance Niche To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805200215.WAA02024-AT- ns.kreative.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dear ECD listserv friends, I have put together a www page devote to dance with emphasis on ECD. I was moved to this labor of love after seeing several urls of interest in messages on the ECD listserv as well as wanting to do something to benefit our local dance community. As with many web pages, this one reflects my own interests and 'take' on dance, reflected in my signature line. Subscribers to this listserv will find some familiar links: I filched them directly from messages posted here. I invite considered suggestions for additions to the page and other constructive criticisms. There certainly is room for this page to grow. Please take a look and I hope you find something at http://www.just.net/~roger/dance.niche.html that is useful and/or enjoyable. At the request of some folks up in NYC, I've also posted a list of dances called during the year for FSGW ECDs. It's NOT FANCY ... a working document used primarily for the convenience of callers in planning their programs. It's at www.just.net/~roger/d.called.txt. Surfers will likely need to decrease the zoom factor (ctrl-[ in Netscape) to avoid some ugly word-wrap; the document is formatted for a mono-spaced font. I am not including a link to this page in my others at the present time because it's likely that the audience will be limited and the formatting is too. Best regards, -- Roger __ _ _________________ _ ______________________________________________ /__) _,___, _ _ /_) Contra dancing fanatic, English country / \__(_) (_/_(/__/(_ /__). dance aficionado. Superfluous disclaimer - _/_ my opinions are mine. Email: IDo-AT- exist.com ________ (/_______________________________________ or __ Dancer-AT- exist.com _ ================================================================================ Archive-Date: Tue, 19 May 1998 22:05:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 20 May 1998 01:02:19 -0400 (EDT) From: JohnBerni Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Archival work on Pat Shaw and other leaders To: ECD-AT- SSRL04.SLAC.STANFORD.EDU, harry_rice-AT- berea.edu Message-ID: <252df688.356263dd-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit From John Ramsay in St Louis in response to ECD entries about documenting dance leaders, especially Pat Shaw. While I was at Berea College (1973-1995) I taped many hours of dancing and dance leaders both audio and video. I made audio copies of Pat Shaw at Levi Jackson available to the public and believe that the College still has some copies left. I did not make copies of the audio I have of Pat at work in public schools in Kentucky--that is mostly song. But his personality and breadth of interest comes across especially in the Levi Jackson tape. I don't recall having made any video of Pat. There may be something from the Tyne and Wear Folk Moot in 1975 which has Pat in it; it does have the Monkseaton rapper and other teams at the Moot. There is video of Ethel Capps and her excellent team when they performed with the Cincinnati Symphony in its 1973 summer series. I also taped The 25th Sidmouth Festival including Nibs Matthews doing Bacca Pipes. Then there is Sibyl Clark during her two years working for me in Berea. And of course especially my College troupes. Several times I had people video classes at Christmas School and I know that there is footage of Bessie Jones (poor but interesting because it is live), Jerry Duke, Genny Shimer etc. Those tapes are now at the Hutchins Library in Berea and Harry Rice is beginning the job of cataloging them. One of my interests in taping has been to be able to analyze skill in leading dance. Skills have improved so much during the 50 years that I have been dancing and I think it is instructive to look and see where leaders capture a crowd and where they lose them. Good teaching techniques are picked up and circulated with amazing speed, e.g. I remember when the now ubiquitous "the other left hand" entered the teaching vocabulary. ================================================================================ Archive-Date: Thu, 21 May 1998 12:13:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 21 May 1998 15:17:41 -0400 From: "Albert A. Blank" Subject: [Fwd: Re: thoughts] To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <35647DD5.5781-AT- sprintmail.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------1357587689F" This is a multi-part message in MIME format. --------------1357587689F Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit -- Albert A. Blank e-mail: fandango-AT- sprintmail.com --------------1357587689F Content-Type: message/rfc822 Content-Transfer-Encoding: 7bit Content-Disposition: inline Received: from sdn-ts-066txfworp14.dialsprint.net(206.133.156.65) by mailfep2-hme1 via dsmap-1.22 id Q_10.1.1.6/Q_2239_1_3561df10; Tue, 19 May 1998 12:35:44 -0700 Message-ID: <3561E01E.720F-AT- sprintmail.com> Date: Tue, 19 May 1998 15:40:14 -0400 From: "Albert A. Blank" Reply-To: fandango-AT- sprintmail.com X-Mailer: Mozilla 3.0 (Win95; U) MIME-Version: 1.0 To: ECD-AT- playford.slac.stanford.edu CC: fandango-AT- sprintmail.com Subject: Re: thoughts Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit There already exists a large collection of Pat Shaw print, manuscript and recorded material in the hands of Marjorie Fennessy who assembled contributions from many of us after Pat's death. I don't know where to look for film or video material but Marjorie probably does. There are many still photographs about. Perhaps Leslie would like to pursue the English Connection. Albert Blank fandango-AT- sprintmail.com --------------1357587689F-- ================================================================================ Archive-Date: Thu, 21 May 1998 18:59:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 21 May 1998 21:53:50 -0400 From: solweber-AT- juno.com (sol weber) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: permanent record To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19980521.215351.3670.20.solweber-AT- juno.com> A while back I mused that films/videos/whatever about Pat Shaw would be a good thing to assemble from whatever materials are available on him and his dances, etc. I also put on this wish list that such a record for our LIVING dance creators would be great as well, to do them justice while they're here. A number of responses addressed the Pat Shaw portion, which is excellent -- I hope that gets done sometime in the not too distant future -- and I hope his terrific rounds get a mention. However, I hope the other portion is not forgotten. Documenting dance composers like Colin Hume, Gary Roodman, etc, are desirable projects, but they are relative youngsters with a long way to go, hopefully. More pressing should be the immediate documenting of the older masters among us, and if money is a factor in getting such a project going, I'd be happy to chip in, along with others, I'm sure. Fried Herman, who thank goodness is going strong in her inimitable fashion, has created such an immense body of work -- all those unique and delightful dances. Some videos on her dances, and on her interesting life, would be totally fascinating (if done by a skilled person), and since, though lively, she is not a 'spring chicken', it would be nice to do it soon. Any further thoughts from anyone? There are of course a number of other older individuals who have created some fine dances, not as prolifically as the individuals mentioned above, but still worthy of capturing in permanent form. Please do think about them as well. Thanks, and have a good holiday weekend. \+++++Sol "Roundman" Weber --- "So many rounds, so little time" 25-14 37th St, Astoria, NY 11103; 718-278-4389 (after 11am) _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866] ================================================================================ Archive-Date: Fri, 22 May 1998 06:49:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 06:56:43 -0700 (PDT) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: permanent record - living treasures among us To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19980522135643.14149.rocketmail-AT- web2.rocketmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ---sol weber wrote: > Documenting dance composers like Colin Hume, > Gary Roodman, etc, are desirable projects, but they are relative > youngsters with a long way to go, hopefully. More pressing should be the > immediate documenting of the older masters among us, and if money is a > factor in getting such a project going, I'd be happy to chip in, along > with others, I'm sure. Fried Herman, who thank goodness is going strong > in her inimitable fashion, has created such an immense body of work -- > all those unique and delightful dances. Some videos on her dances, and > on her interesting life, would be totally fascinating (if done by a > skilled person), and since, though lively, she is not a 'spring chicken', > it would be nice to do it soon. Any further thoughts from anyone? > > There are of course a number of other older individuals who have created > some fine dances, not as prolifically as the individuals mentioned above, > but still worthy of capturing in permanent form. Please do think about > them as well. Christine Helwig, as far as I know, has not composed any dances, but she has certainly had a major impact in terms of the reclamation and reconstruction of historical dances from written sources and in her teaching. She is also, for those on the list who haven't had the honor of knowing her personally, the soul of graciousness - I can think of no one who better embodies the spirit of English dance at it's best. She has also had a pretty interesting life in her own right, going from school teacher to local politics and then into dance research. She is fascinating to talk to and would make a great interview subject for someone who knows how to do that kind of documentation. Given both her contributions and her age and health, it seems to me that any project to preserve a record of the masters among us should start (and soon) with this woman who, in my mind represents what in Japan they call a "living treasure" of the ECD Community. Barbara Ruth New Haven _________________________________________________________ DO YOU YAHOO!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Fri, 22 May 1998 10:21:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 13:20:56 -0400 (EDT) From: JBGrun Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: permanent record To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <415239e1.3565b3f9-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Right on, Sol! We have just concluded the10th Anniversary Fried-for-All= =0AWeekend Workshop at the Lenox (MA) Community Center which, for the 11t= h=0Asuccessive year, has been dedicated to honoring FRIED deMETZ HERMAN &= her=0Adances. Every year since1988 we devotees of Fried have been privil= eged to=0Aexperience her teaching her own dances=97many only recently=97o= r not=0Ayet=97published. I'm sure that the more than 70 experienced Engli= sh dancers that=0Aattended would agree that we need to communicate to the= wider English dance=0Acommunity the extraordinary work of this choreogra= pher. Occasionally Fried=0Awill say "I'm not going to live forever, you k= now," and, in spite of the fact=0Athat her creative energy seems unlimite= d, she undoubtedly feels the pressures=0Aof time. The 12th Annual Fried-f= or-All is set for the weekend of June 11-13=0A1999, at the Lenox Communit= y Center as usual. The musicians, as this year,=0Awill be MGM (Margaret A= nn Martin, Gene Murrow, Mary Lea.) Wouldn't it be=0Aexciting if we could = get the event on video? Preferably in as artful as=0Apossible a manner; n= ot simply as a document, the way one might tape the High=0ASchool graduat= ion. (I would love to hang the camera from the ceiling: one of=0AFried's = new dances, The Severn Bore, is an amazing depiction of the flowing=0Amov= ement of a river.) If we get to work on it now, we might really be able t= o=0Apull something together by next June. I'm in charge of the weekend & = would be=0Ahappy to help in any way I can. Judy Grunberg (Mireille's Daug= hter)=0A ================================================================================ Archive-Date: Fri, 22 May 1998 11:13:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 14:13:11 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: permanent record To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805221813.OAA23531-AT- mail1.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Re Barbara Ruth's and Judy Grunberg's postings regarding preserving Christine's and Fried's teaching and choreographic heritage: Barbara: Thanks largely to the late George Beauchamp, numerous videos exist of Christine working with the Chelsea English Country Dancers demo team. In addition, there's some footage of her recent appearance on a local Westchester interview show that should be preserved. Judy: When Sol initially posted his suggestion, I emailed several of our local dancers who I believed would be interested in such a project. One of them was Suzanne Ford, who attended the most recent Fried for All. Here is the relevant portion of her response: Reply-To: ECD-AT- playford.slac.stanford.edu Subject: historical contradancing in Cuba? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19980522185033.402.rocketmail-AT- web2.rocketmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm sure there are other BMG Classical Music Club members on the list (and if you're not and want to be I will be delighted to tell you about it off-line). In the latest catalogue there is listed in the world music section a CD with the intriguing title "Cuba-Contradanzas & Danzones" played by the Rotterdam Conservatory Orqesta Tipica and described as "Authentic performances rediscover popular forms of Cuban social music that date back to the 1850s." Any of our dance history buffs - what is the connection between "contradanzas" and our contra dances? Was Cuba a hotbed of contra-dancing in the 19th century and how did it end up there? Barbara Ruth New Haven === Barbara Ruth New Haven, CT ---Sharon Green wrote: > > Re Barbara Ruth's and Judy Grunberg's postings regarding preserving > Christine's and Fried's teaching and choreographic heritage: > > Barbara: > > Thanks largely to the late George Beauchamp, numerous videos exist of > Christine working with the Chelsea English Country Dancers demo team. In > addition, there's some footage of her recent appearance on a local > Westchester interview show that should be preserved. > > > Judy: > > When Sol initially posted his suggestion, I emailed several of our local > dancers who I believed would be interested in such a project. One of them > was Suzanne Ford, who attended the most recent Fried for All. Here is the > relevant portion of her response: > > do, -- > When Fried was last on staff at Pinewoods English Week, a bit of filming was > done; it's very much amateur work, and would require much editing, but it > exists. > > > Question for Brad Foster: Does CDSS need/want to set up a committee to help > coordinate such projects? > > Question for Nic Broadbridge, Colin Hume, Philippe Callens, et al: Do you > know of any attempts being made to document Tom Cook's contributions to the > field? > > For me (and for my library director husband), it's critical that if we > undertake such projects we do them *well* and so I'm very grateful that we > have folks like Stephanie Smith around, who have the contacts and expertise > we need to do a good, thorough job. Danny Walkowitz, who is Director of > Metropolitan Studies and professor of history at NYU (and a CDNY apprentice > teacher), would also have an interest in projects of this nature. So: > > Who all else out there has skills (or actual video clips, tape recordings, > etc.) that would help us bring a Fried project to fruition? > > A Christine project? > > Please respond. > (And if you can think of non-list dancers who might be helpful to these > projects, please let them know about this inquiry and let us know whether > they're willing to help.) > > Hugs, > Sharon Green (just starting editing Fried's foreword to her forthcoming > collection Fringe Benefits) > > _________________________________________________________ DO YOU YAHOO!? Get your free -AT- yahoo.com address at http://mail.yahoo.com ================================================================================ Archive-Date: Fri, 22 May 1998 12:17:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 12:16:58 -0700 (PDT) From: Margherita Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: permanent record To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19980522191659.12775.qmail-AT- hotmail.com> Content-Type: text/plain >Who all else out there has skills (or actual video clips, tape recordings, >etc.) that would help us bring a Fried project to fruition? For some years, CD*NY member Joe Delaney has been doing living histories on older people both here & in Ireland. While he is a skilled amateur, he has talked at length about the techniques in getting people to open up & be at ease while the tape is running. I'm sure he would be interested in helping in some way. Margherita Davis ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Fri, 22 May 1998 12:22:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 15:21:49 -0400 (EDT) From: Cerrina Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: permanent record - living treasures among us To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit there is a wonderful video of Christing Helwig doing an hour interview with the local Larchmont/ Mamaroneck cable station. I saw it at a Chelsea ECD get- together.... christine , I believe, has a copy. I'm sure she would share it with whoever will be archiving the material. ================================================================================ Archive-Date: Fri, 22 May 1998 13:05:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 16:04:22 -0700 From: "Michael J. O'Connor" Subject: Re: historical contradancing in Cuba? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <35660476.5AF-AT- erols.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit References: <19980522185033.402.rocketmail-AT- web2.rocketmail.com> Barbara Ruth wrote: > In the latest catalogue there is listed in the > world music section a CD with the intriguing title "Cuba-Contradanzas > & Danzones" played by the Rotterdam Conservatory Orqesta Tipica and > described as "Authentic performances rediscover popular forms of Cuban > social music that date back to the 1850s." Any of our dance history > buffs - what is the connection between "contradanzas" and our contra > dances? Was Cuba a hotbed of contra-dancing in the 19th century and > how did it end up there? Barbara: A fascinating discovery. I can't wait to hear if anyone knows the answers and responds. Also a good posting about Christine. Are you coming to the English dance up in Stockport, NY tomorrow evening? If so, see you there. Mike ================================================================================ Archive-Date: Fri, 22 May 1998 14:30:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 17:29:51 -0400 (EDT) From: Sallen Nic Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Re: permanent record To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <1cd2be22.3565ee50-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit In response to Sol Weber, Stephanie Smith and now Sharon Green:- I had a chat with Marjorie Fennessy, who is pretty certain there is no useful (if any) film of Pat Shaw. Pat has now been dead for twenty years, so in his case it would have to have been film, as video was not an available medium at that time. There are plenty of recordings of Pat, both commercial (mostly singing), and amateur taped stuff (again mostly singing and talk). A project that Marjorie and I have had at the back of our minds for some time is to reissue a sampler of Pat's recordings, but to echo Sol, "so many projects, so little time". The next Pat Shaw issue has to be his "Another look at Playford", but twenty odd years of monthly sessions needs a lot of work, and is going to take us a while to do. Sharon asks if anything is being done to record Tom Cook: the answer is, not to my knowledge: furthermore, Tom has now very firmly retired from teaching and calling (his last sessions were at Burton Manor in April last year). I think that is one fish that has got irretrievably away. On the west side of the Atlantic, Fried, Christine Helwig and Helene Cornelius would seem obvious and urgent candidates (in that all are fairly senior now) and on this side of the Atlantic two obvious people would be Betty Chater (one of the very few left teaching who were actually taught to dance in the Sharp tradition) and Marjorie Fennessy with her unique link with Pat Shaw. Nicolas Broadbridge. (Scotland) ================================================================================ Archive-Date: Fri, 22 May 1998 17:07:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 22 May 1998 20:03:28 -0500 From: Carol and John Ferlazzo Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: permanent record To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805230015.UAA10809-AT- mx1.freewwweb.com> What a wonderful idea to have permanent recordings of English composers and their dances! Whether they're done in a documentary format or a more artful format (as Judy Grunberg suggested), these recordings would be a delight not only to those of you who know these teachers/composers and dances well; but also to those of us who are fairly new to English Country Dancing. They would be a wonderful teaching tool for us "newbies" and we could also use them to introduce ECD to our non-dancing friends and family. We can then say, "*This* is what we do when we go dancing." Carol Ferlazzo ================================================================================ Archive-Date: Sat, 23 May 1998 09:06:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 23 May 1998 10:12:29 -0400 (EDT) From: MartinezPC Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Cuban "contradanzas" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Barbara Ruth, having seen a CD of "Contradanzas y danzones cubanas" listed in the BMG Classical Music Club catalog, wondered how "contradanzas" found their way to Cuba. I was intrigued, and just did a brief Web search which turned up a publicity blurb for that very recording by the Rotterdam Convervatory Orquesta Tipica. It gave at least the beginnings of an answer: "French colonists took the "contredanse" to the Caribbean in the 18th century. After the French Revelution, in the turmoil accompanying the birth of the first independent Caribbean republic, Haiti, many thousand French settlers, with their families and domestic slaves, fled to Cuba. Their cultural impact was considerable. The "contradanza cubana" that evolved had a binary structure pulsed to the Afro-Caribbean rhythm known as the "cinquillo", and the "habanera". In the 2nd half of the 19th century, the contradanza developed into the more elaborate "danzon," danced by couples....(snip)......Right up until the 1940's the danzon was very popular in Cuba." Of course, this says little to describe the "contradanza", but in the statement that the "danzon" was danced by couples, there seems to be the implication that the contradanza was danced by more than two... There were other websites to explore, including one that mentioned Venezuelan contradanzas, but I don't have the time right now. I *will* pursue this, and be back with whatever I find. Hmmmm......shall I buy that CD? Look what you've started, Barbara! Carol Martinez White Plains, NY ================================================================================ Archive-Date: Sat, 23 May 1998 09:55:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 23 May 1998 09:55:26 -0700 From: "Gary D. Shapiro" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Peruvian "contradanzas" To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The plot thickens. Recently I received an email from a Peruvian who had apparently run across the "What Is Contra Dance?" web page for which I am responsible. They have something in Peru called, yep, contradanza. I haven't finished translating her latest email, but it looks like they're doing something like what the Regency folks do, with historical costumes. I'll post more later; gotta go! -- Gary D. Shapiro (That's "Gary Yes! at...") Enlightenment is both a floor wax and a dessert topping. ================================================================================ Archive-Date: Sat, 23 May 1998 11:26:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 23 May 1998 11:26:50 -0700 (PDT) From: MEIER-AT- SSRL.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: historical contradancing in Cuba? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <01IXDDAFR4O29BC5B5-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Barbara Ruth -- Coincidentally, I'm in the middle of doing research on this very topic -- not just on Cuban dances, but on Latin American dances as they've developed from the dances brought over by Europeans. A friend who reads Portuguese has been translating a lot of Brazilian material, and he and I have been talking to some of the local Latin dance teachers about it. It's very cool stuff. Sorry to tantalize you with this tidbit, but I'll post more later. Vanessa ================================================================================ Archive-Date: Mon, 25 May 1998 10:34:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 25 May 1998 13:33:53 -0400 (EDT) From: Will Linden Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Petronella origins To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 1 May 1998, Priscilla M. Burrage wrote: > > Ummm...no. Is there more than one tune for "The Bear Came (Went) Over the > > Mountain"? I know it to the same tune as "For He's a Jolly Good Fellow", > > which isn't, to my ear, even close to "Petronella". > > It's not the tune, it's the beat. They are both strong marches with > strong downbeats for marching and rather simple tunes, at that.. (And > almost no upbeat for getting dances off the ground). Well, if THAT is the only "connection", there must be hundreds of tunes that "fit". I recall the story about the time Sullivan was asked "doesn't that piece of yours sound like such-and such by so-and-so?" and replied "Very likely, we only have seven notes between us!" Will Linden wlinden-AT- panix.com http://www.panix.com/~wlinden/ Magic Code: MAS/GD S++ W++ N+ PWM++ Ds/r+ A-> a++ C+ G- QO++ 666 Y ================================================================================ Archive-Date: Wed, 27 May 1998 08:59:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 27 May 1998 10:59:46 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Playford Ball in Urbana, IL, June 20 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805271559.KAA26211-AT- staff1.cso.uiuc.edu> The Central Illinois English Country Dancers Invite You To An E N G L I S H C O U N T R Y D A N C E P L A Y F O R D B A L L The Central Illinois English Country Dancers will be holding their third annual Playford Ball on Saturday, June 20, 1998. The dance will be held at the Channing-Murray Foundation, 1209 W. Oregon, Urbana, IL, on the campus of the University of Illinois. There will be a review of the evening's dances from 7:00 to 8:00, followed by the Ball from 8:00 to 11:00 p.m. Fans and finery are encouraged. There will be a $5.00 suggested donation to help cover the cost of the Ball. All lovers of English Country dance and music are welcome. Dances Lead By: Susan Burt, Jane Hobgood and Jonathan Sivier Music Provided By: The Flatland Consort Dance Review: 7:00 p.m. Playford Ball: 8:00 to 11:00 p.m. Date: Saturday, June 20, 1998 Location: Channing-Murray Foundation, 1209 W. Oregon, Urbana, IL Suggested Donation: $5.00 There will be refreshments at the break and a party following the dance. There will be a costume contest with a Top Couple (King and Queen of the Ball) being chosen. Here is the list of dances we will be doing: The Bishop The Dressed Ship Elizabeth by Colin Hume Flowers of Edinburgh A Grand March The Hatter (Danish) Jack's Maggot Jacob Hall's Jig Oranges and Lemons Picking Up Sticks Prince William Trip To Paris Waterfall Waltz For further information contact Jonathan Sivier (j-sivier-AT- uiuc.edu) at 217/359-8225 or Jane Hobgood at 217/328-1708 or check the webpage at - http://www.staff.uiuc.edu/~j-sivier/ciecd/playford.html Thanks for the support of the Champaign Park District. For those who are interested, the Urbana Country Dancers will be holding a contra dance on Friday, June 19, from 8 to 11 p.m. at the Crystal Lake Park Pavilion in Urbana. Jonathan Sivier will be calling and The Prairie Mountaineers will be playing. ------------------------------------------------------------------------- | 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. | ------------------------------------------------------------------------- | Home page URL: http://www.staff.uiuc.edu/~j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Wed, 27 May 1998 17:49:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 27 May 1998 20:49:29 -0400 (EDT) From: Mary2dance-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: The Falmouth Dance To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit I'm coming to my first Pinewoods English week at last! Many thanks to CDSS and BACDS for selecting me for one of the full scholarships. I would like to go to the Falmouth Dance if it's happing on August 29 and if I can find a place to stay (I could even afford a motel or B&B) though I'd rather stay with someone. And then I'd need to arrange transportation to Logan on Sunday for an early evening flight. Any one willing to help me arrange this? Thanks, Mary Luckhardt Winging my way eastwards from San Francisco... ================================================================================ Archive-Date: Wed, 27 May 1998 22:58:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 28 May 1998 01:58:53 -0400 (EDT) From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Scholarships [was Re: The Falmouth Dance] To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199805280558.BAA11224-AT- mail2.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 08:49 PM 5/27/98 -0400, Mary Luckhardt wrote: >I'm coming to my first Pinewoods English week at last! Many thanks to >CDSS and BACDS for selecting me for one of the full scholarships. Congratulations, Mary, and I'm looking forward to seeing you there. (Can't help with Falmouth transport, though--sorry] Right now CD*NY is selecting its first batch of camp scholarship recipients. But we're only beginning to develop the tools and procedures we'll need in future years as our new scholarship program becomes more widely known and we're confronted with more applicants and have to judge among them. I'm interested in gathering any and all info on other groups' scholarship programs. Copies of application forms, descriptions of criteria used in selecting scholarship recipients, copies of letters of acceptance and letters of rejection, methods of funding endowed scholarships--if your group has a scholarship program, we'd love to learn all about it. Thanks for your help. Sharon Green ================================================================================ Archive-Date: Fri, 29 May 1998 06:22:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 29 May 1998 09:23:28 +0000 From: Rick Rhodes Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Custom Ball Attire To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <356E7E8F.5C92-AT- popeleo1.mv.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Can anyone tell me of local (New England) persons who tailor period garb suitable for wearing to Playford Balls? Thanks, Rick Rhodes rrhodes-AT- popeleo1.mv.com ================================================================================ Archive-Date: Fri, 29 May 1998 12:42:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 29 May 1998 15:41:20 -0400 (EDT) From: LIBWaltz-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Custom Ball Attire To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9a8383f1.356f0f62-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Rick - For you and anyone else in the northeast that's interested, Kit Campbell, of NYC, makes incredibly beautiful and authentic (if you wish) period costumes. My husband and I just wore her excellent handiwork to the NY Ball. I know she gets up to the Boston area every once in a while, and much work can be done by mail (fabric samples) and phone. There are not too many actual fitting sessions, particularly for the males. Try her at 212 942-0520. Good luck! Lucy Weinstein libwaltz-AT- aol.com ================================================================================ Archive-Date: Sat, 30 May 1998 08:40:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 30 May 1998 11:34:19 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Scholarships To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <199805301138_MC2-3E9E-C516-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sharon - the moment the Germantown Country Dancers had enough money in the till, we offered a $ 25 contribution to one member of the group who wanted to go to PW and had never been there before. That was in the early 70s, when the camp fees hovered around $ 125. There had never been a mad rush for this scholarship, but then summer camp was not on as many folks' agenda as it is now. There also were no choices other than PW. I do know that the policy still stands, but I don't know about any changes over the years. Considering the impact a session at dance and music camp can have... I'll always be in favor of groups making attendance possible for someone who would otherwise be deprived! _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny ================================================================================ Archive-Date: Sun, 31 May 1998 13:47:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 31 May 1998 16:46:09 -0400 (EDT) From: LIBWaltz-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: More re: Petronella Clapping To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <6ca75470.3571c1a0-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit For anyone not already sick of Petronella comments... (Perhaps if you are sick, it is from doing that wonderfully-named dance "Salmonella Evening".) The comments back and forth remind me of my international folk dance days in NYC, back in the early 60's. At Micheal Herman's Folk Dance House on West 16th St., a sign on the wall admonished us: "NO HUNTING, FISHING, OR CLAPPING IN KOROBUSHKA". (The twirls in that Russian dance take one away from and then back to partners.) To this day, during my rare appearances at folk dances, I cringe when I hear those claps. But I do understand how tempting it can be... Lucy Weinstein Huntington, N.Y. aka Oh! to Waltz! ================================================================================ Archive-Date: Sun, 31 May 1998 16:51:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 31 May 1998 19:46:42 -0400 From: solweber-AT- juno.com (sol weber) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: this and that To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19980531.194642.3670.43.solweber-AT- juno.com> 1. Responding to Lucy W's note, while I don't clap in Petronella, I think I DID in that great old Russian dance, Korobushka. Sorry, Lucy. 2. Re Pat Shaw, how many of you who happened to see the season-end "Dr. Quinn, Medicine Woman" on May 16, were as startled as I was when the wedding guests, back there in the 1870s, began dancing to the strains of "Margaret's Waltz"? Pat of course composed that gorgeous music in 1959. The Dr. Quinn show tends to be rather historically accurate, but I forgive them for this lovely lapse. If that Pat Shaw film/video/whatever is actually produced one of these days, it would be a great touch if permissions could be obtained so part of that segment might be included. \+++++Sol "Roundman" Weber --- "So many rou