Archive-Date: Wed, 01 Sep 1999 05:39:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Sep 1999 08:35:25 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Email address, please.. To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <199909010838_MC2-8325-26D8-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT I tried to reach John Ramsay by email, but apparently have a wrong address. Does anyone on this list have a current one for John? Please email me. Thanks in advance _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny Budnick ================================================================================ Archive-Date: Wed, 01 Sep 1999 09:50:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Sep 1999 11:49:48 -0500 (CDT) From: Jonathan Sivier Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Email address, please.. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <199909011649.LAA19742-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Hanny, John and Berni changed their address not too long ago. Of course they might have changed it again, but the address that I have is johnberni-AT- postnet.com I hope this is helpful. Jonathan ------------------------------------------------------------------------- | Jonathan Sivier |Q: How many angels can dance on the | | j-sivier-AT- uiuc.edu | head of a pin? | | Flight Simulation Lab |A: It depends on what dance you call. | | Beckman Institute | | | 405 N. Mathews | SWMDG - Single White Male | | Urbana, IL 61801 | Dance Gypsy | | Work: 217/244-1923 | | | Home: 217/359-8225 | Have shoes, will dance. | ------------------------------------------------------------------------- | Home page URL: http://www.uiuc.edu/ph/www/j-sivier | ------------------------------------------------------------------------- ================================================================================ Archive-Date: Wed, 01 Sep 1999 16:32:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Sep 1999 19:32:36 -0400 (EDT) From: S2LINEN-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Email address, please.. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT please consider others privacy please do not give out over this site others addresses, email addresses phone# etc. please mail that specific info directly to that person ================================================================================ Archive-Date: Wed, 01 Sep 1999 16:49:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Sep 1999 19:46:36 -0400 From: Michael and Caryn White Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Email address, please.. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <005501bef4d4$3b9ad700$bc9585cd-AT- whites> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Here's what I have. johnberni-AT- postnet.com Mike -----Original Message----- From: Hanny D. Budnick <74031.77-AT- compuserve.com> To: Blind.Copy.Receiver-AT- compuserve.com Date: Wednesday, September 01, 1999 8:36 AM Subject: Email address, please.. I tried to reach John Ramsay by email, but apparently have a wrong address. Does anyone on this list have a current one for John? Please email me. Thanks in advance _-AT- _ {)/' /\ /\_._,<_/ ' \ /_\ /> /< Hanny Budnick ================================================================================ Archive-Date: Thu, 02 Sep 1999 07:58:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Sep 1999 10:56:33 -0400 From: "Hanny D. Budnick" <74031.77-AT- compuserve.com> Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Email address, please.. To: Blind.Copy.Receiver-AT- compuserve.com Message-ID: <199909021058_MC2-8346-E3B0-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Thanks to Jonathan and Mike for the prompt information! To "S2LINEN-AT- aol.com" I'd like to say that this is not a chatroom where handles are necessary! Most of us are not reluctant to put our REAL name to our conversations, and, of course, our email address as part of our messages makes a direct contact between list members possible. What are you worried about? Hanny ================================================================================ Archive-Date: Thu, 02 Sep 1999 12:49:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Return-Path: garyir-AT- email.msn.com Date: Thu, 02 Sep 1999 11:49:17 -0800 From: gary irwin Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Email address, please.. To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000801bef57c$3ecb1900$47daffd0-AT- default> Content-Transfer-Encoding: 7BIT -----Original Message----- From: Hanny D. Budnick <74031.77-AT- compuserve.com> To: Blind.Copy.Receiver-AT- compuserve.com Date: Thursday, September 02, 1999 7:00 AM Subject: Email address, please.. Thanks to Jonathan and Mike for the prompt information! To "S2LINEN-AT- aol.com" I'd like to say that this is not a chatroom where handles are necessary! Most of us are not reluctant to put our REAL name to our conversations, and, of course, our email address as part of our messages makes a direct contact between list members possible. What are you worried about? Hanny i have no idea what this is about, care to enlighten me? ================================================================================ Archive-Date: Fri, 03 Sep 1999 00:07:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Sep 1999 00:11:45 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: The Netherlands? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bef5db$94c78820$3feaadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT There's something that I've had a question about for a while, and I'll bet there are people here who can tell me the answer. There seems to be quite a lot of English country dancing in the Netherlands and/or Belgium, and I'm wondering why. Is it the result of one or two enthusiasts who dragged the Dutch willy-nilly into the form, or is there some historical connection between England and the Netherlands that led to a tradition of ECD in the latter country? On the other hand, maybe I'm mistaken and there really isn't that much ECD there. I just find it striking that there are posts to this list from (as far as I can tell) no other European country. Hoping that it's OK to turn this into Random Question Hour, Marian Phillips ================================================================================ Archive-Date: Fri, 03 Sep 1999 06:11:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Sep 1999 09:10:43 -0400 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Gerry Armstrong To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Found this on another list. I thought some of you might know these folks and might like to know about this. Hi friends - I know this news will touch and sadden many of you - a wonderful woman who gave Chicago folk a lot of its "soul" - K/* FOLK SINGER LEFT A LASTING MELODY IN MANY HEARTS September 2, 1999 The tune "Gay Gordons" changed Marjorie Ann "Gerry" Breen's life on a hot June night in 1952. She was an aspiring 22-year-old Chicago folk singer and had been invited to appear on a live performance program on radio station WFMT, then a very obscure FM station that broadcast a hodgepodge of programs from studios in a West Side hotel. Among the other performers that night was George Armstrong, 25, a bagpiper who she later said struck her as a "glamorous creature." She was looking for an excuse to speak to him, and found it when at last he played something she recognized--"Gay Gordons." She said to him, "I know the dance that goes with that tune. Do you?" He did. Armstrong put down his bagpipes, and, with both of them humming, they danced Gay Gordons up and down the hotel hallway. Less than two years later they were married. And so began what many call "the first family of Chicago folk," a partnership that both nurtured and produced traditional music for four decades until George Armstrong's death in 1993. Gerry Armstrong had a voice "of soaring purity," remembered Studs Terkel, who often emceed shows in which she sang. "If you needed to cast someone to sing the role of the Virgin Mary, it would have to be Gerry," he said. The Armstrongs were never big box office nor did they sell millions of records or write famous songs. Instead they collected, performed and recorded the best of the old material and helped prevent the local scene from straying too far from its roots during folk's commercial boomlet in the late 1950s and early 60s. "They were the keepers of the flame, the folk conscience of Chicago," said former WFMT program director and folk-music host Norm Pellegrini, who engineered their early recordings. These recordings include a 1961 album titled "Simple Gifts," from a Shaker hymn that became their signature song. They performed at the opening of the Old Town School of Folk Music in 1957 and guided the booking for the first University of Chicago Folk Festival in 1961--two institutions that also guarded tradition. Gerry added storytelling to her performance repertoire and published several storybooks for which George, an illustrator by trade, did the artwork. "(Folk) was just sort of a hobby that gradually consumed our lives " Gerry told local folklorist Paul Tyler in a 1990 interview, the tape of which is punctuated frequently by her merry laugh. "Their house (in Wilmette) was always full of music," said veteran singer Art Thieme. "They were a real inspiration." Several hundred of those who were inspired or otherwise touched by Gerry Armstrong turned out Wednesday afternoon to say goodbye to her in a "ceremony of joy" at what her daughter Rebecca Armstrong said was her mother's "favorite spot on this green earth," the beach at Gillson Park in Wilmette. Armstrong, 69, died Sunday afternoon at home after a three-month illness. The family has tentative plans for a public memorial concert on Sunday, Oct. 31, at the Lake Street Church in Evanston. She died "her face aglow with triumphant passion," according to a poem written Monday and read at Wednesday's service by Maureen Flannery, a friend who attended the all-night singing party that followed Armstrong's death. Armstrong's other daughter, Jennifer, a professional folk singer now based in Boston, sang an emotional tribute. So did Jennifer's grown daughters--Susannah and Georgia Rose--who have recently released their own CD, a recording that demonstrates the Armstrong family tradition is in no danger of fading away. In the end, the gathering sent Gerry Armstrong off on the same note on which she came in, figuratively speaking. On a hot September afternoon in 1999, Jennifer Armstrong picked up the bagpipes and, just as her late father had 47 years earlier, began to play "Gay Gordons." And as she played the song that started it all, she began to march. The procession followed her several hundred yards out to a pier that juts into Lake Michigan. Rebecca Armstrong stood on a high rock and faced everyone. "A blessing on all of you and on my mother's spirit," she said, casting a flower into the waves. "May it sing on throughout eternity." Then she, and everyone else, began to sing. Emily L. Ferguson - Cape Cod, Massachusetts elf-AT- cape.com Photographer, English Country Dance leader Small brave carnivores Kill pine cones and mosquitoes. Fear vacuum cleaner. from "Kitty Haiku" ================================================================================ Archive-Date: Fri, 03 Sep 1999 06:37:24 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Sep 1999 09:35:39 -0400 From: Sharon A McKinley Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Gerry Armstrong To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT emily; never heard of her, but it had me in tears anyway. we should all touch as many people as she did! sharon >>> "Emily L. Ferguson" 09/03 9:10 AM >>> Found this on another list. I thought some of you might know these folks and might like to know about this. Hi friends - I know this news will touch and sadden many of you - a wonderful woman who gave Chicago folk a lot of its "soul" - K/* FOLK SINGER LEFT A LASTING MELODY IN MANY HEARTS September 2, 1999 The tune "Gay Gordons" changed Marjorie Ann "Gerry" Breen's life on a hot June night in 1952. She was an aspiring 22-year-old Chicago folk singer and had been invited to appear on a live performance program on radio station WFMT, then a very obscure FM station that broadcast a hodgepodge of programs from studios in a West Side hotel. Among the other performers that night was George Armstrong, 25, a bagpiper who she later said struck her as a "glamorous creature." She was looking for an excuse to speak to him, and found it when at last he played something she recognized--"Gay Gordons." She said to him, "I know the dance that goes with that tune. Do you?" He did. Armstrong put down his bagpipes, and, with both of them humming, they danced Gay Gordons up and down the hotel hallway. Less than two years later they were married. And so began what many call "the first family of Chicago folk," a partnership that both nurtured and produced traditional music for four decades until George Armstrong's death in 1993. Gerry Armstrong had a voice "of soaring purity," remembered Studs Terkel, who often emceed shows in which she sang. "If you needed to cast someone to sing the role of the Virgin Mary, it would have to be Gerry," he said. The Armstrongs were never big box office nor did they sell millions of records or write famous songs. Instead they collected, performed and recorded the best of the old material and helped prevent the local scene from straying too far from its roots during folk's commercial boomlet in the late 1950s and early 60s. "They were the keepers of the flame, the folk conscience of Chicago," said former WFMT program director and folk-music host Norm Pellegrini, who engineered their early recordings. These recordings include a 1961 album titled "Simple Gifts," from a Shaker hymn that became their signature song. They performed at the opening of the Old Town School of Folk Music in 1957 and guided the booking for the first University of Chicago Folk Festival in 1961--two institutions that also guarded tradition. Gerry added storytelling to her performance repertoire and published several storybooks for which George, an illustrator by trade, did the artwork. "(Folk) was just sort of a hobby that gradually consumed our lives " Gerry told local folklorist Paul Tyler in a 1990 interview, the tape of which is punctuated frequently by her merry laugh. "Their house (in Wilmette) was always full of music," said veteran singer Art Thieme. "They were a real inspiration." Several hundred of those who were inspired or otherwise touched by Gerry Armstrong turned out Wednesday afternoon to say goodbye to her in a "ceremony of joy" at what her daughter Rebecca Armstrong said was her mother's "favorite spot on this green earth," the beach at Gillson Park in Wilmette. Armstrong, 69, died Sunday afternoon at home after a three-month illness. The family has tentative plans for a public memorial concert on Sunday, Oct. 31, at the Lake Street Church in Evanston. She died "her face aglow with triumphant passion," according to a poem written Monday and read at Wednesday's service by Maureen Flannery, a friend who attended the all-night singing party that followed Armstrong's death. Armstrong's other daughter, Jennifer, a professional folk singer now based in Boston, sang an emotional tribute. So did Jennifer's grown daughters--Susannah and Georgia Rose--who have recently released their own CD, a recording that demonstrates the Armstrong family tradition is in no danger of fading away. In the end, the gathering sent Gerry Armstrong off on the same note on which she came in, figuratively speaking. On a hot September afternoon in 1999, Jennifer Armstrong picked up the bagpipes and, just as her late father had 47 years earlier, began to play "Gay Gordons." And as she played the song that started it all, she began to march. The procession followed her several hundred yards out to a pier that juts into Lake Michigan. Rebecca Armstrong stood on a high rock and faced everyone. "A blessing on all of you and on my mother's spirit," she said, casting a flower into the waves. "May it sing on throughout eternity." Then she, and everyone else, began to sing. Emily L. Ferguson - Cape Cod, Massachusetts elf-AT- cape.com Photographer, English Country Dance leader Small brave carnivores Kill pine cones and mosquitoes. Fear vacuum cleaner. from "Kitty Haiku" ================================================================================ Archive-Date: Fri, 03 Sep 1999 09:03:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Sep 1999 12:01:23 -0400 From: Benjamin Stein Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Gerry Armstrong To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <199909031202_MC2-837A-962E-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Thanks to Emily Ferguson for the information about Gerry Armstrong. I had heard of her illness recently from old friends Sandy and Caroline Paton, owners of Folk Legacy records, who recorded the 1961 Album. Though I have played the album (as well as the Golden Ring Album on which the Armstrongs also appear) many times I only had the pleasure of hearing them(and meeting them) in person once. To any and all who knew the family-please pass on my sympathy. I am saddened by the loss. Ben Stein ================================================================================ Archive-Date: Fri, 03 Sep 1999 23:37:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Sep 1999 23:41:33 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Welsh Country Dance in SF Bay Area? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bef6a0$87312de0$LocalHost-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Is there anyone who teaches Welsh country dancing in the Bay Area? While nosing around in the archive I found a discussion of Welsh dancing, but it looked like the teachers were on the East Coast. Marian Phillips San Francisco ================================================================================ Archive-Date: Sat, 04 Sep 1999 14:26:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 04 Sep 1999 14:26:57 -0700 (PDT) From: Lyrl Ahern Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Email address, please.. To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <19990904212657.15438.rocketmail-AT- send205.yahoomail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- "Hanny D. Budnick" <74031.77-AT- compuserve.com> wrote: > Thanks to Jonathan and Mike for the prompt information! > To "S2LINEN-AT- aol.com" I'd like to say that this is not a chatroom > where > handles are necessary! Most of us are not reluctant to put our REAL > name to > our conversations, and, of course, our email address as part of our > messages makes a direct contact between list members possible. What > are you > worried about? > > Hanny Not only is this a list by subscription, not a chatroom--but many of us are friends. The elusive S2LINEN has made me think: I can put a face with probably 2/3 of the contributers to the list during the year I've been on it. Many of them I have met at Pinewoods. Just got back from English week there a few hours ago. It was a great week. Program Director Gene Murrow added pre-Playford to the program, with Dorrie Olsen teaching. Fried Herman was there, and Gene added his own magic to the two classes I took from him. A great find for the staff was Bob Archer, an energetic young Englishman, who brought a lot of different and less "Playford-ish" material to us. His "Archer's Targets" focused for 2 classes on dances in odd formations for odd numbers of dancers, frequently not-partnered. That Australian dance for 9 called "The Prime Minister" was a big hit. Frank Attanasio, who is in charge of the weather, did a great job--it was cool. It was great to see friends from around the country. Lyrl __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com ================================================================================ Archive-Date: Sun, 05 Sep 1999 07:20:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 10:11:04 -0400 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Back from Pinewoods To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT I second Lyrl's account of our week at Pinewoods - nice folks, good weather and good dancing all around. I took a rather laid back approach to the week taking only two classes and doing some sewing, but enjoyed myself pretty well! Interesting mix of old (pre-Playford) and new dances, callers and non-ECD on the program, and if all else failed there was always your choice of ponds for a dip. Thanks to Bob Archer for the wonderful rants and energetic dances during the week - a pleasure to meet you in person too. When I'm a little more recovered and unpacked, I've got a few topics for discussion here about English Country Dance. In the meantime, a few of you at camp said you were working on your Top 50 list so get to it! Gene - would it be possible to share the results of the balloting that resulted in Thursday and Friday night dances here? I'd be curious to hear the full range of dances that were suggested, although I was so happy that Morpeth got danced I didn't really care about the rest. Oh all right - yes it was good that Nonesuch and Fandango got done too - what's a week without Nonesuch? ;-) Mary Beth <-- feet UP ================================================================================ Archive-Date: Sun, 05 Sep 1999 09:31:39 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 04 Sep 1999 11:42:13 +0200 From: M Sheffield Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Welsh Country Dance in SF Bay Area? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.5.32.19990904114213.007ae930-AT- pop.wanadoo.fr> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At 23:41 03/09/99 -0700, you wrote: >Is there anyone who teaches Welsh country dancing in the Bay Area? Sorry, this is not an answer to your question, as I'm on the other side of the Atlantic. I recently came across a CD of Welsh country dancing music with instructions. Until then, I had no idea such a thing even existed. Now that I have listened to the recording and looked at the figures, I fail to see any difference between Wcd and Ecd. Obviously, there must be subtle differences in the style that did not transpire through the writen word. Must one be able to read also the instructions in Welsh to be able to find the real flavour of these dances? I'd very much like to be enlightened, should any of you know the answer, if such information is possible over the ether. Martin, in Grenoble, France. --- http://perso.wanadoo.fr/scots.in.france/ (dancing, dances, cycling ...) ================================================================================ Archive-Date: Sun, 05 Sep 1999 11:18:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 14:16:25 -0400 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: ECD musicians To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <199909051416_MC2-83A8-A12C-AT- compuserve.com> MIME-Version: 1.0 Content-Type: MULTIPART/MIXED; BOUNDARY="Boundary_(ID_x5v3ZjSbg+qoz6XN8qqNrg)" This is a MIME-encapsulated message --Boundary_(ID_x5v3ZjSbg+qoz6XN8qqNrg) Content-type: text/plain; charset=ISO-8859-1 Content-disposition: inline Content-transfer-encoding: 7BIT Hi John, I'm attaching, as a Microsoft Word document, the chapter from my book "English Dance Leadership Training in Music" dealing with "working with musicians." Perhaps you'll find it useful for your Toronto project! Hope you and Anne are well.. we all just returned from English Week at Pinewoods. Good time, though we all missed Peter Redgate. 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AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA= --Boundary_(ID_x5v3ZjSbg+qoz6XN8qqNrg)-- ================================================================================ Archive-Date: Sun, 05 Sep 1999 11:54:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 11:58:58 -0700 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Welsh Country Dance in SF Bay Area? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bef7d0$b5974300$d3edadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Dear Martin, The only information I have to go on is from the thread in the ECD archive (started Dec. 16, 1997, and going into January 98), and it sounds as if Welsh dancing may have had the same relationship to ECD as Scottish does to ECD -- similar kinds of dances, different style (I know almost nothing about Scottish dance, by the way, so if there are any other differences, someone please correct me). As I understand it, the Methodists pretty much stamped out Welsh country dancing in the 1800s, but the Welsh Folk Dance Society has managed to piece together a repertoire from a number of sources. These would be: Twmpath dances (barn dances) Fair dances (more complex competition dances done by teams) Playford dances with Welsh names (done in the "Welsh" style, wherever they got that from) some Pat Shaw dances Their Fair dances seem to come from two sources: a letter written in 1784 by William Jones, describing 3 Llangadfan Fair dances in detail; and 9 other Fair dances remembered by Mrs. Margretta Thomas of Nantgarw, dating from the 1880s. One other actual traditional source is the Llanover Reel, which was danced by the household of Lady Llanover up until 1887. So it sounds like a situation where the English have hundreds of dances from traditional or historical sources, and the Scots have hundreds of dances from traditional or historical sources, and the Welsh have 13. The thread in the ECD archive mentioned two dance instructors "certified" by the Welsh Folk Dance Society: one was S. Frick of Newark, Delaware, and the other was Mavis Williams, who lives in Swansea and came to Pinewoods to teach many years ago. S. Frick (who supplied all of the information above) also said that the Welsh Folk Dance Society has a videotape showing 12 traditional dances being danced (probably by competition teams; it sounded from her description of the Welsh dance scene that most of the action in Wales is with these teams who compete with each other at fairs and such). Who put out the CD you found? Marian Phillips San Francisco ================================================================================ Archive-Date: Sun, 05 Sep 1999 14:18:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 17:11:25 -0400 From: Mary Beth Goodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance Camp, Campers & Classes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT English Week at Pinewoods and some discussions that happened there got me thinking about dance camp, classes and campers/students. Let me preface my ramblings by saying that none of what follows is meant as a criticism of English Week at Pinewoods (past or present) or any program of CDSS! What are the advantages and disadvantages of classes that are graded by experience level of the students? How does the class giver ensure the correct placement of students? How is a student given to know what skills are needed in a particular class? Thinking about these questions led me to consider presenting classes where the subject matter was "graded" rather than the students, but that still left the question of placing the right student in the right learning situation. While I was rolling that around in my head, I began to see the larger question looming - what is the purpose/goal of (the organization) offering the classes and how does it compare with the purpose/goal of the students? For instance, one general purpose of the organization might be to offer popular classes thereby increasing overall enrollment. That's very valid, especially if it means you can pay the bills while meeting other goals! Specifically though, what is the purpose of offering graded classes (beginning, intermediate, experienced)? * To bring everyone up to a certain skill level? * To present material that will be within the ability of each level? Or to present material that is slightly challenging to each level? What are possible goals of "experienced" dancer level classes? * To allow very accomplished dancers the opportunity to do little done or little known dances which are outside the abilities of most weekly/monthly dance settings? * To introduce less well-known dances to dance leaders, hoping they'll work their way into the repetoire? * To maintain infrequently done dances as part of the general consciousness of the dance population? * To introduce new dances and choreographers to dance leaders for dispersal to dance communities? As I went on pondering about this, I started thinking about the dances themselves. Most "hard" dances are not hard solely because of the figures involved. Most dances use a slim core of movements, and most of these are easily taught and learned. What then makes these dances more difficult to dance? The "hard" dances may have a unique combination of figures - a sequence of movements not found commonly in other dances. Or they may be unforgiving in the arrangement of their figures - no recovery time built in to the sequence of figures. They may be difficult in the progression of dancers perhaps because of how everyone's moving at critical points in the dance. I throw this in because I think it would be impossible to say - "you must be able to do all of these figures" as a requirement for an "experienced" level class. On the other end of the graded class spectrum, what goals are being set in beginning level classes for learning the figures and styling associated with English Country Dance? And what is the purpose of intermediate classes? I don't pretend to have answers for all these questions! And these questions could fit many non-dance class/workshop settings with minor changes of terminology. Perhaps classes at dance camps are not set up with particular goals in mind and perhaps people who go to them don't have particular goals either. What I observe, however, is some dissatisfaction in different factions and some problems. Experienced dancers shake their heads and mutter about other students/dancers who aren't able to do the dances well (by their standards) or keep up with the speed of the teaching. Some people feel that they are held back by others who can't keep up or whose confusion creates confusion for others. Other dancers, who are able to learn the dances at the pace they're taught, may still feel rather pushed around by the dancers who already know the dances. I think most people would agree that "experienced" isn't intended to mean how many years one has been dancing, but in the absence of hard criteria and some mechanism of placement, it can come to mean just that. Meanwhile, people don't go to "beginning" or even "intermediate" classes because they see them as below their skill level (true or not). Those classes are often lacking in attendance which makes them harder to run (can't do square formations if you only have 6 or 10 people in the class for instance). It also sends a possible, albeit unintended, message that if you're in that class you're in a dinky and somehow inferior minority. (Note that these people paid the same money that everyone else did to attend!) The one time I witnessed a situation where people were assigned to classes, there was much muttering and some yowling! Most of this came from people who were placed in the intermediate classes. Surely this was a mistake because they should be in the advanced class! Meanwhile the beginners class (which I was in, btw) had the apparently normal 10-12 people - nowhere near a third or even a quarter of the camp population! One might say that we plunk our money and vacation time down to go to dance camp in order to have fun! That might relieve the pressure of developing goals for each class, but still begs the question of why "experienced" level classes vs "beginning" level classes are offered. Why not have one or two hour dances during the day then, perhaps on a particular theme, and do away with the notion of classes altogether? *My* purpose for writing about this is to ask - what other models are there or could there be for creating goals for dance classes and for organizing students? I will repeat that none of this is meant as a criticism of anyone's class or of CDSS's programs! My own experience with dance camps is limited to CDSS's English week at Pinewoods (with a week of Eng/American years ago). Also, I hope any resulting discussion won't fall into general grumbling about people taking the "wrong" class! I'd love to hear about other workshop-centered settings and from other "campers" as well as organizers! Mary Beth Goodman <--feet up! ================================================================================ Archive-Date: Sun, 05 Sep 1999 17:28:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 20:26:17 -0400 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Oops! An apology. To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <199909052026_MC2-83BA-A2AF-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT My apologies to the ECD list subscribers for accidentally posting a note (with long formatted attachment no less-- a real no-no!) intended for John Patcai directly. I'd appreciate it if folks would not further duplicate or disseminate the attachment, a chapter from a resource book I've written, without checking with me first. Thanks. Gene Murrow ECD Dancer, Caller, and Musician still asleep at the switch after English Week at Pinewoods.. ================================================================================ Archive-Date: Sun, 05 Sep 1999 18:51:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 20:49:13 -0500 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dance Camp, Campers & Classes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <004801bef80a$6fa1f900$82e1490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Most of my experience has been with Scottish country dancing but many of the same issues occur there. Some random thoughts: - too often assigning people to graded classes becomes based on a subjective standard set by the teacher (where personalities and teacher goals - which are not always the same as that of attendees - become the norm) - this causes friction and can lead to fierce infighting if you have two dancers of equal ability and one is put in intermediate and one in advanced (for example because the teacher wants to train dancers for demos and one dancer owns a kilt and the other doesn't) - at the very least standards should be clearly stated in writing and in detail - anyone who feels discontented should have the opportunity first to discuss it with the teacher (or whoever is making the decision ) and if still dissatisfied should be able to have their complaint considered by an objective process - consensus of other dancers attending or who are members etc. - personally I'm more interested in the social aspect in the sense of "community" (everyone meeting everyone and dancing together) than in development of dance skills per se. What I've tried that seems to work reasonably well (realizing there are no perfect solutions and you'll never please everyone) - is to alternate easy dances with more difficult dances - asking that the new dancers watch first the non-easy dances - then we'll put them on a second time for anyone who was watching who wants to try them - this satisfies the advanced dancers who get to dance it with other advanced dancers - it satisfies the newer dancers since if after they watch it they can try it (and most experienced dancers are then OK about repeating it with a less experienced dancer and since it's a dance they like they enjoy getting to do it again) - it also allows all the dancers to get to know one another and the new dancers to have a chance to dance with experienced dancers (one of the best ways to learn in my opinion). - also if you divide on skill levels - you wind up with subgroups (which is not much help if you're trying to develop leadership in the group - newer dancers may contain many good potential leaders for the future) - there's always also the problem of the dancer who always thinks he/she is better than they are - I would find it more helpful to have a detailed description of the class plan including dances and figures to be taught and for each class other than a beginning class to have a qualification time (with the procedure explained ahead of time) when each figure is announced and have it danced and those who can't do it are then automatically assigned to the lower level class - but this should be followed regardless of WHO it is - since another problem is advanced dancers who have danced for many years but whose skills slide for whatever - beginner, intermediate and advanced sound too much like grade school and different terminology might help - perhaps by rating both figures and dances by difficulty levels and having Class 1 with certain basic figures/ dances etc. - - borrowing from other traditions - dancers could be given a certificate upon successfully completing each additional level of proficiency - with the certificate good for a certain number of years - and then having to be recertified - and then state which certificate level is needed for each class - again with a process for handling complaints (to avoid anyone getting powerful enough to issue certificates for subjective reasons - i.e. to their own friends and not to those they dislike for whatever reason) Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net Dianna L. Shipman, P.C., Attorney at Law 1436 W.Gray, #134 Houston, TX 77019-4946 web page: http://home.att.net/~diannashipman phone: 713-522-1212 ----- Original Message ----- From: Mary Beth Goodman To: Sent: Sunday, September 05, 1999 4:11 PM Subject: Dance Camp, Campers & Classes > English Week at Pinewoods and some discussions that happened there > got me thinking about dance camp, classes and campers/students. Let > me preface my ramblings by saying that none of what follows is meant > as a criticism of English Week at Pinewoods (past or present) or any > program of CDSS! > > What are the advantages and disadvantages of classes that are graded > by experience level of the students? How does the class giver ensure > the correct placement of students? How is a student given to know > what skills are needed in a particular class? > > Thinking about these questions led me to consider presenting classes > where the subject matter was "graded" rather than the students, but > that still left the question of placing the right student in the > right learning situation. > > While I was rolling that around in my head, I began to see the larger > question looming - what is the purpose/goal of (the organization) > offering the classes and how does it compare with the purpose/goal of > the students? > > For instance, one general purpose of the organization might be to > offer popular classes thereby increasing overall enrollment. That's > very valid, especially if it means you can pay the bills while > meeting other goals! > > Specifically though, what is the purpose of offering graded classes > (beginning, intermediate, experienced)? > > * To bring everyone up to a certain skill level? > > * To present material that will be within the ability of each level? > Or to present material that is slightly challenging to each level? > > What are possible goals of "experienced" dancer level classes? > > * To allow very accomplished dancers the opportunity to do little > done or little known dances which are outside the abilities of most > weekly/monthly dance settings? > > * To introduce less well-known dances to dance leaders, hoping > they'll work their way into the repetoire? > > * To maintain infrequently done dances as part of the general > consciousness of the dance population? > > * To introduce new dances and choreographers to dance leaders for > dispersal to dance communities? > > As I went on pondering about this, I started thinking about the > dances themselves. Most "hard" dances are not hard solely because of > the figures involved. Most dances use a slim core of movements, and > most of these are easily taught and learned. What then makes these > dances more difficult to dance? > > The "hard" dances may have a unique combination of figures - a > sequence of movements not found commonly in other dances. Or they > may be unforgiving in the arrangement of their figures - no recovery > time built in to the sequence of figures. They may be difficult in > the progression of dancers perhaps because of how everyone's moving > at critical points in the dance. > > I throw this in because I think it would be impossible to say - "you > must be able to do all of these figures" as a requirement for an > "experienced" level class. > > On the other end of the graded class spectrum, what goals are being > set in beginning level classes for learning the figures and styling > associated with English Country Dance? And what is the purpose of > intermediate classes? > > I don't pretend to have answers for all these questions! And these > questions could fit many non-dance class/workshop settings with minor > changes of terminology. Perhaps classes at dance camps are not set up > with particular goals in mind and perhaps people who go to them don't > have particular goals either. > > What I observe, however, is some dissatisfaction in different > factions and some problems. > > Experienced dancers shake their heads and mutter about other > students/dancers who aren't able to do the dances well (by their > standards) or keep up with the speed of the teaching. Some people > feel that they are held back by others who can't keep up or whose > confusion creates confusion for others. Other dancers, who are able > to learn the dances at the pace they're taught, may still feel rather > pushed around by the dancers who already know the dances. > > I think most people would agree that "experienced" isn't intended to > mean how many years one has been dancing, but in the absence of hard > criteria and some mechanism of placement, it can come to mean just > that. > > Meanwhile, people don't go to "beginning" or even "intermediate" > classes because they see them as below their skill level (true or > not). Those classes are often lacking in attendance which makes them > harder to run (can't do square formations if you only have 6 or 10 > people in the class for instance). It also sends a possible, albeit > unintended, message that if you're in that class you're in a dinky > and somehow inferior minority. (Note that these people paid the same > money that everyone else did to attend!) > > The one time I witnessed a situation where people were assigned to > classes, there was much muttering and some yowling! Most of this > came from people who were placed in the intermediate classes. Surely > this was a mistake because they should be in the advanced class! > Meanwhile the beginners class (which I was in, btw) had the > apparently normal 10-12 people - nowhere near a third or even a > quarter of the camp population! > > One might say that we plunk our money and vacation time down to go to > dance camp in order to have fun! That might relieve the pressure of > developing goals for each class, but still begs the question of why > "experienced" level classes vs "beginning" level classes are offered. > Why not have one or two hour dances during the day then, perhaps on > a particular theme, and do away with the notion of classes altogether? > > *My* purpose for writing about this is to ask - what other models are > there or could there be for creating goals for dance classes and for > organizing students? > > I will repeat that none of this is meant as a criticism of anyone's > class or of CDSS's programs! My own experience with dance camps is > limited to CDSS's English week at Pinewoods (with a week of > Eng/American years ago). Also, I hope any resulting discussion won't > fall into general grumbling about people taking the "wrong" class! > > I'd love to hear about other workshop-centered settings and from > other "campers" as well as organizers! > > Mary Beth Goodman <--feet up! > ================================================================================ Archive-Date: Sun, 05 Sep 1999 20:29:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Sep 1999 22:39:39 +0000 From: Mary E Jones Subject: Re: Oops! An apology. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <37D2F12A.1096-AT- javanet.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <199909052026_MC2-83BA-A2AF-AT- compuserve.com> Gene Murrow wrote: > I'd appreciate it if folks would not further duplicate or disseminate the > attachment, a chapter from a resource book I've written, without checking > with me first. Gene - Your secret is safe with me (and lots of others on this list who could not open the attachment)--but is this resource book only available to those who've taken your class or is it for sale to the not-so-general public? Inquiring minds (albeit weary bodies) want to know... Mary (Too Tired To Be Funny Except In The Figurative Sense) Jones Amherst, MA ================================================================================ Archive-Date: Mon, 06 Sep 1999 07:32:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Sep 1999 09:42:15 -0400 (EDT) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dance Camp, Campers & Classes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Sun, 5 Sep 1999, Mary Beth Goodman wrote: > What are the advantages and disadvantages of classes that are graded > by experience level of the students? How does the class giver ensure > the correct placement of students? How is a student given to know > what skills are needed in a particular class? > . . . what is the purpose/goal of (the organization) > offering the classes and how does it compare with the purpose/goal of > the students? Why don't you think of these questions from the point of view of the dancer (learner, attendee)? It doesn't matter what you are teaching, if the learner an adult, the learner is an adult learner. That learner will come to a class, a dance, a social occasion with specific purposes. Your job as a teacher, facilitator of learning, or organization, is to find out what the learner wants to learn and then help the learner to achieve his/her learning.* Perhaps the first step is to start planning "your" classes differently. The first step is to say to yourself, "It's THEIR class." Changes what you teach and how. And how you label the class. Or sort people out between classes. Whoops, my soapbox broke. PS The * is because I was reminded of my experience while taking a course towards my M Ed in Adult Learning: We all sat in a circle, teacher included. Teacher didn't introduce himself, but was made obvious by the large pile of books by his chair. Nothing happened. We sat there. Finally one of the students turned to him and said in an exasperated tone of voice, "What are you going to teach us?" He replied, "What do you want to learn?" It's a great story for a teacher to remember when planning a class. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Mon, 06 Sep 1999 08:21:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Sep 1999 11:20:37 -0400 (EDT) From: DavBarnert-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Email address, please.. To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT For those who missed the beginning: Hanny Budnick posted a request on the list for the e-mail address of a certain dancer. Two people replied on the list with the requested information. Perhaps many more responded off-list. S2LINEN-AT- aol.com then responded with: >please consider others privacy >please do not give out over this site others addresses, email >addresses phone# etc. >please mail that specific info directly to that person Hanny and Lyrl both criticized this point of view, saying (my own paraphrase) that since many of us sign our e-mails and this forum is limited to subscribers, why the fuss? I have to say that I agree with S2LINEN-AT- aol.com (I think I know who it is, but I'm not saying...) That many sign their names to their posts does not imply that all would like their addresses broadcast. Anyone (not just subscribers) may search the archives, and many of us have met people dancing that we would rather not hear from by e-mail. The answer to Hanny's original question was not one of general interest. It should have been answered off-list. Of course, as Gene so articulately demonstrated today, intended private communication sometimes accidentally finds its way onto lists. Can't be helped. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Mon, 06 Sep 1999 08:30:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Sep 1999 07:14:06 +0000 From: Stephanie Judy/David Stewart Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Back from Pinewoods To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3.0.3.16.19990906071406.373fbdf2-AT- wkpowerlink.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT At 07:00 09/06/99 -0800, Mary Beth Goodman wrote: >I'd love to hear about other workshop-centered settings and from >other "campers" as well as organizers! Mary Beth--We run a chamber music retreat that attracts a range of abilities. We try to make it very clear in our brochure and "first contact" materials that more experienced players are expected to help less experienced players. During the week, most of the ensembles we organize are mixed levels--some experienced and some inexperienced players in each group. We actively try to *discourage* very experienced people from attending if they only want to play advanced repertoire with other experienced players. It's not that we disapprove of this activity, but we feel that those opportunities are available elsewhere, and we have made a conscious decision to follow a different model. Some chamber music players are very happy helping their less experienced colleagues, and some consider it a bore. We cater to the former. I don't know if this would be applicable to a dance camp or not (though I think many experienced dancers certainly help the less experienced at dances all through the year). However, it works for us in a camp setting. Stephanie Judy Argenta, B.C. ================================================================================ Archive-Date: Mon, 06 Sep 1999 12:14:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Sep 1999 12:50:11 -0400 From: catdancer-AT- juno.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dance Camp, Campers & Classes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <19990906.150637.-72599.4.catdancer-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT Mary Beth's insights have left us much to ponder. I personally prefer a graded method of classes, to encourage beginner students and to allow experienced folks to dance at their level. In the past few years I have twice found myself a beginner in a class of experienced dancers. One was a Beginner Morris class which was filled with Morris dancers who wanted to learn a new tradition. I found myself sinking a few times, but stuck it out because I knew I had every right to be there. Had the course been billed as anything other than beginner level, I would have dropped out and missed a thrilling experience. The second time I found myself in this position, the course was not identified by level. However, the instructor wanted to teach an experienced class (or so it seemed) and frightened away most of the beginners. In this case it would have been helpful to have the class billed as Advanced so the rest of us would not have wasted our efforts while holding back the rest of the class. The term "Advanced" gives me the impression that I'll be able to dance i