Archive-Date: Wed, 01 Mar 2000 04:26:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 13:30:17 +0100 From: Philippe Callens Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38BD0D59.CCB275DD-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <200002292228.QAA20805-AT- staff1.cso.uiuc.edu> <007601bf830e$2814dd20$8b22a3d1-AT- gloria> Gloria Krusemeyer wrote: > I suspect that Julia gave a standard dance historian's reply > that might have less, rather than more, direct applicability > to your question about the New Harmony manuscript than her > approach to an Italian 16th century manuscript. There usually > is tension between the professionals and the amateurs. The > amount of work involved and knowledge necessary for producing > a danceable interpretation is much less than that needed for > producing a doctoral thesis. > > Luckily, there is room in the world for both amateurs and > professionals. Jonathan, I wish you many hours of fun > creating danceable interpretations. Julia and colleagues, I > wish you many years of enjoyment correcting these > interpretations while the dance community does what it does > best - dance! Well it is *not* all black and white, or amateur versus professional. Certainly on ECD, dances has been researched by "semi-professional" people: just think of Tom Cook's, Christine Helwig's, Andrew Shaw's findings. In my opinion their work is not just hobby work. Philippe Callens Antwerp, Belgium, who lives only 50 km's away from Ghent (who on this list will be at the conference?) ================================================================================ Archive-Date: Wed, 01 Mar 2000 07:48:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 10:48:17 -0500 (EST) From: "Stephen D. Corrsin" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: ECD Digest V1 #694 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000301154817.18134.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT Phillippe, I hope you'll be willing to provide a report on anything of relevant interest from the Ghent international early dance conference. >Philippe Callens >Antwerp, Belgium, who lives only 50 km's away from Ghent (who on this list will be at the conference?) Steve Corrsin corrsin1-AT- hotmail.com 5166 Patrick Rd. West Bloomfield MI 48322 tel (248) 661-6283 ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Wed, 01 Mar 2000 08:05:48 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 10:00:46 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200003011600.KAA21755-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Heyer writes: > > Wow, that's a pretty exciting find. Have you tried contacting the > University of Indiana? I did a web search and got sent to > http://www.usi.edu/hnh/HNH1-1.HTM -- the website for "Historic New Harmony," > which is run by the University of Southern Indiana. They have a Visitor's > Center and various events scheduled through the year; I wouldn't be > surprised if someone connected with it could tell you if any work has been > done with the dance manual. Maybe they haven't -- I didn't see anything in > the list of "Exciting Events" that mentioned dance, and you'd think they'd > be flogging it as a tourist attraction if they'd done anything with it. > > As an alternative, perhaps one of the Indiana CDSS affiliates would know > something about it. I have sent a message to the Curator of the historical site and asked if she knows of anyone who has worked on this and whether they use any of the dance and music in their programs. It's only about 4 hours away so I'll probably make a trip over there later this year. 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 Mar 2000 08:22:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 11:22:11 -0500 (EST) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Jonathan, I was replying directly to Alan Winston (?), who was suggesting a thread to discuss the problems of reconstructing dances from manuscripts and early printed sources. My response was meant to imply that this is a HUGE AND DIFFICULT field, and not for amateurs unless they're ready to devote their lives to it! Julia ================================================================================ Archive-Date: Wed, 01 Mar 2000 08:27:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 11:27:40 -0500 (EST) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT Gloria K., I would have to disagree strongly. The problem in dance history is that so many with little knowledge have had at early dances and recreated them in 'danceable' form from their own images. Our field is now encased in these myths, and their mists have to be blown away! Julia ================================================================================ Archive-Date: Wed, 01 Mar 2000 08:56:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 08:55:20 -0800 (PST) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Binghamton English Country Dance Ball To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000301165520.6754.qmail-AT- web1601.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT People were commenting because Rich Galloway sent a message from next week that arrived a couple of days ago. But Gary Roodman sent this announcement two years ago for a ball next month! Now that's what I call advance planning!!! Date: Fri, 01 Jan 1988 00:46:28 +0000 From: Gary Roodman wrote: > The Binghamton Country Dancers are hosting their first ball. > Please join us. > BINGHAMTON COUNTRY DANCE BALL > April 1, 2000 ===== Do you know about the Hunger Site? Sponsors of the hunger site donate money to the United Nations World Food Programme for every visitor to the site. No purchases - all you do is click on the site. Visit http://www.thehungersite.com to help fight world hunger. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Wed, 01 Mar 2000 09:08:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 12:06:33 -0500 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <200003011206_MC2-9B59-1DF7-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Jonathan, et. al. Anyone working with historical American dance should check in with Kate Van Winkle ("Kitty") Keller who maintains a HUGE library (manuscripts, publications, and facsmilies) and databases (including dance and tune indices) of sources of Anglo-American dances and music from the Colonial period onward. Also consider checking the CDSS library housed at Univ. of New Hampshire (catalogued, BTW, by Kitty Keller). She's also reconstructed and published early American dances. Another dancer with experience interpreting American dance is George Fogg. Kitty and George both are CDSS members, so consult your Directory for contact info. Good luck on a great project! Gene Murrow ================================================================================ Archive-Date: Wed, 01 Mar 2000 09:09:44 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 12:06:38 -0500 From: Gene Murrow Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <200003011206_MC2-9B59-1DF9-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Message text written by Gloria Krusemeyer: >There usually is tension between the professionals and the amateurs.... Luckily, there is room in the world for both amateurs and professionals. Jonathan, I wish you many hours of fun creating danceable interpretations. Julia and colleagues, I wish you many years of enjoyment correcting these interpretations while the dance community does what it does best - dance!< Well put! This issue came up at the Amherst Assembly in 1996, where professional dance historians/scholars (including Julia) and amateur dance "reconstructors" (as well as many ECD dancers and enthusiasts) all gathered. Many of us recognized how the two communities could assist each other: the academic historians could learn a thing or two about how we in the ECD community get groups dancing together quickly (the whole bundle of callers' and musicians' techniques so often discussed on this list), while the amateurs could benefit from the techniques and disciplines of the scholar when approaching historical material. One of the Amherst Assembly scholars, Carol Marsh (a dance historian at UNC), and I mused about a workshop to which we'd invite both "camps" for a week-end or more of sharing. One day.... Gene Murrow EC Dancer, Caller, Musician and colloidal agent ================================================================================ Archive-Date: Wed, 01 Mar 2000 09:28:16 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 11:31:55 -0600 From: Gloria Krusemeyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <007a01bf83a4$0a661280$3022a3d1-AT- gloria> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: ----- Original Message ----- From: "julia s sutton" > Gloria K., > > I would have to disagree strongly. The problem in dance history is that > so many with little knowledge have had at early dances and recreated them > in 'danceable' form from their own images. Our field is now encased in > these myths, and their mists have to be blown away! > > Julia It helps to know "what's right". If it improves the dance, all the better. [I dislike Sharp siding, and tolerate it only in some modern dances that were designed with swish! in mind.] But that doesn't make history a dictator. And if that knowledge isn't available, do we wait, or try something? It's not like heart surgery, where a wrong move could kill the patient. Each generation has to recreate dances in a way that is understandable to the dancer. [Please let's not get into a full discussion of historical performance practice.] But dance is a live and evolving thing. It is not run by a board of dance historians or other authorities who dictate styling, proper interpretation, banish regional variations, etc., even though there are some individuals who act as though they are the final authority, until another final authority is encountered; then things get interesting. Dance historians have the unenviable task of working through this muddle from years or centuries removed. BTW, whoever made the first interpretations of Playford dances or whatever else, would have been working with less complete data than we now have. Someone would now be revising their work, as your work will be revised in another hundred centuries, if it is worthy of revision. This debate is age-old, and I've just spent my last pixel on this iteration. Julia, may I have the next dance? Gloria Krusemeyer Northfield, MN ================================================================================ Archive-Date: Wed, 01 Mar 2000 09:28:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 12:49:55 -0500 From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Country Cavalcade in NYC, 3/11/00 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <4.1.20000301123307.017069d0-AT- popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Because last year's Country Cavalcade celebrating CDSS proved so successful, Country Dance*New York is doing it again! Country Cavalcade is a festival of dance and song featuring English and American dances led by CD*NY callers Beverly Francis, Yonina Gordon, Sharon Green, Fried Herman, Gene Murrow, and Paul Ross, ably abetted by Sue Dupre of Princeton, Mary Kay Friday of Washington, D.C., and Sam Rotenberg of Philadelphia, with stellar music by Grand Picnic. The evening includes country and ritual demos by local groups--Chelsea English Country Dancers, Greenwich Morris Men, Half Moon Sword, The Harpies, New World Sword and Ring O'Bells Morris--plus Sacred Harp and group singing led by luminaries from the New York Revels and from the Pinewoods Folk Music Club. We'll also have great refreshments: our mantra at CD*NY is "Bring food!" Country Cavalcade will take place from 7-11:30pm, Saturday, March 11th, at P.S.199, 270 West 70th Street [between Broadway & West End Avenue], Manhattan. We hope lots of folks will come out to celebrate New York's special connection with CDSS and to enjoy the fun we have whenever we get together. See you there! Sharon Green ================================================================================ Archive-Date: Wed, 01 Mar 2000 10:00:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 13:00:20 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 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 Wed, 1 Mar 2000, julia s sutton wrote: [snip] [re] . . . the problems of reconstructing dances from manuscripts and > early printed sources. My response was meant to imply that this is a HUGE > AND DIFFICULT field, and not for amateurs unless they're ready to devote > their lives to it! and in another message . . . The problem in dance history is that > so many with little knowledge have had at early dances and recreated them > in 'danceable' form from their own images. Our field is now encased in > these myths, and their mists have to be blown away! Julia's point that reconstruction of historical dance material by people who have insufficient training to do historically accurate reconstructions creates mythical images of what historical dance was really like is well taken, and it seems important that folks who want to explore the subject of historical reconstruction a bit without devoting their whole lives to it should be careful to distinguish the results of their efforts from those of the dance scholars who do, and not offer it to an unsuspecting public as historical reconstruction. This creates the mists that only add to the difficulties of those like Julia who are doing their best to distinguish between fact and fiction in this field. However, it seems to me that one of the best ways to gain respect for and to appreciate the work of the scholars in the field of dance reconstruction is to "have a go" at it if and when the opportunity presents itself; one quickly discovers first-hand that this can be a very difficult and puzzling business, and that more information is needed if one is truly to understand the source material. This is likely to lead to a more lively interest in the writings and other works of the dance historians, and a concomitant respect for their scholarship. How, after all, did the dance historians themselves become interested in the field? Not, perhaps, by seeing an old dance manual and being intrigued? Even if an amateur should look at historical dance materials and create an interpretation in his/her own image of what that dance was about, if it is in some sense a good dance, and if it is not offered as a historical dance, what is wrong with that? Must all new choreographers drink directly at Terpsichore's Well for their inspiration? And what about the music of folks like Warlock & Britten & many others who "rediscovered" the delights of renaissance dance music and wove motifs from them into their music? Eric Arnold Ann Arbor ================================================================================ Archive-Date: Wed, 01 Mar 2000 11:07:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 11:06:49 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JMILG4N50I95V4TG-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Julia Sutton wrote: I was replying directly to Alan Winston (?), who was suggesting a thread to discuss the problems of reconstructing dances from manuscripts and early printed sources. My response was meant to imply that this is a HUGE AND DIFFICULT field, and not for amateurs unless they're ready to devote their lives to it! Just for the record, I wasn't suggesting such a thread. I'd thrown my little mite of information ("these cotillions have names matching names of quadrille figures") and then disclaimed ability to advise on reconstruction from primary sources. I read the Rendance list, so I get to see at least as much discussion of those problems as I need. -- 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: Wed, 01 Mar 2000 11:40:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 11:42:53 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf83b6$55f884a0$b0eaadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Alan writes: >>these cotillions have names matching names of quadrille figures<< Wallowing in my ignorance -- what's the difference between a cotillion and a quadrille? Marian ================================================================================ Archive-Date: Wed, 01 Mar 2000 12:36:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 15:30:07 -0500 (EST) From: RLHAYDEN-AT- amherst.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance musicians and their music stands To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01JMIUJKOZDUAYMU0Z-AT- amherst.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN Content-Transfer-Encoding: 7BIT David, fond though I am of you, I must disagree with your assertion that those musicians who don't work toward the "ideal" of playing familiar tunes without sheet music will never be good dance musicians. Here in Amherst we are richly blessed with some of the finest ECD musicians around (Joyce Crouch, Earl Gaddis, Doug Creighton, Ted Ehrhard, Pat MacPherson, Lise Brown, and Karen Axelrod, to name just a few) and they all play with music in front of them -- well, OK, Earl puts his on the floor at his feet, but we put up with it for the sake of his rapturous playing. When playing very familiar tunes, of COURSE they go "off book," look around at the dancing, at each other, at the caller, at the dessert table -- but they do keep the music in front of them. I believe the goal is to get your musicians to play sensitively, interactively, and with pleasure -- not to get them to throw away their Barnes books (heaven forbid!). Robin Hayden ECD caller and self-appointed champion of ECD musicians everywhere ================================================================================ Archive-Date: Wed, 01 Mar 2000 12:52:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 12:52:23 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JMIO2AU4CI95UJTE-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Marian wrote: Wallowing in my ignorance -- what's the difference between a cotillion and a quadrille? This would be a wonderful question for Carol Marsh to answer, and if she's listening I hope she at least corrects my errors in this post. Here's way more than you wanted to know: Just to avoid confusion, let's ignore the other meanings of the term quadrille and stick to the ballroom in roughly the first half of the 19th century. Cotillions come first. These are dances for four couples in square formation. The verses of each dance are standardized - that is, the same from dance to dance. (More precisely, there's a pool of ten or fifteen figures and the people doing each dance choose however many they want to do out of that pool, so if you did three cotillions in a row each could use different figures, but they'd all be drawing from the same well. [Actually, I think Morrison suggests that they generally started and finished with "All round", so you'd have at least that much overlap between them all.] ) Figures are things like "All round" (everybody does eight counts of setting followed by a slipping circle; repeat to places); men star (eight counts of setting, right hands across, repeat with left hands back), women star, grand right and left, allemande and allemande reverse, etc. The figures (or changes) are pretty simple and of standardized length. The choruses are unique to each dance. So, you can write a cotillion to any tune (in duple meter, anyway) that has a 32-count "A" strain. You can elaborate your chorus enough to use up "B", "C", and "D" strains (as in "The Convention" or "Mr. Turner's Academy Cotillion"), or keep it brief enough for a "B" strain (as in "Marlbrouk".) Excessive speculation: This format doesn't give dancing masters enough work to do. Once people have picked up the standard figures, they just need to put a chorus into short-term memory - that is, get a talk-through - to do a cotillion, and the standard figures are easy enough that they don't have to school for them. Quadrilles are also dances for four couples in square formation (except when they're for two couples facing each other.) Dancing masters pasted together the choruses of various popular cotillions to make sets of quadrilles, which were standardized. So you'd have "the first set of quadrilles," which had for figures something like six choruses from cotillions, with names like "La Poule", "La Trenoise", "Le Pantalon", etc. I think there were something like three sets of quadrilles in general circulation. Once the sets were standardized, composers began to write new music for them, so you could end up doing the first set of quadrilles more than once in an evening to different, suitable, music. Since quadrilles were complicated figures in an arbitrary order, they were no longer a quick teach, and you had to go to dancing school to learn them. Since a set of quadrilles took quite a while to do, you didn't need to know many sets to fill out an evening, especially since you could repeat them - and would want to, to leverage the investment in learning them. So quadrilles competed for floor time with longways dances, and won. In the early part of the 19th century the dancing masters were teaching footwork for the quadrilles; I've seen a French book from 1810 or thereabouts that specifies chassez to travel and jete-assemblee to stop traveling, and gives a dozen examples of different balances to do. In the later part of the 19th century, the dancing masters have devoted themselves to stamping out footwork for the quadrille and converting it into walking patterns. (My theory is that the new economy was creating a class of rich people who wanted to dance at balls but who hadn't had dancing lessons in youth and couldn't do footwork well, so the dancing masters moved to bring the desired dance level down to something everyone could accomplish.) At some point the Les Lanciers figure was broken out of the quadrille sets and converted into a dance by itself, and became very popular. By 1900 "quadrille" was being used, at least in America, to mean 'a square dance', so there's a genre of square dance called "New England Quadrilles" which aren't much related to what we're talking about here. On a side note, there is something in one of the Community Dance Manuals called "La Poule Quadrille", which is indeed a square dance, and which appears to be the result of somebody taking some composer's music for the La Poule figure from the first set of quadrilles and making up a new dance to it - but not one that uses "La Poule." -- 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: Wed, 01 Mar 2000 13:08:05 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 13:14:35 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf83c3$25512700$b0eaadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Merci! You know, the format for cotillions sounds remarkably like the format for morris dances -- standard figures with a distinctive chorus. Marian ================================================================================ Archive-Date: Wed, 01 Mar 2000 13:41:14 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 16:38:44 -0800 From: "Michael J. O'Connor" Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38BDB814.3058-AT- erols.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Eric Arnold wrote: > However, it seems to me that one of the best ways to gain respect for > and to appreciate the work of the scholars in the field of dance > reconstruction is to "have a go" at it if and when the opportunity > presents itself; one quickly discovers first-hand that this can be a > very difficult and puzzling business, and that more information is > needed if one is truly to understand the source material. This is likely to lead to > a more lively interest in the writings and other works of the dance > historians, and a concomitant respect for their scholarship. ... About five years ago at E-A Week at Pinewoods, Philippe Callens presented an original, early dance description and music to a small class in C#m, broke us up into three groups, each with our own musician, and asked us each to have a go at making it into a dance. It was absolutely fascinating! The result, of course, was four different interpretations, that looked like four different dances. Two groups did it at a slow tempo; as a consequence, we had to add "embellishments" to fill up the available time. One did it in jig time, pretty much straight as written, but nevertheless different from what Philippe showed us he had done. We each had reasons for why we'd done what we had, although, after I heard the others, I had to conclude that Philippe's reasons for what he'd done sounded best to me. But the entire exercise left us all appreciating how very, very difficult indeed it is to interpret, much less reconstruct, a dance from the bare bones of its original description. And, it was a lot of fun. Did any of the class's results deserve to be called a reconstruction? Absolutely not. Philippe's may have, or it may have come close. But as Gloria and Eric have suggested, it may be that the objective was or should have been more along the line of creating something interesting that we could try dancing today, instead of a rigorously faithful interpretation of how it might have been danced some 300 years ago. Room for both types of effort, or there should be. After all, if we have to wait to dance any of them until the faithful reconstruction is finished, we'd all have to do cajun in the meantime. Or swing, or whatever. And it'd likely be a long time. > Even if an amateur should look at historical dance materials and create > an interpretation in his/her own image of what that dance was about, if > it is in some sense a good dance, and if it is not offered as a > historical dance, what is wrong with that? Yes, so long as we are clearly aware that we're just doing an enjoyable dance (omigod! which is it?) genre (?), and that it will take years of dedicated study and work by someone else before we can do a certifiably historic reconstruction, what is wrong with our getting enjoyment in the present? ================================================================================ Archive-Date: Wed, 01 Mar 2000 15:24:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 15:29:58 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf83d6$0eb2c4a0$1debadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Jonathan Sivier writes: >>I have sent a message to the Curator of the historical site and asked if she knows of anyone who has worked on this and whether they use any of the dance and music in their programs.<< Could you keep us posted on what she says? Marian ================================================================================ Archive-Date: Wed, 01 Mar 2000 15:24:57 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 18:23:35 -0500 (EST) From: SallenNic-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony Dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <26.2796b19.25ef0077-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Just a footnote to the origin of New Harmony, Indiana. This was the American experiment of Robert Owen, owner and developer of New Lanark (in Scotland), known as "the Father of Socialism" - New Lanark is known as "the cradle of Socialism". Nicolas B., Lanark, Scotland. ================================================================================ Archive-Date: Wed, 01 Mar 2000 20:18:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 22:12:15 -0600 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: English dance in Lafayette? To: DIANNA SHIPMAN Message-ID: <004501bf83fd$9957dce0$74f7490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Do you know of any English country dancers in Lafayette, Louisiana? If so, can you supply a contact person? Thanks, Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net PMB 134, 1436 W. Gray Houston, TX 77019-4946 Scottish Country Dancing and More: web page: http://home.att.net/~diannashipman phone: 713-522-1212 ================================================================================ Archive-Date: Wed, 01 Mar 2000 20:27:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 23:29:00 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: English dance in Lafayette? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Wow! If I were in Lafayette, LA, I'd go look for the regular gig that Michael Doucet plays there, his normal weekly gig. How interesting it would be to see what he does when he's not on national radio or a "Folk" Festival stage. Perhaps I'd have the good fortune to find him playing with Marc and Ann Savoy! Or some visiting Quebecois box players hanging around with him. Now that would be a treat! Emily L. Ferguson elf-AT- cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography Beetle cats on the web at: http://www.capecod.net/sqtg/nebcba/results/99champs.html ================================================================================ Archive-Date: Wed, 01 Mar 2000 21:03:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 20:45:37 -0800 (PST) From: "Paul J. Stamler" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Wed, 1 Mar 2000, julia s sutton wrote: > I would have to disagree strongly. The problem in dance history is that > so many with little knowledge have had at early dances and recreated them > in 'danceable' form from their own images. Our field is now encased in > these myths, and their mists have to be blown away! And while you're blowing the mists away, may we dance? Peace. Paul ================================================================================ Archive-Date: Wed, 01 Mar 2000 21:59:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 01 Mar 2000 23:45:24 -0500 From: Michael S Franch Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000301.235201.6446.1.franch-AT- juno.com> Content-Transfer-Encoding: 7BIT References: <200002292228.QAA20805-AT- staff1.cso.uiuc.edu> <38BD0D59.CCB275DD-AT- uia.ua.ac.be> What an interesting discussion Jonathan has started. I hope he carries on with his research. I'm not a dance historian, but I can claim the title historian, if no longer a professional one (Ph.D., 19th c. U.S. history, University of Maryland, 1984). We all go to all but the most recent history as strangers, looking for things we hope are significant, and hoping we know what we see, and wondering what we don't see. Sometimes we will see things about a society that contemporaries didn't see. The more remote in time and place, the more difficult it is to know what we see and its meaning. The early 19th-century US is a pretty accessible period to the diligent amateur. If Jonathan's project results in us seeing not only his interpretations but also the original texts, we are all ahead. Those with greater knowledge of dance history can correct any errors, or offer alternative interpretations. Perhaps the dancing community will discover hitherto unknown dances that meet our taste--or that we will want to adapt and dance, knowing that what we are doing is not an authentic period reconstruction but an authentic 21st-century version. (We have an 18th-century Childgrove, and some 20th-century versions.) The important thing about scholarly discourse is that it's public. If these are dances that we haven't know about, it's worth knowing about them, even if they turn out to be "bad" dances. Whether they turn out to be of interest to dance historians or to dancers, bringing them to light would be useful to social historians. Mike Franch Baltimore (Sorry for the sermon, that's another one of my professions.) ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Wed, 01 Mar 2000 23:00:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 00:43:29 -0600 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: English dance in Lafayette? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <015401bf8412$c140f240$74f7490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Emily - fill me in - does he play English dance music? I'm sorry to say I haven't heard of him. Dianna ----- Original Message ----- From: Emily L. Ferguson To: Sent: Wednesday, March 01, 2000 10:29 PM Subject: Re: English dance in Lafayette? > Wow! If I were in Lafayette, LA, I'd go look for the regular gig that > Michael Doucet plays there, his normal weekly gig. How interesting it > would be to see what he does when he's not on national radio or a "Folk" > Festival stage. > > Perhaps I'd have the good fortune to find him playing with Marc and Ann > Savoy! Or some visiting Quebecois box players hanging around with him. > > Now that would be a treat! > > Emily L. Ferguson > elf-AT- cape.com 508-563-6822 > New England landscapes, wooden boats and races, press photography > Beetle cats on the web at: > http://www.capecod.net/sqtg/nebcba/results/99champs.html > > > ================================================================================ Archive-Date: Wed, 01 Mar 2000 23:48:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 02:12:21 -0500 From: Patricia Ruggiero Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Lancers To: English Dance Message-ID: <000601bf8416$a6cca680$90d4bfa8-AT- g9tfz.MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Alan wrote: "The Lancers figure became the basis of a quadrille itself." And again: "At some point the Les Lanciers figure was broken out of the quadrille sets and converted into a dance by itself, and became very popular." I've done three different Lancers, but at such widely spaced intervals that I have no recollection of their having a common figure. Would you describe what you mean by "the Lancers figure"? Many thanks, Pat ================================================================================ Archive-Date: Thu, 02 Mar 2000 04:09:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 07:11:57 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: English dance in Lafayette? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: Hmm. OK. Michael Doucet is the leader of Beausoleil - the biggest name in Cajun/rock 'n' roll style music in the world. He's a radio DJ in some of the rest of his time and I think teaches at some school there too. He's completely covered the traditional Cajun world in Louisiana, knows every white and every black cajun musician alive and no longer alive and works every side of the cajun music world from the most traditional to the most cutting edge. In summary what I was trying to suggest was that when you were in Rome you should check out what the Romans do and leave set what happens in London aside for a day or two! Emily L. Ferguson elf-AT- cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography Beetle cats on the web at: http://www.capecod.net/sqtg/nebcba/results/99champs.html ================================================================================ Archive-Date: Thu, 02 Mar 2000 09:03:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 11:57:06 -0500 (EST) From: LIBWaltz-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Advance Planning for Binghamton Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <73.17a1577.25eff762-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Now that's what I call *really* advance planning. Did you say two years, Barbara? Lucy Weinstein > People were commenting because Rich Galloway sent a message from next > week that arrived a couple of days ago. But Gary Roodman sent this >announcement two years ago for a ball next month! > Now that's what I call advance planning!!! > Date: Fri, 01 Jan 1988 00:46:28 +0000 >From: Gary Roodman Subject: Binghamton English Country Dance Ball >To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU --- Gary Roodman wrote: > The Binghamton Country Dancers are hosting their first ball. > Please join us. > BINGHAMTON COUNTRY DANCE BALL > April 1, 2000 ================================================================================ Archive-Date: Thu, 02 Mar 2000 11:03:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 14:02:51 -0500 From: Joyce Crouch Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance musicians and their music stands To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <200003021403_MC2-9B7B-CB92-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Hello, all, I thank Robin Hayden for standing up for us dance musicians who keep the music page in front of us. And how pleasant to find my own name in such a highly complimented list! (thanks, Robin, and the check's in the mail... :-)) I, too, took issue upon reading David Barnert's post (hi, David!)...I didn't really want to think of myself as a bad dance musician...! On the other hand, whenever I see Jacqueline Schwab at the piano with her Barnes book closed and set to one side on the music rack, I am filled with admiration and awe. And to tell the truth, I have personally put significant effort into "getting away from the page" and I'm still working on it, for the greater freedom, not to mention musical understanding, it fosters, although I suspect that to my dying day I'll prefer having the written tune in front of me as I play. Playing without the sheet music is just not the make-or-break, sina qua non (I love it when I talk like that), or even a very important ingredient in good playing for dancing, as long as the lights stay on. As Robin wrote: >>>I believe the goal is to get your musicians to play sensitively, interactively, and with pleasure<<< A fine statement of high priorities, very well put. I'd just like to add another adverb..."danceably," meaning in steady tempo, with lift. Not an attribute that can be taken for granted, so I wish to highlight it here. Joyce Crouch Amherst, MA ================================================================================ Archive-Date: Thu, 02 Mar 2000 12:09:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 12:16:27 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf8484$30a173a0$a2e7adce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT And since this discussion is in the context of open bands, let's just take a moment to acknowledge how agreeably spoiled we are in the dance community that we can sit around demanding that musicians should play without written music, sensitively, interactively, danceably -- *and for free.* Marian ================================================================================ Archive-Date: Thu, 02 Mar 2000 14:31:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 16:26:58 -0600 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: English dance in Lafayette? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <00b501bf8496$e7eea200$caf8490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: Emily - thanks for the info - the person who contacted me does Scottish Country dancing in Lafayette and was wanting to expand into English country dance and had heard there was a group in Lafayette but had been unable to find them. He seems to participate in a lot of the local activities as well (and probably is up on the local musicians) - but was wanting to expand his horizons. I also love cajun music and dance and next Tuesday plan to celebrate with a meal at my favorite local cajun restaurant. Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net PMB 134, 1436 W. Gray Houston, TX 77019-4946 Scottish Country Dancing and More: web page: http://home.att.net/~diannashipman phone: 713-522-1212 ----- Original Message ----- From: "Emily L. Ferguson" To: Sent: Thursday, March 02, 2000 6:11 AM Subject: Re: English dance in Lafayette? > Hmm. OK. > > Michael Doucet is the leader of Beausoleil - the biggest name in Cajun/rock > 'n' roll style music in the world. He's a radio DJ in some of the rest of > his time and I think teaches at some school there too. He's completely > covered the traditional Cajun world in Louisiana, knows every white and > every black cajun musician alive and no longer alive and works every side > of the cajun music world from the most traditional to the most cutting edge. > > In summary what I was trying to suggest was that when you were in Rome you > should check out what the Romans do and leave set what happens in London > aside for a day or two! > > Emily L. Ferguson > elf-AT- cape.com 508-563-6822 > New England landscapes, wooden boats and races, press photography > Beetle cats on the web at: > http://www.capecod.net/sqtg/nebcba/results/99champs.html > > ================================================================================ Archive-Date: Thu, 02 Mar 2000 14:31:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 16:29:46 -0600 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Dance musicians and their music stands To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <00b601bf8496$e95fe540$caf8490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <200003021403_MC2-9B7B-CB92-AT- compuserve.com> Speaking of Jacqueline Schwab - a friend recently made a gift to me of her CD "Celtic Dialogue" with Jaqueline on the piano - I kept it running continuously on the car CD player for about 3 days - it's an incredible listening CD - what an amazing talent! Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net PMB 134, 1436 W. Gray Houston, TX 77019-4946 Scottish Country Dancing and More: web page: http://home.att.net/~diannashipman phone: 713-522-1212 ----- Original Message ----- From: "Joyce Crouch" To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Sent: Thursday, March 02, 2000 1:02 PM Subject: Dance musicians and their music stands > Hello, all, > > I thank Robin Hayden for standing up for us dance musicians who keep the > music page in front of us. And how pleasant to find my own name in such a > highly complimented list! (thanks, Robin, and the check's in the mail... > :-)) > > I, too, took issue upon reading David Barnert's post (hi, David!)...I > didn't really want to think of myself as a bad dance musician...! On the > other hand, whenever I see Jacqueline Schwab at the piano with her Barnes > book closed and set to one side on the music rack, I am filled with > admiration and awe. And to tell the truth, I have personally put > significant effort into "getting away from the page" and I'm still working > on it, for the greater freedom, not to mention musical understanding, it > fosters, although I suspect that to my dying day I'll prefer having the > written tune in front of me as I play. > > Playing without the sheet music is just not the make-or-break, sina qua non > (I love it when I talk like that), or even a very important ingredient in > good playing for dancing, as long as the lights stay on. As Robin wrote: > > >>>I believe the goal is to get your > musicians to play sensitively, interactively, and with pleasure<<< > > A fine statement of high priorities, very well put. I'd just like to add > another adverb..."danceably," meaning in steady tempo, with lift. Not an > attribute that can be taken for granted, so I wish to highlight it here. > > Joyce Crouch > Amherst, MA ================================================================================ Archive-Date: Thu, 02 Mar 2000 17:05:12 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 17:04:55 -0800 From: giovanni de amici Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38BF0FB7.56C39AC1-AT- trw.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <01bf8484$30a173a0$a2e7adce-AT- default> not sure where you live, but our local (Los Angeles, CA) band fits none (that is zero, nilch, nada) of the five characteristics you elencate, namely: 1) competently, 2) sensitively, 3) interactively, 4) danceably, 5) for free. Occasionally they come close to matching the fourth requirement :-)). Giovanni De Amici (who is not agreeably spoiled at all) Heyer wrote: > > And since this discussion is in the context of open bands, let's just take a > moment to acknowledge how agreeably spoiled we are in the dance community > that we can sit around demanding that musicians should play without written > music, sensitively, interactively, danceably -- *and for free.* > > Marian ================================================================================ Archive-Date: Thu, 02 Mar 2000 18:57:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 18:56:49 -0800 (PST) From: Orly Krasner Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Schwab CDs, was music stands To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000303025649.61962.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT Hi All-- After reading Diana's plug for "Celtic Dialogue," I have to add mine for Jacqueline's newest solo CD, "Down Came an Angel." It's amazing. Don't let the subtitle fool you into waiting for the Christmas season. --Orly Krasner ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Thu, 02 Mar 2000 19:47:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 22:47:03 -0500 From: Joyce Crouch Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <200003022247_MC2-9B90-E975-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT >>>our local (Los Angeles, CA) band fits none (that is zero, nilch, nada) of the five characteristics you elencate, namely: 1) competently, 2) sensitively, 3) interactively, 4) danceably, 5) for free. <<< well, how about the other characteristic Robin mentioned, "with pleasure?" Please tell us they're at least having some fun playing!! If so, there's hope that in time and with encouragement they'll develop characteristics 1) through 4). One way to encourage better playing is to compliment them enthusiastically whenever you catch them playing danceably. As always, the more specific the compliment, the better. If they could be encouraged to attend a dance camp or weekends with English dancing, they might get inspired and get practical help. Or what if you bring in a really great musician to lead them at a special Ball or dance, and have that person lead a musicians' workshop prior to the event. short of that, all I can suggest is loaning or making them a present of your favorite danceable English dance music CD, saying, "wow, wait till you hear this! you'll love it!" Joyce Crouch Amherst, MA ================================================================================ Archive-Date: Thu, 02 Mar 2000 21:48:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 23:58:22 -0500 From: catdancer-AT- juno.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Binghamton English Country Dance Ball To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000303.001848.-185711.5.catdancer-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT TWO years ago? Seems like Barbara's comment was sent in 1990! We MUST be in a time warp. Beam me up, Scotty! Helen Tuzio On Wed, 01 Mar 2000 08:55:20 -0800 (PST) Barbara Ruth writes: > People were commenting because Rich Galloway sent a message from next > week that arrived a couple of days ago. But Gary Roodman sent this > announcement two years ago for a ball next month! > > Now that's what I call advance planning!!! > > > Date: Fri, 01 Jan 1988 00:46:28 +0000 > From: Gary Roodman Subject: Binghamton English Country Dance Ball > To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU > > --- Gary Roodman wrote: > > The Binghamton Country Dancers are hosting their first ball. > > Please join us. > > BINGHAMTON COUNTRY DANCE BALL > > April 1, 2000 > ================================================================================ Archive-Date: Thu, 02 Mar 2000 23:56:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 02 Mar 2000 21:54:59 -1000 From: "Yona B. & Alvin Keali'i Chock" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000701bf84e6$28000e20$7e82480c-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <009E679D.66A9CEE6.1-AT- playford.slac.stanford.edu> On 01 Mar 2000, julia s sutton wrote: > I would have to disagree strongly. The problem in dance history is > that so many with little knowledge have had at early dances and > recreated them in 'danceable' form from their own images. Our field > is now encased in these myths, and their mists have to be blown > away! Many fields are covered with mist in Europe (we used to know that we had crossed the border into the Netherlands because of the mist - actually two different kinds). In German "mist" means manure! Sorry, I just couldn't resist it! Aloha, Al Keali'i Chock ================================================================================ Archive-Date: Fri, 03 Mar 2000 00:30:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 00:37:26 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf84eb$b4640ce0$17ebadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Giovanni De Amici writes: >>our local (Los Angeles, CA) band fits none (that is zero, nilch, nada) of the five characteristics you elencate<< Then why don't you switch to recordings? Marian ================================================================================ Archive-Date: Fri, 03 Mar 2000 06:38:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 06:37:42 -0800 (PST) From: Barbara Ruth Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Binghamton English Country Dance Ball To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000303143742.23338.qmail-AT- web1603.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- catdancer-AT- juno.com wrote: > TWO years ago? > Seems like Barbara's comment was sent in 1990! > We MUST be in a time warp. > Beam me up, Scotty! Wait a minute. Are you saying this isn't 1990? Barbara ===== Do you know about the Hunger Site? Sponsors of the hunger site donate money to the United Nations World Food Programme for every visitor to the site. No purchases - all you do is click on the site. Visit http://www.thehungersite.com to help fight world hunger. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Fri, 03 Mar 2000 08:46:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 09:46:08 -0700 From: rushton-AT- biology.utah.edu (Emma Rushton) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT >>>>our local (Los Angeles, CA) band fits none >(that is zero, nilch, nada) of the five characteristics you elencate, >namely: >1) competently, >2) sensitively, >3) interactively, >4) danceably, >5) for free. <<< I wonder why they are playing. How did the situation arise? Did an ECD enthusiast twist their arms into playing? Was it the brainchild of one good musician who has since left? I ask because whether you can do anything about it depends very much on their enthusiasm and their reasons for playing. If they love the music, but don't know how to get the sound youand they want, then it should be easier to get them to work on it. >Or what if you >bring in a really great musician to lead them at a special Ball or dance, >and have that person lead a musicians' workshop prior to the event. This is the idea of Joyce's that I think is most likely to do good. Actually, the ECD musicians in Salt Lake have just had a workshop with Laurie Andres and Cathie Whitesides, and we all learned a lot. Our monthly dance was last night, and I believe the difference was noticeable - especially in the specific tunes we worked on, but also overall (Laurie, the improvement in Richard's accompaniment was huge - it was much lighter. The tip of not using pedal really helped). It is unlikely that a one-time event will lead to lasting change, so if the budget will run to it, have it a yearly thing. The dancers will have a great time at the ball, and be rejuvenated by dancing to excellent musicians. The musicians will be enthused and also perhaps a bit discontented with their present standard. They might even be stimulated into having rehearsals! Then you can help them directly by attending the rehearsals and giving them feedback, hints on timing, hints on how the music can be played so it fits the dance etc. If your musicians are not dancers themselves, perhaps they don't know these things! Above all, let your musicians hear how the music _should_ be played, and give them something to aim for. But Joyce is right to suggest doing this entirely without implication that they are presently falling short of your standards. We are all sensitive souls and implied criticism is likely to do more harm than good. Emma - Emma Rushton, Department of Biology, University of Utah, 257 South, 1400 East Salt Lake City, UT 84112-0840 (801) 585-1926 (office) (801) 585-9425 (lab) (801) 581-4668 (fax) rushton-AT- biology.utah.edu ================================================================================ Archive-Date: Fri, 03 Mar 2000 10:28:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 10:28:41 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000303182841.19906.qmail-AT- web3305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Emma Rushton wrote: > It is unlikely that a one-time event will lead to lasting > change, so if the budget will run to it, have it a yearly > thing. When I was in Reel Nutmeg there was a lot of style difference between people. The leader, who had led the group since its beginning, was also a clogger and his English style didn't completely seperate out the earthiness of the clogging. I, on the other end of the spectrum, had learned from May Gadd, Genny Shimer and others to dance "up and forward", using my entire body to move. I covered more ground with relative ease than many of the group and I was constantly accused of taking too big a step. In 1989, just before NEFFA, we had a performance_group_only workshop with Genny Shimer and a public dance in the evening. By the end of the day, Genny had everyone in the group moving as I had learned to move years before. The sets were bigger and everyone was covering the larger space with what approached flowing elegance. At the next Thursday rehearsal, the last one before NEFFA, most of them had pretty much reverted to their old ways. I think the seed was planted though and some people saw a vision of how much better they all could be. Helen Davenport is now leading the group and I have heard some good things about the NEFFA performance last year. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Fri, 03 Mar 2000 11:02:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 01 Jan 1988 00:44:41 +0000 From: Gary Roodman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Binghamton Ball Time Warp To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <1.5.4.32.19880101004441.006ab66c-AT- mail.binghamton.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Date: Fri, 01 Jan 1988 00:46:28 +0000 > From: Gary Roodman Subject: Binghamton English Country Dance Ball > To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU > > --- Gary Roodman wrote: > > The Binghamton Country Dancers are hosting their first ball. > > Please join us. > > BINGHAMTON COUNTRY DANCE BALL > > April 1, 2000 Last July (1999) my computer decided that it was Jan. 1, 1988 and has so dated all messages sent since then. At least I didn't need to worry about Y2K. Rowena Roodman ================================================================================ Archive-Date: Fri, 03 Mar 2000 11:38:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 11:38:45 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Keeping open bands under control To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000303193845.3949.qmail-AT- web3305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- giovanni de amici wrote: > not sure where you live, but our local (Los Angeles, CA) band > fits none > (that is zero, nilch, nada) of the five characteristics you > elencate, > namely: > 1) competently, > 2) sensitively, > 3) interactively, > 4) danceably, > 5) for free. > Occasionally they come close to matching the fourth > requirement :-)). > Giovanni De Amici (who is not agreeably spoiled at all) > Moving from New England to Portland ten years ago had one down side. I was spoiled by dancing to Bare Necessities and others in Boston, Marshall Barron and friends in New Haven, Norb Spencer and Paul Woodiel in Hartford and many other very talented east coast musicians at various Balls and weekends. The group which played here in Portland for ECD was dreadful. In addition to not being competent, they lacked the versatiity to allow the caller to change the program to fit the ability of the dancers. (Most of them have moved on to other things.) To make it worse, the dance met once a month and even the regulars had to be re-taught how to dance every month. I could tolerate that to a degree, but the band... I found myself *not* wanting to go to ECD because the music was so bad. Having grown up (literally, I *was* in high school at the time) doing ECD to whatever limited recordings were available then and having a personal collection of CDSS, EFDSS and other recordings, I would much rather have danced to recorded music than that band. It was a lot of the reason that Nan Evans started running an alternative ECD that she hires the musicians for. To not be too big a slap in the face, she did hire that band a few times, but now even the PCDC first Saturday rarely hires them. When I moved here, George Penk was a fairly competent musician and played regularly for Contras. (Now playing monthly on third Saturdays with Jigsaw.) Jim Howe used to put on a Spring Dance Festival every year and bring in out-of-town callers and bands. One year Alasdair Fraser came up from the Bay Area for the festival and while here he stayed with George and Heather. George's music has never been the same. He learned so much during those three days and has continued to grow. That is one thing I can suggest for you to do. Have a dance weekend with out-of-town musicians and somehow coerce members of your band to take part by putting up the visitors. Run music workshops as well as dance workshops. It might help tremendously without them feeling that they are being insulted. Andy in Portland ...who was delighted to find that there was live music for part of the evening at the Monday night Scandinavian dance with Sally White (of the now defunct "Salem/Scio Express") and the only two competent members of Lingonberry Jam (the band with their noses stuck in their music that I referred to before). __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Fri, 03 Mar 2000 12:00:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 15:02:18 -0500 From: "Emily L. Ferguson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Binghamton Ball Time Warp To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT > >Last July (1999) my computer decided that it was Jan. 1, 1988 and has so >dated all messages sent since then. At least I didn't need to worry about >Y2K. >Rowena Roodman Can't you fix it in a control panel or something? Emily L. Ferguson elf-AT- cape.com 508-563-6822 New England landscapes, wooden boats and races, press photography Beetle cats on the web at: http://www.capecod.net/sqtg/nebcba/results/99champs.html ================================================================================ Archive-Date: Fri, 03 Mar 2000 17:15:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 20:15:05 -0500 (EST) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT This is to Philippe, I've tried twice to send you an answer to your email to me via your personal email, without luck. Just wanted to say I will indeed be at Ghent and will look forward to meeting you there and discussing your response with you. Julia ================================================================================ Archive-Date: Sat, 04 Mar 2000 08:49:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 04 Mar 2000 11:49:13 -0500 (EST) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 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 Content-Transfer-Encoding: 7BIT Dear Gloria and all interested, Noone is trying to dictate, indeed, and I'd be delighted to have the next dance, if only I could still dance (I have done ECD since I was ten--that's now sixty years!--and have done new and old dances their way with pleasure). My quarrel is with the claims made by amateur historians to knowing where the dances came from, and that they know how to do them, or that these are folkdances, and that their reconstructions are correct historically. No, I do not think that a mistake is life-threatening, but that the truth is beautiful and it is threatened. Julia ================================================================================ Archive-Date: Sat, 04 Mar 2000 08:49:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 04 Mar 2000 11:49:13 -0500 (EST) From: julia s sutton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: New Harmony dance, 1826 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 Content-Transfer-Encoding: 7BIT Dear Gloria and all interested, Noone is trying to dictate, indeed, and I'd be delighted to have the next dance, if only I could still dance (I have done ECD since I was ten--that's now sixty years!--and have done new and old dances their way with pleasure). My quarrel is with the claims made by amateur historians to knowing where the dances came from, and that they know how to do them, or that these are folkdances, and that their reconstructions are correct historically. No, I do not think that a mistake is life-threatening, but that the truth is beautiful and it is threatened. Julia ================================================================================ Archive-Date: Sat, 04 Mar 2000 08:52:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 03 Mar 2000 08:55:44 -0700 From: mdevlin-AT- teleport.com (Mary Devlin) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Help for concert please To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Brian, a student at Portland State University, is going to do a marimba concert of Bach cello suites. He's asked me to help him find a choreographer and dancers (now expanded to a video, a slide show... anything) to accompany him. As far as I know we don't have folks in Portland who know allemandes, gigues, sarabandes, bourees... Can you give me sources to which to direct him? We appreciate your help. Please reply off-list to mdevlin-AT- teleport.com Thanks. Mary ================================================================================ Archive-Date: Sat, 04 Mar 2000 10:52:43 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 04 Mar 2000 14:20:24 -0400 From: John Wood Subject: Bare Necessities First Recording To: ECD Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38C153E8.85956049-AT- accesscable.net> MIME-Version: 1.0 Content-Type: text/plain; charset=x-user-defined Content-Transfer-Encoding: 7BIT Hi, Folk: Could someone privately give me the date when Bare Necessities first recording was released? Thank you in advance. John Bedford, Nova Scotia ================================================================================ Archive-Date: Sun, 05 Mar 2000 06:09:04 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 09:08:52 -0500 (EST) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contradancers=hulking troglodytes; ECDancers=higher life forms; was Re: Contra against ECD against Contra 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 Thu, 17 Feb 2000, Michael Richardson wrote: > On Wed, 16 Feb 2000 11:42:22, Emily L. Ferguson said: > >Half the dancers do walk-around swings, which might have the capacity to be > >fast but mostly never achieve that. And, to make matters worse, callers > >actually teach walk-around swings as correct! > > I am one of those callers who believe that it is correct -- a buzz > step is merely a stylistic variation, in my opinion. However, we may > choose to agree to disagree on this one. I started dancing in the 1930's, and we did the walk-around. Didn't see a buzz step until I danced with the college crowds in late 1940's in Boston. The group from Fairlee Vermont that demonstrated 'old style' squares and contras at NEFFA each year in the 1940's and 50's used the walk-around step. I am sorry to hear it called 'wrong' these days as it is a very pleasant dance movement. I find that using both the walk-sround and the buzz in an evening of dancing makes for good variety as each suits a particular groups of dances. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Sun, 05 Mar 2000 07:30:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 10:29:49 -0500 (EST) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contra against English To: English Article Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT On Sun, 20 Feb 2000, Paul J. Stamler answered Dianna Shipman's question: > > > P. S. what are "Southern squares" ? - I'm familiar with the country western > > type of square dancing but had not heard of "Southern squares" > > Basically traditional squares as done in rural areas of the American > south and midwest over the last century, without the accoutrements of > Modern Western Square Dancing (or "club dancing") such as costuming and > highly-intricate steps. I grew up on the northwest edge of the Catskills Mountains (about 150 miles NW of New York City!) and did what I now discover are "Southern squares." Wow! (Makes the fact that our area was included in the Appalachaian federal handouts in the 1960's more palatable.) I learned to dance in a long narrow hall with the band in one corner and the kids under 12 in the square diagonally opposite. The hand of hearing old folks dance in the three sets nearest the band and the unspoken age groupings decreased to "my " corner. There were no instructions or walk throughs given -- ever. By the time I was twelve, I was asked to join one of the high school and/or going steady sets, but only if they needed someone. (I was dumbfounded to go to NEFFA in my twenties the ifrst time and receive instruction in squares, but they did do different dances and lots more of them.) Some memories of those dances: A woman was well dressed for dancing if she had her apron on. The men went outside and shared a bottle. Food at intermission was coffee with cream and two sugars, for all ages, and chocolate cake made in a big pan with seven-minute frosting on it. The frosting was as high as the cake. No washing of hands before or after. (The W. C. had a real flush toilet and sink outside.) The first dance after intermission always had a grand chain in it. . . ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Sun, 05 Mar 2000 07:44:00 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 10:52:17 -0500 From: Michael S Franch Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contra against English To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000305.105437.-123513.2.franch-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT On Sun, 05 Mar 2000 10:29:49 -0500 (EST) "Priscilla M. Burrage" .uvm.edu> shared some wonderful recollections of square dancing in the Catskills. If she wouldn't mind, I'd appreciate it if she'd let us know about when that was. Mike Franch Baltimore, Md. ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Sun, 05 Mar 2000 07:55:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 10:55:22 -0500 (EST) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contra against English 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 Mar 2000, Michael S Franch wrote: > On Sun, 05 Mar 2000 10:29:49 -0500 (EST) "Priscilla M. Burrage" .uvm.edu> > shared some wonderful recollections of square dancing in the Catskills. > If she wouldn't mind, I'd appreciate it if she'd let us know about when > that was. About 1938-41. At our beginning of WWII, quite a bit changed, including the availibility of men as it was a poor area and some joined up immediately for the money. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Sun, 05 Mar 2000 08:30:38 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 11:30:20 -0500 (EST) From: Chicoqueen-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contradancers=hulking troglodytes; ECDancers=higher life forms; was Re: C... To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9a.1d820d8.25f3e59c-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT < Ha! Ha! Ha! Ha! Ha! Ha! Ha! > What about crossovers? Does that make me the Missing Link ??? In a message dated 3/5/2000 6:09:55 AM Pacific Standard Time, pburrage-AT- zoo.uvm.edu writes: > I am sorry to hear it called 'wrong' these days as it is a very pleasant > dance movement. I find that using both the walk-sround and the buzz in an > evening of dancing makes for good variety as each suits a particular > groups of dances. I agree -- I do the same -- both, that is... Reine Wonite still (for the moment) in Chico, CA ================================================================================ Archive-Date: Sun, 05 Mar 2000 12:09:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 12:09:25 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contradancers=hulking troglodytes; ECDancers=higher life forms; was Re: Contra against ECD against Contra To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000305200925.27894.qmail-AT- web3302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- "Priscilla M. Burrage" wrote: > I started dancing in the 1930's, and we did the walk-around. > Didn't see a buzz step until I danced with the college crowds > in late 1940's in Boston. > > The group from Fairlee Vermont that demonstrated 'old style' > squares and contras at NEFFA each year in the 1940's and 50's > used the walk-around step. > > I am sorry to hear it called 'wrong' these days as it is a > very pleasant dance movement. I find that using both the > walk-sround and the buzz in an evening of dancing makes for > good variety as each suits a particular groups of dances. > I remember being taught at some time that either step is okay and have always used them interchangably, even in the same swing. In fact, I often do a buzz step and two beats from the end of it change to a walk to prepare for moving into the next figure. As long as both people swinging are stepping down on the beat there should be no conflict between the two. If you are out of synch there will always be a conflict no matter which step you are using. Andy in Portland __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Sun, 05 Mar 2000 13:18:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 21:18:29 +0000 From: Rhodri Davies Subject: Re: English dance in Lafayette? To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38C2CF25.AC120B4F-AT- dial.pipex.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="Boundary_(ID_PWOeLKFTLcfKojyEPUXWxQ)" References: <004501bf83fd$9957dce0$74f7490c-AT- pavilion> This is a multi-part message in MIME format. --Boundary_(ID_PWOeLKFTLcfKojyEPUXWxQ) Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Dianna Shipman wrote: > Do you know of any English country dancers in Lafayette, Louisiana? If so, > can you supply a contact person? Not my region at all - wrong side of the Atlantic. Try the CDSS Rhod --Boundary_(ID_PWOeLKFTLcfKojyEPUXWxQ) Content-type: text/x-vcard; name=rhodd.vcf; charset=us-ascii Content-description: Card for Rhodri Davies Content-disposition: attachment; filename=rhodd.vcf Content-transfer-encoding: 7BIT begin:vcard n:Davies;Rhodri x-mozilla-html:FALSE url:http://dialspace.dial.pipex.com/town/avenue/acd88/ org:Home (pipex) Account version:2.1 email;internet:rhodd-AT- dial.pipex.com title:Dr adr;quoted-printable:;;63 Stanley Rd=0D=0AHeaton Moor;Stockport;;SK4 4HW;UK x-mozilla-cpt:;16064 fn:Rhodri Davies end:vcard --Boundary_(ID_PWOeLKFTLcfKojyEPUXWxQ)-- ================================================================================ Archive-Date: Sun, 05 Mar 2000 15:43:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 18:42:06 -0500 From: "Linda M. Nelson" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contra against English - real life histories To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Thank you, Priscilla, for sharing your experiences. I enjoy hearing real life stories of dance and its place in our communities through the years -- and the stories will have so much variety and richness from place to place and from decade to decade. What i've often noticed in lurking on this list is how often posters will refer to their own past experience as the right way, or best way. Here in the US, we've been shaped by so many different incoming cultures, by the push West, by wars civil and uncivil, by poverty and wealth, as well as by the common human desire to move in time to music. We can benefit greatly from that variety. I started dancing contras in the early 1970s, when i was a college student in Rhode Island. About once a month, one or two cars packed with students would leave Rhode Island School of Design in Providence for Goff Hall in Rehoboth. I recall that there were usually about fifteen couples, sometimes more. Yes, we were taught the buzz step swing. The caller was a middle-aged gentleman (i'm not sure i ever paid any attention to his name - ah, youth), and the band was always a record player. It was a fun dance, and the crowd was enthusiastic... much as the contradance series in Rehoboth continues to this day -- now much larger and always with live music. When i graduated and moved to Cape Cod, i continued contradancing in Woods Hole. Never connected with all the other nearby opportunities. Dropped out of dance altogether in the 80's, then rediscovered dance in 1990. Surprise -- contradancing now included a figure called a hey. And i quickly discovered ECD, and international folk dancing, and scandinavian, and NEFFA, and the Boston dance scene and Pinewoods. A feast in all flavors! Other stories out there? Cheers - Linda __________________________________________________ "Oh, yes. It's vital to remember who you really are. It's very important. It isn't a good idea to rely on other people or things to do it for you, you see. They always get it wrong." (Terry Pratchett - from "Sourcery") __________________________________________________ ================================================================================ Archive-Date: Sun, 05 Mar 2000 19:23:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 05 Mar 2000 19:30:39 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: valse musette To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf871c$58295100$91ecadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I realize this is kind of off-topic -- OK, it's totally off-topic, but I'll ask anyway. Can anyone tell me what a "valse musette" is? Recently I got a notice in the mail advertising an "April in Paris Tango & Waltz Ball" and the flyer said they'd be doing "vintage tango, valse musette, java (a Parisian mazurka), les blues and other popular dances of the early 20th century "Bal Musette" nightclubs." I assume that a valse is a waltz, but the only meaning I know for musette is a kind of bagpipe, which doesn't help much. Marian Phillips ================================================================================ Archive-Date: Mon, 06 Mar 2000 08:50:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Mar 2000 11:50:29 -0500 (EST) From: DavBarnert-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: valse musette To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: Heyer-AT- concentric.net Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Marian Phillips wrote: >Can anyone tell me what a "valse musette" is? Recently I got a >notice in the mail advertising an "April in Paris Tango & Waltz >Ball" and the flyer said they'd be doing "vintage tango, valse >musette, java (a Parisian mazurka), les blues and other popular >dances of the early 20th century "Bal Musette" nightclubs." I >assume that a valse is a waltz, but the only meaning I know for >musette is a kind of bagpipe, which doesn't help much. A button accordion with pairs of reeds sufficiently out-of-tune as to cause a tremolo effect from the "beats" is said to be in "musette" tuning. There is a whole repertoire of French waltzes typically played on such an instrument. They are the "valse musettes." I'm talking about the music. I don't know anything about how they are danced. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Mon, 06 Mar 2000 08:51:46 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Mar 2000 11:51:27 -0500 (EST) From: "Priscilla M. Burrage" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Newcastle: round or square? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT {snip} > In other words, while the verbiage and the feel of the > configurations may be different, the people stand in the same > places whether you call it "square" or "round." But it'ss the moving that makes the dancing. Try dancing it through thinking of it as a round. Then dance it again thinking of it as a square. Having danced it both ways a number of times, I now think of it as a circle dance happens to be for four couples -- until the "lines across" when it magically turns into a square. ~~~~~~~~~~~~~~~~~ Priscilla Burrage Vermont US (pburrage-AT- zoo.uvm.edu) ================================================================================ Archive-Date: Mon, 06 Mar 2000 15:12:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Mar 2000 18:12:29 -0500 (EST) From: JBGrun-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Contra against English - real life histories To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <57.2b2aed3.25f5955d-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Responding to Linda's request for more stories... During my teen years, while my mother, Mireille, was gracefully flowing to strains of Purcell et al with Genny, Jack & Gay, I was squaring & contra-ing at Ethical Culture to the calls of up-and-coming young caller, Dick Sherman. (Come to think of it, I believe we did ONLY squares, not contras.) I think the gorgeous Bob Carey sang during interludes. I found out many years later that Tony Saletan had attended many of those same sessions. My partners were guys from Little Red with names -- I kid you not -- like Itchy & Gooey. (Hey guys, where are you now? And are you hooked on English yet?) Before the dance sessions, we all took part in the Interracial Discussion Group. 50's, anyone? Grandma Judy ================================================================================ Archive-Date: Mon, 06 Mar 2000 23:56:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 06 Mar 2000 21:57:58 +0100 From: M Sheffield Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: valse musette To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <3.0.5.32.20000306215758.007f09b0-AT- pop.wanadoo.fr> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Valse musette is danced in bals folks and bals populaires (no-experience-needed, open-to-all, often open-air, dances) everywhere in France. It is indeed a waltz, but a fast 3/4 rhythm; flat feet, no particular steps to learn, and, I feel, the antithesis of graceful country dancing as we know it. "Musette" also means the bag in which workers used to carry their midday meal. I think the connexion is that at these bals populaires, everyone came in their every day working clothes -- at least it was that way a century ago. In a bal folk today, you just go along and join in -- the mprogram will probably be the same everywhere, alternating valse, scottisch, bourree, and --wait for it ! -- Circassian Circle. Martin, in Grenoble, France. http://perso.wanadoo.fr/scots.in.france/scd.htm (dance groups, some new dances, cycling ...) ================================================================================ Archive-Date: Tue, 07 Mar 2000 00:01:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 07 Mar 2000 00:03:22 -0800 From: paul/victoria bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: valse musette To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.6.32.20000307000322.00832640-AT- oz.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Martin from Grenoble wrote: >"Musette" also means the bag in which workers used to carry their midday >meal. I think the connexion is that at these bals populaires, everyone came >in their every day working clothes -- at least it was that way a century ago. A musette is also a bagpipe-- the instrument people dance to in parts of France. Victoria Bestock Check out our WEB site, at http://www.oz.net/~bestockp/ Read about our trip to the Rockies..... See the portfolio from Northwest New Year's Camp..... ================================================================================ Archive-Date: Tue, 07 Mar 2000 12:21:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 07 Mar 2000 13:07:04 -0500 From: sol weber Reply-To: ECD-AT- playford.slac.stanford.edu Subject: The wish To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000307.152013.-123391.3.solweber-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT An English country dancer, rummaging through a Vermont antique shop, came across a brass lamp and rubbed it. Naturally, a genie appeared. "What is your wish, oh master?" the genie said. "Don't I get *three* wishes?" "Sorry. Just one. Better make it good!" The dancer pondered a moment, then said, "I'd really like to do some English dancing where it originated, in good old England, to see Colin and Bob and all the others in action on their home turf." "And your wish?" "Well, boats make me seasick, and I'm afraid to fly, so please build a bridge to England so I can drive there." The genie was flabbergasted. "What?!? A bridge? Do you know how far that is? How deep the ocean is? How much steel and concrete would be needed?" "Alright! Alright! So instead I'll just wish that English dancers and contra dancers would say only nice things about each other." The genie, after pausing for a moment, said, "So, would you like that with two lanes or four?" +++++Sol "Roundman" Weber --- "So many rounds, so little time" +++++25-14 37th St, Astoria, NY 11103; 718-278-4389 (after 11am) ++SINGERS and musicians, contact me for info on books, albums, and misc musical fun; solweber-AT- JUNO.com; members.xoom.com/rounds FAX 1-917-677-5414 (NYC area code); Urgent message? Please phone. ================================================================================ Archive-Date: Tue, 07 Mar 2000 12:39:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 07 Mar 2000 12:46:00 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: valse musette To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf8876$25b683e0$d0ecadce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Martin sez: >>flat feet, no particular steps to learn<< Thank you! What a peculiar dance form. Now my curiosity is piqued; I may go to the PEERS practice just to see this. Marian ================================================================================ Archive-Date: Tue, 07 Mar 2000 14:56:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 07 Mar 2000 14:55:58 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: BACDS Playford Ball sold out / dance descriptions on the website To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JMR74J5LUS95MOLW-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Folks -- I've just been informed that the BACDS Playford Ball, scheduled for March 25, in Oakland, California, is effectively full at 185 signups. Out-of-towners whose applications are already in the mail may still get in. Also, the dance descriptions are up on the website. (These are webified versions of the instruction packets I distributed to West Coast dance leaders, sometimes more detailed than what ended up in the dance booklet, so it may be worth your while to take a look.) http://www.bacds.org/playford/dances/ should get you there. Thanks to the dance composers who granted permission to include their dances - Erna-Lynne Bogue, Colin Hume, John & Cathy Millar, and Victor Skowronski. Best, -- Alan (Playford 2000 "Knave of Hearts") =============================================================================== 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, 07 Mar 2000 19:17:55 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 07 Mar 2000 19:27:39 -0800 From: Mary Luckhardt Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Newcastle To: ECD List Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT The discussion on Newcastle was very interesting (especially Albert's point about the difference between round and square being whether you took hands at the beginning or not). My old Ren Faire ECD troup, the _Newcastle_ Country Dancers, taught us to glance out the corner of our eye and line up with the diagonal couple when we were on the corners. It really helps to tidy up the set, and is a habit I have kept even 10 years later. We were certainly thinking of it as an octagonal at that moment. Another trick they taught for that dance, which brings the lines close together for the last fall back: The ends take 2 steps forward then 2 steps in toward the center. This is a little crisper, and will definately keep the set from starting the fall back too far apart. Just my comments on an old favorite! Mary Luckhardt > ================================================================================ Archive-Date: Thu, 09 Mar 2000 17:31:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 09 Mar 2000 21:29:00 -0400 From: John Wood Subject: TESTING ONLY To: ECD Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38C84FDC.9569C489-AT- accesscable.net> MIME-Version: 1.0 Content-Type: text/plain; charset=x-user-defined Content-Transfer-Encoding: 7BIT What has happened to all ECD messages? ================================================================================ Archive-Date: Thu, 09 Mar 2000 17:38:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 09 Mar 2000 17:38:26 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: TESTING ONLY To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JMU5KMAUAM95QA7G-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT John Wood asked: What has happened to all ECD messages? and I reply: Traffic on this list is quite "bursty." We have a flurry of conversation with perhaps a dozen or two dozen posts in a day, and then we're quiet again until something else comes up. If you haven't gotten any ECD messages lately and are worried that you fell off the list or your mail is broken, you can check the ECD archive to see what's gone on lately. Try http://www-ssrl.slac.stanford.edu/~winston/ecd.htmlx and follow links to either the comprehensive searchable archive or the monthly archives. (The monthly one is probably best for this purpose.) -- Alan, list-owner =============================================================================== 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, 09 Mar 2000 17:47:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 09 Mar 2000 21:44:20 -0400 From: John Wood Subject: Re: TESTING ONLY [2] To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <38C85374.150BC4CC-AT- accesscable.net> MIME-Version: 1.0 Content-Type: text/plain; charset=x-user-defined Content-Transfer-Encoding: 8BIT References: <01JMU5KMAUAM95QA7G-AT- SSRL.SLAC.STANFORD.EDU> Hi, Alan: Thank you for a helpful reply. I really only wanted to see if I WAS still on the list! It has happened to me on Strathspey. Regards, John > Traffic on this list is quite "bursty."  We have a flurry of conversation with > perhaps a dozen or two dozen posts in a day, and then we're quiet again until > something else comes up. > If you haven't gotten any ECD messages lately and are worried that you fell > off the list or your mail is broken, you can check the ECD archive to see > what's gone on lately.   ================================================================================ Archive-Date: Fri, 10 Mar 2000 09:15:49 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 10 Mar 2000 09:14:45 -0800 From: Ric Goldman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Dance(s) in St. Louis this weekend To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000001bf8ab4$21f7d660$82c7aec7-AT- rgoldman> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Folks, I find that it'll be in St. Louis for the nonce and I was wondering if there were any dances going on. Please help keep the noise off the list and reply directly to me. Thanx in advance, Ric Goldman timelord01-AT- sprynet.com ================================================================================ Archive-Date: Sat, 11 Mar 2000 09:06:21 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 11 Mar 2000 16:42:58 +0000 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: "Sea Caves" To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <002b01bf8b7c$727d8ee0$648901d4-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Has anyone come across the dance "Sea Caves" - and if so please could you tell me who wrote it or where it is from, and also if it has a set (normally used) tune and if so - again, what is it please? Thanks, Trevor Monson. __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Sat, 11 Mar 2000 12:17:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 11 Mar 2000 15:15:49 -0500 From: "Registrar, Washington Spring Ball" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Washington Spring Ball, May 20, 2000 To: ECD Listserv - Posts Message-ID: <4.3.2.20000311151509.00a7fcb0-AT- 209.183.254.10> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT The Folklore Society of Greater Washington Presents the Annual Washington Spring Ball Saturday, May 20, 2000 at the Whitby Gymnasium, National Cathedral School Washington, DC Music by Elke Baker, violin, Marty Taylor, flute and concertina, Liz Donaldson, piano Admission by prior reservation $21 for members of FSGW, BFMS or CDSS, $23 for nonmembers Reception: 7:30 p.m. Dance: 8:00 p.m. Light refreshments served during the break The Program Bar a Bar Bellamira The Bishop Collier's Daughter Green Willow I Care Not for These Ladies Kelsterne Gardens Levi Jackson Rag Lilli Burlero Mad Robin Miss deJersey's Memorial Prince William Sally in Our Alley Round About Our Coal Fire St. Margaret's Hill The Severn Bore A Trip to Amsterdam Trip to Kilburn Well Hall Zephyrs and Flora All dances will be talked through; more difficult dances will be prompted for a few rounds Information about the pre-ball practice session and driving directions will be mailed with program booklets. Work scholar- ships are available for those needing one. For more information, contact Ball Chair Stephanie Smith at 301-229-3577 or the registrar, Roger W. Broseus via email at English-AT- fsgw.org. ================================================================================ Archive-Date: Sat, 11 Mar 2000 12:17:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 11 Mar 2000 15:16:30 -0500 From: "Registrar, Washington Spring Ball" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Washington Spring Ball, Registration Form, May 20, 2000 To: ECD Listserv - Posts Message-ID: <4.3.2.20000311151604.00a92100-AT- 209.183.254.10> MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT ---------------------------------------------------------------------- REGISTRATION for the FSGW's annual Washington Spring Ball May 20, 2000 Whitby Gym, National Cathedral School, Washington, DC ---------------------------------------------------------------------- NAME(s) as they are to appear on name tags. First:_______________________ Initial: ___ Last:______________________ |_| Couple |_| Male |_| Female First:_______________________ Initial: ___ Last:______________________ |_| Male |_| Female Address: _____________________________________________________________ City: ______________________________ State: _____ Zip:________________ Phone: AC: _____ Number ____________ Legible Email address: _________________________ Reserve ____ places at $21 for members of FSGW |_|, BFMS |_|, CDSS |_| Reserve ____ places at $23 for nonmembers. |__| Overnight hospitality needed |__| Allergy__________ |_| Prefer Nonsmoking |_| Separate Beds Other special needs: _________________________________________________ ______________________________________________________________________ |__| I/we can provide overnight hospitality for _____ visitors. Enclose check, payable to FSGW, with a self addressed, stamped, business size envelope with appropriate postage (33cent plus a 22cent stamp for EACH dance program booklet after the first); if no SASE is provided, booklet(s) will be held at the practice session and at the door. Send registration to: Roger W. Broseus 6722 Surreywood Lane Bethesda, MD 20817. |__| CHECK HERE to receive confirmation via Email (including directions to the location of the practice session and ball). In this case: |__| Instruction booklet is to be held at the |__| ball registration table or |__| ball practice (no SASE necessary). Registration can not be accomplished via Email. (Print this with courier 10pt or other, fixed pitch font for best results.) ================================================================================ Archive-Date: Mon, 13 Mar 2000 10:34:11 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 13 Mar 2000 10:32:58 -0800 From: "Hamilton, Bruce" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: The dance column in the CDSS News To: "Ecd Digest (E-mail)" CC: 'Me' Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I've just retired as editor for the English dance column in the CDSS News, and am observing a pattern I've seen before: * Before I was offered the job, I had no inclination to reflect on what the column was for, nor what the editor did. * While considering the job, I had no data with which to reflect on those questions. * While doing the job, I had no time to reflect. * Now that I'm done, I want to reflect on it. So here's a little reflection. Caroline Batson, the overall editor of the News, pretty much gave me a free hand -- she wanted good dances, balance, and to be careful about assigning credit and ownership (I wanted those things too, so that looked easy). Other than that, there was no statement of the purpose of the column, no goal that we might achieve or not achieve by our choices or presentation. I wound up picking these dances (listed in chronological order): * Puck's Deceit (Chris Sackett & Brooke Friendly, OR, new) * Now is the Month of Maying (Jenny Beer, PA, new) * Lacemaker (multiple devisors, tune by Geoffrey Mendham, UK, 20C) * Sarah (Gary Roodman, NY, new) * Fast Packet (Bob Lilley, UK, 20C) * Albany Assembly (Victor Skowronski, MA, new) * Black Bart's Birthday (Alisa & Allen Dodson, CA, new) * The Turning of the Year (Mike Richardson, WA, new) * Love, Port and Sherry (Ron Jones, UK, 20C) * Sally In Our Alley (Reconstruction by Jacqueline Schwab, MA, 18C) (to appear in the next issue) Some of those listed as "new" are new dances to old tunes. I didn't try to figure out my publishing criteria in advance. I discovered these as I actually considered dances: * Give exposure to meritorious but little-known dances (both old and new) and their devisors (especially those in my end of the country. CDS is working to be less of a New-England-centric organization, and one of the ways they do that is to push positions of responsibility out into other parts of the country. I have some sense of the courage it takes to do that and the disruption it causes, and I applaud them for it. And I try to live up to the charge). * Use the column's implicit endorsement to remind readers of the value of simple dances. This is the only goal I had in mind going in; I thought I could redress what I saw as an imbalance toward flowy, complex dances. * Fast-track dances that deserve rapid exposure. I thought the reception that "Sarah" was getting earned it a place, even though Gary planned to put it into his next book. * Set an example by including as much background material as possible and always assigning credit. This probably goes unnoticed, but I believe every little action helps, and inaction definitely hurts. * In publishing "Sally," the problem was the opposite of too little exposure: everyone had a copy of the dance, nearly all of them informally-collected (Nicolas' reconstruction is little circulated here in the States). I wanted to give everyone access to Jacqueline's version. It was also a chance to get Walsh's words in front of callers, and background material as well. * A wide mixture of sources and styles. Wording was a choice, too. I thought that I'd just print things the way their devisors wrote them, but it's not that simple. The News wants consistency between issues, some descriptions were ambiguous, and sometimes (e.g. for new dances) the author liked several different wordings! One danced changed substantively between its devising and its current performance, and I found I had to decide what it is that we're preserving and propagating. (I think we're propagating current performance, and preserving *information about* the past. But that's a new question for me, and I'm still chewing on it). Similarly, my rejection criteria got developed on the fly: * The author is already well-published (Gary is an exception, noted above). * The dance doesn't dance well (I already knew about this one). * The tune is taken. Someone submitted a dance set to "Miss Gordon of Gight." It's an interesting dance, but I regard the tune as belonging now to Easter Morn. * Too complicated. I guessed that some dances take so long to teach that they would rarely get done. Stepping back, I see some of my biases in these criteria :-) I've begun to get a sense of what Julia Sutton said here recently, that this task is harder than it seems. Even for dances composed in this generation I sometimes found it hard to get accurate information, and for every question answered I often found an equal number of new questions raised. So... what do you think about this? * What purposes are served by a column like this one? * What should the acceptance criteria be? * If the editor does more than pick from what comes in -- asks people who haven't submitted dances, looks for dances with no champion to submit them -- what should he/she look for? Where should he/she look? Before I leave this, I give sincere thanks to Robin Hayden. She was great to work with as co-editor, filling in my lapses, putting up with my impatience, and helping try out the dances. Thanks also to Laurie Andres for typesetting the music. I always planned to get him the tunes in plenty of time, but rarely did. --------------------------------------------------------------------------- Bruce Hamilton Agilent Technologies, Inc. MS-4AD Phone 650-857-2818 PO Box 10151 Fax 650-852-8092 Palo Alto, CA 94303-0889 bruce_hamilton-AT- agilent.com ================================================================================ Archive-Date: Mon, 13 Mar 2000 11:46:27 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 13 Mar 2000 13:46:22 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The dance column in the CDSS News To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200003131946.NAA20117-AT- staff1.cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hamilton, Bruce writes: > [many good points clipped] As one of the people that have asked to take your place, let me say thanks for posting this. It gives me many good things to think about as I try to figure out how to get started. > So... what do you think about this? > * What purposes are served by a column like this one? I see it as a way to bring dances to the attention of the dance community. These could be dances that wouldn't otherwise be seen or that would only be done by a small number of people. As you mentioned it can also be a way to influence the kinds of dances that are being done, and how they are being done. This may be a worthy goal, but needs to be handled carefully. > * What should the acceptance criteria be? I'm sort of waiting to be told by the powers that be, but I think your point about publishing dances that might not otherwise be published is a good one. > * If the editor does more than pick from what comes in -- asks people > who haven't submitted dances, looks for dances with no champion to > submit them -- what should he/she look for? Where should he/she > look? "A fair question and one that in recent weeks 'as been much on my mind." (from the Flying Sheep sketch from Monty Python) I think your point of getting input from different areas of the country is a good one. Hopefully being in the Midwest I can do something about that. 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: Tue, 14 Mar 2000 09:11:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 14 Mar 2000 12:11:07 -0500 (EST) From: "Stephen D. Corrsin" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Hamilton's column-o To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000314171107.91392.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT This is in reply to Bruce Hamilton's message about the CDSS Newsletter dance column. I'm reminded of something that disturbed me in the March-April issue -- I don't know if it was Bruce's column, however. A dance appeared, "Love, Port and Sherry," by Ron Jones. It even had a copyright statement and said "used with permission." However, in the notes, it referred to "collected by" yet another person at a festival, 10 years after the copyright date. I'm puzzled by this. Is this a hangover of the old Sharparooney mentality, that "folk" songs and dances are "collected" rather than "composed"? I just don't understand why the fact of "collection" is mentioned at all. Does it really mean "so and so brought it to the editors' attention"? May sound nitpicking, but I don't think so. Giving credit to creators of dances, music, songs, etc etc is something that should be taken quite seriously. There are still too many... well I will not hop on my favorite hobby horse right now. That's a story for another day. Steve Corrsin ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Tue, 14 Mar 2000 14:41:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 14 Mar 2000 17:40:59 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: The dance column in the CDSS News To: "Ecd Digest (E-mail)" Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT I have appreciated having dances published in the CDSS News for several reasons. One was that it significantly augmented my initially very meagre collection of dance instructions. Another was that it was often a timely distribution of current activity in the dance composition world. It also served to expose me to a variety of sources, many of which I might not have discovered on my own, certainly not as quickly. I find, too, that a good number of the dances that I call with some regularity have been published there, and it has been my primary source for many of them. One thing that I feel would help dancers and dance leaders in the US more would be to bring more of the current output from the UK over here. Since the bulk of the membership is in the US, it would give this very deserving source considerably broader exposure. There are many publications in the UK which do not make it into the US market, and many of them appear to be published and distributed on a small scale so that they often aren't available through shops which can provide convenient payment options for American customers, such as a Visa option or an account at an American bank which will accept checks in USD drawn on US banks. (Blackwell's in Oxford is easy to buy from, but I don't think they carry these things typically, though I could be wrong. Cotswold Music seems to publish quite a few of these books, but as far as I know they don't take Visa or US checks. AADS has quite a lot of the British material, and has an account with a bank in Colorado, but it seems to take a while between news of the publication of a book I'd like to get and when it appears in their listing on the web.) The idea is not to make buying this material unnecessary -- it is more to stimulate the appetite, and encourage folks over here to buy more of their publications -- perhaps if we bought more, CDSS would carry more, or the sources themselves would make more convenient payment methods possible. As it is, we remain largely ignorant of much of the activity in England. It might be possible for the CDSS bookstore to coordinate sales of certain publications which they don't intend to carry all the time but might carry for a limited period in connection with the publication of a dance from a published collection. They could announce in a footnote to the dance published in CDSS News something like "this dance is from the collection _Such and Such_ by So and So, and the CDSS shop has a limited number of copies for sale..." and then when they were gone, that would be it, unless demand justified obtaining a second batch. They might even offer a subscription service for folks who were regular customers (I'd probably be one!). * * * Another thing that I think would help would be to clarify how the selection process is started -- I don't recall seeing anything soliciting dance compositions for possible publication, so I wonder just how they get into the queue. Does one wait for an invitation to submit dances, or suggestions for dances? Or are the editors innundated with material without asking for it? Or do they simply draw on their great knowledge of what is going on and skim off what intrigues them, along the guidelines they have established? It would be good to have that clarified, and published along with the publication of the dances. Eric Arnold Ann Arbor ================================================================================ Archive-Date: Tue, 14 Mar 2000 15:44:29 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 14 Mar 2000 18:44:10 -0500 From: JHMTurner Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Sea Caves To: "INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU" Message-ID: <200003141844_MC2-9D21-AA3A-AT- compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7BIT Trevor I believe the dance was written by Jeff Green of Victoria, Australia. The first time I came acrross it was about 3 or 4 years ago at Eastbourne Festival. I seem to remember that the spelling was 'See' (i.e. a Diocese or similar) but I may be mistaken. I don't think it has a special tune but Ron Coxall was the one who presented it, so he's the one to contact. John Turner Message text written by INTERNET:ECD-AT- SSRL04.SLAC.Stanford.EDU >Has anyone come across the dance "Sea Caves" - and if so please could you tell me who wrote it or where it is from, and also if it has a set (normally used) tune and if so - again, what is it please? Thanks, Trevor Monson. < ================================================================================ Archive-Date: Tue, 14 Mar 2000 18:19:54 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 14 Mar 2000 20:19:49 -0600 (CST) From: j-sivier-AT- ux1.cso.uiuc.edu Reply-To: ECD-AT- playford.slac.stanford.edu Subject: questions about Nonesuch To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <200003150219.UAA21801-AT- staff1.cso.uiuc.edu> Content-Transfer-Encoding: 7BIT I'm looking at Sharp's version of Nonesuch (in Keller and Shimer) and comparing it to the Playford versions printed there. The only real change that I can see that Sharp made is in Part III where he replaced "sides all to the right and the left, set and turn single, this again" with "partners half side across the set, turn single right. Partners half side back to place, turn single right." I guess I can see why the change was made, because if you assume that the chorus figure, with everyone springing into the center of the set, only takes 16 beats, then that only leaves 16 beats for the siding, setting and turning, and that's not enough time. However the siding, setting and turning single would fit in better with Part I (up a double and back twice, then set and turn single twice) and make this better fit the pattern of a USA dance. Do you think that the dancers in Playford's time were very fast at siding, setting and turning? Or do you think that they were more leisurely about getting into the center of the set? That would make Part III be twice through the music instead of once. This would give each person 4 beats to get to the center and face up or down, instead of only 2. If they retired to original places in the same way in Part V this would eliminate the extra A music at the end of the dance. It would just be 10 times through the music, instead of 9 1/2. I realise this would give the dance a very different feel than we are used to, but I'm curious about what people's opinions are about how this dance may have originally been done. 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, 15 Mar 2000 11:12:58 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 15 Mar 2000 11:11:43 -0800 From: "Hamilton, Bruce" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Hamilton's column-o To: "'ECD-AT- SSRL04.SLAC.STANFORD.EDU'" CC: 'Me' Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT [forgive my not including Steve's note from the previous issue, but my mail software does a horrible job including text] On Tue, 14 Mar 2000, "Stephen D. Corrsin" had some problem with some aspect of the dance column in the latest CDSS News. Since Steve is puzzled by what I wrote, and I can't understand what he wrote, I'll guess that we have a communication problem :-). Trying to unwind things from this end, it looks as though the word "collected" figures in the matter. This may be a nontechnical use of a term with a technical meaning, like "form," "type" and "style" which Julia Sutton elucidated recently (thanks, Julia!). When I said the dance was "collected by" George Fogg, I meant that he danced (or watched) it, copied down the figures and tune, and brought them home. I *didn't* mean that Ron Jones didn't devise the dance (he did), that it wasn't copyrighted (it was), that we didn't use Ron's publication as our source of the text (we did), that we didn't ask his widow's permission to print the dance (we did), that she didn't give it (she did), or that George brought the dance to the editors' attention (he didn't). Steve asks why we mention George's collecting it. We do that as part of the background material: I think the path a dance follows from country to country is interesting, and that it's nice to record it along with the dance. Also, George deserves credit for noticing a good dance and teaching it in the US. That's all I can think of that might help clear this up (I'm doing this from work, while my copy of the News is at home). As I say, I can't tell from Steve's note what his problem or question is. Steve, can you take it from here? -Bruce --------------------------------------------------------------------------- Bruce Hamilton Agilent Technologies, Inc. MS-4AD Phone 650-857-2818 PO Box 10151 Fax 650-852-8092 Palo Alto, CA 94303-0889 bruce_hamilton-AT- agilent.com ================================================================================ Archive-Date: Wed, 15 Mar 2000 11:43:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 15 Mar 2000 19:33:42 +0000 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: questions about Nonesuch To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <006c01bf8eb7$163080a0$fc9a01d4-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <200003150219.UAA21801-AT- staff1.cso.uiuc.edu> I'm sure if Colin sees your questions he will speak for himself, but have you seen Colin Hume's interpretation of Nonesuch in "Playford with a Difference Vol.1". In this he goes into great detail explaining why he came to his conclusions in this, and also 14 other dances. They are worth dancing his way, as he gives a completely different "feel" to some of the more established ways of dancing these dances (including the much discussed "Step Stately" which was in the listing last year). Trevor Monson ----- Original Message ----- From: To: Sent: Wednesday, March 15, 2000 2:19 AM Subject: questions about Nonesuch > I'm looking at Sharp's version of Nonesuch (in Keller and Shimer) and > comparing it to the Playford versions printed there. The only real change > that I can see that Sharp made is in Part III where he replaced "sides all > to the right and the left, set and turn single, this again" with "partners > half side across the set, turn single right. Partners half side back to > place, turn single right." I guess I can see why the change was made, > because if you assume that the chorus figure, with everyone springing into > the center of the set, only takes 16 beats, then that only leaves 16 beats > for the siding, setting and turning, and that's not enough time. However > the siding, setting and turning single would fit in better with Part I > (up a double and back twice, then set and turn single twice) and make this > better fit the pattern of a USA dance. Do you think that the dancers in > Playford's time were very fast at siding, setting and turning? Or do you > think that they were more leisurely about getting into the center of > the set? That would make Part III be twice through the music instead of > once. This would give each person 4 beats to get to the center and face > up or down, instead of only 2. If they retired to original places in > the same way in Part V this would eliminate the extra A music at the > end of the dance. It would just be 10 times through the music, instead > of 9 1/2. I realise this would give the dance a very different feel than > we are used to, but I'm curious about what people's opinions are about > how this dance may have originally been done. > > 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 | > ---------------------------------------------------------------------- --- __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Wed, 15 Mar 2000 13:15:25 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 15 Mar 2000 16:40:48 -0500 (EST) From: Will Quale Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Hamilton's column-o 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 Wed, 15 Mar 2000, Hamilton, Bruce wrote: > When I said the dance was "collected by" George Fogg, I meant that he > danced (or watched) it, copied down the figures and tune, and brought > them home. I *didn't* mean [...] that George brought the dance to the > editors' attention (he didn't). well, you mean that he didn't _directly_ bring it to your attention -- he didn't ring you up and say "i've just collected this dance, and i'd like to share it with you" ... but he did _indirectly_ bring it to your attention, in that if he hadn't copied it down, brought it across the ocean, and taught it to many people in the US, you might never have heard of it. right? i agree, it's interesting to follow the path by which a dance travels to a new area and gains popularity; i'm glad you chose to add the note about collection. (i'm also very impressed by the effort that went into obtaining official copies, permissions, etc, which you just listed.) --will will-AT- quale.org www.quale.org www.quale.org/dance/dance.html "i've gone to sweep cobwebs beyond the sky, but i'll be back by and by." ================================================================================ Archive-Date: Wed, 15 Mar 2000 20:35:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 15 Mar 2000 20:35:07 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Re: The dance column in the CDSS News To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JN2O8KTPTU9619C6-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT ECDers - [snippage of interesting material from Bruce Hamilton about editing the English dance column in CDSS News.] (Incidentally, thanks to Bruce for his hard work, and for publicizing a bunch of cool dances, and, also for "Sally in Our Alley", which I'd certainly like an authoritative text for.) Bruce's questions: >* What purposes are served by a column like this one? I'm not at all sure that these are the intended purposes, but this is what I see. It helps to build a feeling of community among ECD dancers / leaders / composers. The simple fact of seeing a dance published by people from - say - Ashland, Oregon reminds us that there _are_ people in Ashland, Oregon engaged in essentially the same enterprise that we are. If we happen to know those people, so much the better. (I also think this is one of the most valuable functions of the ECD list.) It validates the efforts of the dance composer. This is as close as the ECD community gets to a peer-reviewed journal; publication in the column is an explicit statement that your work is viewed by someone other than you as worth sharing. (With extremely rare exceptions - CDSS Gems, regional anthologies, posthumous collections - most modern ECD publishing is self-published and self-edited. The collections of dances aren't being approved by publishers and editors; there's no quality screen. The useful feedback you get is when, like Gary Roodman's collections, you sell out multiple editions and have to go back to press.) It also gives the dance composer something to aspire to. It gives the readers a sense of the field being alive and active, and some clue about who the practitioners are. (Then when you meet somebody whose dance you read in the column, you have something to talk to them about.) It promulgates worthwhile dances. I recollect that when "Handel With Care" was published, every Bay Area English dance I attended had tried it out within the month - and it's stuck in some of those repertoires. >* What should the acceptance criteria be? The dances and tunes must be worthwhile (whatever that means to the person making the selection). I gather that Bruce and Robin were trying out some dances transcontinentally, which seems like a great idea. The instructions should be clear. I think I support all the criteria that Bruce listed. I think that, with equally worthwhile dances from a first-timer and someone who's been published repeatedly, I'd give more weight to the first-timer. I would very rarely choose to publish something that wasn't seeing print for the first time, unless that print was, say, available only in England and currently out of print. >* If the editor does more than pick from what comes in -- asks people > who haven't submitted dances, looks for dances with no champion to > submit them -- what should he/she look for? Where should he/she > look? Anything that meets the other criteria and that people ask after on the ECD list might be something worth tracking down even if not submitted. Anything that's circulating in the community but nobody really knows who wrote it or where it's from is worth tracking down. This may be the only opportunity to record its true origin. If it's on ball programs and hasn't been published And if you're dancing somewhere and somebody calls something you like and don't recognize, it's probably worth finding out if it meets the other criteria. Is this the sort of thing you were looking for? -- 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, 16 Mar 2000 02:20:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 16 Mar 2000 10:20:54 +0000 From: Trevor Monson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: questions about Nonesuch To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <001d01bf8f31$90fc8160$3a8801d4-AT- trevormo> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <200003150219.UAA21801-AT- staff1.cso.uiuc.edu> <006c01bf8eb7$163080a0$fc9a01d4-AT- trevormo> With reference to Colins book (see below) - apologies to Mike Barraclough. It's actually his interpretation of Nonesuch, but with Colins thoughts on it! (This is actually stated in the book). Trevor Monson ----- Original Message ----- From: Trevor Monson To: Sent: Wednesday, March 15, 2000 7:33 PM Subject: Re: questions about Nonesuch > I'm sure if Colin sees your questions he will speak for himself, but > have you seen Colin Hume's interpretation of Nonesuch in "Playford with > a Difference Vol.1". In this he goes into great detail explaining > why he came to his conclusions in this, and also 14 other dances. They > are worth dancing his way, as he gives a completely different "feel" to > some of the more established ways of dancing these dances (including the > much discussed "Step Stately" which was in the listing last year). > > Trevor Monson > > > ----- Original Message ----- > From: > To: > Sent: Wednesday, March 15, 2000 2:19 AM > Subject: questions about Nonesuch > > > > I'm looking at Sharp's version of Nonesuch (in Keller and Shimer) > and > > comparing it to the Playford versions printed there. The only real > change > > that I can see that Sharp made is in Part III where he replaced "sides > all > > to the right and the left, set and turn single, this again" with > "partners > > half side across the set, turn single right. Partners half side back > to > > place, turn single right." I guess I can see why the change was > made, > > because if you assume that the chorus figure, with everyone springing > into > > the center of the set, only takes 16 beats, then that only leaves 16 > beats > > for the siding, setting and turning, and that's not enough time. > However > > the siding, setting and turning single would fit in better with Part I > > (up a double and back twice, then set and turn single twice) and make > this > > better fit the pattern of a USA dance. Do you think that the dancers > in > > Playford's time were very fast at siding, setting and turning? Or do > you > > think that they were more leisurely about getting into the center of > > the set? That would make Part III be twice through the music instead > of > > once. This would give each person 4 beats to get to the center and > face > > up or down, instead of only 2. If they retired to original places in > > the same way in Part V this would eliminate the extra A music at the > > end of the dance. It would just be 10 times through the music, > instead > > of 9 1/2. I realise this would give the dance a very different feel > than > > we are used to, but I'm curious about what people's opinions are about > > how this dance may have originally been done. > > > > 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 > | > > ---------------------------------------------------------------------- > --- > > > > __________________________________________________ > > Do You Yahoo!? > > Talk to your friends online with Yahoo! Messenger. > > http://im.yahoo.com > __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 16 Mar 2000 09:00:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 16 Mar 2000 11:57:19 -0500 From: Howard Markham Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Hamilton's Column O To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000801bf8f68$b0ed84b0$92981c3f-AT- MITRE.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Alan Winston proposed as a dance selection criterion (among others) "Anything that's circulating in the community but nobody really knows who wrote it or where it's from is worth tracking down. This may be the only opportunity to record its true origin. If it's on ball programs and hasn't been published." I suggest that Jack's Health as most of us do it in the U.S., and Jim Morrison's account of how it came to be, published here a couple of years ago, is a good candidate on these grounds. (I will be most embarrassed if this has already been done in the CDSS News.) Howard ================================================================================ Archive-Date: Fri, 17 Mar 2000 12:28:23 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 17 Mar 2000 12:28:25 -0800 From: South Bay English Country Dance Reply-To: ECD-AT- playford.slac.stanford.edu Subject: suggesions for a program for a demonstration team, anyone? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <2.2.32.20000317202825.020ef7f4-AT- pop.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Good day. the local Chamber of Commerce invited our ECD group to apply for a performers' slot at the next street fair (themed: Europe and its cultures, or something similar). It would be a great occasion to make new proselites, and reach out to a large number of potential dancers, so I would like to present ECD in the best possible light. I think I can convince enough of my dancers to volunteer the time, so my problem now is to come up with a program. Maybe someone on this list has done public demonstrations before and care to share some ideas, tidbits, advice. here are the parameters of the 'show': - it will be outdoor - it will be on a stage set in the public street (closed to vehicular traffic during the fair) - it will last 20-25 minutes max - the stage will be 20 by 24 feet large - we can indicate a preference for a time slot between 12:00 and 18:00; at 18:30 the main act goes on stage. - there will be the option of using recorded music or bringing musicians along (a professional sound system avec sound operator is provided) I need advice as to which dances to select. Given the short time (the show is on sunday 21 may) we will be able to squeeze in at most three practice sessions, so I must pick dances which are either already very well known, or easy to learn. I would also like to pick dances which are fun to watch (vs fun to dance) and have a great tune (i.e. fun to listen). I would like to have a mixture of playford, post playford and modern dances; some fast and energetic, some slow and elegant. Finally, since our open-band musicians have shown little enthusiasm for the idea (it is a volunteer endeavour, no payment can be expected) I intend to limit the selection to dances for which a good, well executed, danceable recording already exists. I do not plan to coreograph anything: we will execute each dance a few (probably no more than 4) times through, and then stop, regroup, and move on to the next dance, while the M.C. (one of us) says a few words illustrating ECD, its origin etc.. Right now I am thinking of Prince William, Dublin bay, Rufy tufty, Dover pier, Geud man of Ballangigh, Cumberland square 8, but am certainly open to other suggestions. Notice that I listed 6 dances, although we will probably have time to dance only 5 (alas, so many great dances, such a short lifespan). If you have anything that you feel can be useful (maybe even an already prepared text of presentation for ECD [origin, history, evolution,..]), please e-mail it to the list, or if you prefer privately to sbecd-AT- geocities.com. And of course, if you are in the Los Angeles area and would like to join in, just let me know. Thank you for your attention and help. Giovanni De Amici ================================================================================ Archive-Date: Sun, 19 Mar 2000 07:52:09 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 18 Mar 2000 18:06:43 -0500 From: Marge Cramton Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Ann Arbor/Evening Star Contra/English Spring Dance Weekend - May 12 -14 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.5.32.20000318180643.00820330-AT- mailhub.logiclink.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Just to let you know about this Ann Arbor spring weekend of contra dancing, English country dancing, and more, with Evening Star (Bill Tomczak, Claudio Buchwald, Dave Langford, and John Devine), Susan Kevra, Sharon Hollow String Band (Myron Grant, Paul Winder, Brad Battey, and Garth Gerber), Don Theyken, Joseph Pimentel, Fred Todt, and A Perfect Match (Anne Ogren, Michael Shelata, Connie Major Williams, and LeeAnn Guyton). Plus Sunday morning shape note sing; optional catered Saturday dinner and Sunday brunch; Saturday morning English country dance jam with members of Evening Star. Easy-to-get-to, intimate setting with a beautiful wood floor. Come and enjoy the friendly community, great musicians and callers, and terrific dancing. Full weekend $58; any individual segment: $16. Advance registration by May 8 recommended, but walk-ins are welcome for each segment up to the limited capacity of the hall. Location: Ann Arbor, Michigan, Pittsfield Grange, 3337 Ann Arbor-Saline Road (1/4 mile south of I-94, about 25 minutes west of Detroit Metro airport.) Sponsored by FUDGE Productions. Please let other interested dancers know, and call or email if you'd like a flyer. More info: 734-665-7704, 734-747-8138, or rbantle-AT- bizserve.com. ================================================================================ Archive-Date: Sun, 19 Mar 2000 22:54:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 19 Mar 2000 23:37:02 -0700 From: William DeRagon Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Graded Series publications To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000319.235242.-84329.1.wderagon-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT I have seen occasional references to the "English Country Dance -- Graded Series" publications. Could someone on the list be so kind to tell me what these were? When were they published and what was their purpose? Did they include 'new' dance interpretations or were they republished Sharp settings? Thanks, William DeRagon Albuquerque, NM ================================================================================ Archive-Date: Mon, 20 Mar 2000 05:32:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 20 Mar 2000 13:32:24 +0000 From: Hugh Stewart Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Graded Series publications To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38D62868.44BAE4A4-AT- ugsolutions.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000319.235242.-84329.1.wderagon-AT- juno.com> William DeRagon wrote: > > I have seen occasional references to the "English Country Dance -- Graded > Series" publications. Could someone on the list be so kind to tell me > what these were? When were they published and what was their purpose? > Did they include 'new' dance interpretations or were they republished > Sharp settings? > They were a series of seven books each of half a dozen dances that Cecil Sharp published (in the 1920s I would guess). They duplicate dances in his Country Dance Books, but were (I presume) aimed at the schoolroom market. (Strange grading -- Parsons Farewell was graded easier (book 6) than Jack's Maggot (in book 7). Oh well, I'll accept most of the other gradings.) ================================================================================ Archive-Date: Mon, 20 Mar 2000 12:31:07 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 20 Mar 2000 15:25:27 -0500 From: gaff-AT- neu.edu (Terence Gaffney) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: "Goodbye to winter" in Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Dear Friends, Happy First day of Spring! For those of you within driving distance of Boston Mass., there will be a party dance this Wednesday, March 22 at the Park Avenue Congregational Church in Arlington. (Directions can be found at http://www.cds-boston.org/). The theme of the dance is "Goodbye to Winter and Hello to Spring!" We've asked the staff to come up with a program of dances traditionally associated with these two seasons. I'm curious to know what dances list members think of when they think of these seasons. Winter always makes me think of "Round about our Coalfire", the light of the dance driving away the dark. "Room for Ramblers", probably because of its buoyant tune and initial figure, makes me think of spring. Best, Terry ================================================================================ Archive-Date: Mon, 20 Mar 2000 12:46:37 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 20 Mar 2000 12:46:15 -0800 (PST) From: Margherita Davis Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000320204615.67971.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT Terence Gaffney wrote: >I'm curious to know what dances list members think of when they think >of >these seasons. Winter always makes me think of "Round about our > >Coalfire", the light of the dance driving away the dark. "Room for > >Ramblers", probably because of its buoyant tune and initial figure, > >makes me think of spring. I just got in from inspecting the progress of my various bulbs, so I have the garden dances (Kelsterne, Freeford) on my mind... Margherita ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Tue, 21 Mar 2000 05:00:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 21 Mar 2000 08:07:54 -0700 From: Peter Vermilya Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: mtv-AT- uconect.net Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Re: Terry Gaffney's seasonal inquiry. Here are my Spring Categories. Some dances like Wood Duck do "double duty" -- bird and circle -- tho' I don't (usually) list them twice. Pardon egregious puns. I'll look forward to adding other dances to my list. Peggy Vermilya who is too busy with music and dance to get out the Rakes and Brooms and Pick up Sticks in her garden. *************** The Spring (dance as well as category!) Joy after Sorrow New Beginning Equinox & dances in circular formation or with "O's" Sun Assembly Gathering Peascods Sellenger's Round Chocolate Round O Hambleton's Round O Gardens: Spring Freeford Kelsterne Drapers Mulberry Cupid's Knole Park Elverton Grove Greenwich Park and gardening, spring cleaning: Picking up Sticks Rakes of Rochester ......Bonnie Broom Flora: Zephyrs & Flora Flowers of Edinburgh Bonnets so Blue Amarillis Broom, Broom, the Bonnie, Bonnie Broom Hit and Miss (tune: Daphne) Dusty Miller Lilli-burlero Pinks & Lillies Heartesease Rose of Sharon The Rose Tree The First Lady (tune: Lord Gregory's Fair Flower) Birds: Mad Robin Wood Duck Bonnie Cuckoo The Phoenix (Rejuvenated or not) Mutual Love (tune: The Flight) Easter/Passover (biblical allusions; dances a "cross-over" or "pass through" figure): Easter Morn Easter Eve Easter Tuesday (I have directions but no music!) Easter Thursday Christina Christchurch Bells Alchurch 4 for the Gospelmakers 10 for the Ten Commandments (tune: Bonny Sweet Robin) 12 for the 12 Apostles Mr. Isaac's Maggot Mount Hills Peace Be with You The Bishop The Archbishop Trips: Room for Ramblers Faithless Nancy Dawson (tune: A'Rovin') to....Orpington, Tunbridge, Paris, Kilburn, Amsterdam... The Way to Norwich Calendar dates: The 29th of May The First of April ************* English Country Dance in Greater Mystic (CT) 3rd Saturdays -AT- the Stonington Grange 860.535.3623 peterv-AT- uconect.net ================================================================================ Archive-Date: Tue, 21 Mar 2000 07:46:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 21 Mar 2000 10:46:43 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 7BIT > Here are my Spring Categories. Some dances like Wood Duck do "double duty" > -- bird and circle -- tho' I don't (usually) list them twice. Pardon > egregious puns. > I'll look forward to adding other dances to my list. > Peggy Vermilya > who is too busy with music and dance to get out the Rakes and Brooms and > Pick up Sticks in her garden. Hi Peggy! LTNS :-( Maybe PW EMW? May you get out there and Speed the Plough through your garden... Eric *** *** *** A few other additions to your lists: > Equinox & dances in circular formation or with "O's" Wibsey Roundabout Dauntless Dorothy I Care Not for these Ladies Epping Forest Jenny Who Cares? (if nobody wants to do it...) The Round Circle Waltz Waterfall Waltz Margaret's Waltz Dear Papa & Dear Mama The Gypsy Round > Gardens: The Hole in the Wall (of the Garden...) Hyde Park Amberland Meadows Barham Down Childgrove An Enchanted Place Enfield Common > and gardening, spring cleaning: The Country Farmer Hudson Barn aforementioned ploughing dance and to pull the plough: Black Nag Gladys's Galop Volpony (groan!) and garden pests: The Catching of Fleas The Weevil The Hare's Maggot Jack's Maggot Dick's Maggot Mr. Isaac's Maggot Draper's Maggot etc. & butterflies: Auretti's Dutch Skipper > Flora: Apley House (well, you stretched things a bit too!) Chestnut Green Willow Heidenroeslein Laurelhurst Pilgarlick Flowers and Candy > Birds: Aniseed Water Robin The Chirping of the Larke The Chirping of the Nightengale Dove's Figary The Goose & the Gridiron Catching of Quails > Easter/Passover (biblical allusions; dances a "cross-over" or "pass > through" figure): Easter Saturday The Bishop of Bangor's Jigg The Bishop of Chester's Jigg and regarding > Easter Tuesday (I have directions but no music!) I know where the music is... > Trips: Jack's Ramble Jockey to the Fair > Calendar dates: Now is the Month of Maying Mayfair New Year's Day in the Morning (New Year's used to be in March...) ================================================================================ Archive-Date: Tue, 21 Mar 2000 09:37:33 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 21 Mar 2000 12:37:12 -0500 (EST) From: JBGrun-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Peggy, what a fabulous list! To add to yours: Flora: The Silver Primrose (Fried Herman 1998) Birds: The Mavis Sweetly Sings (ditto), Mage on a Cree (?) Easter etc: Palm Sunday (FH 1992) Gardens: The Old Mole (Well, I have a bunch of 'em in MY garden.) Butterfly, Peas Be With You (Sorry.) Judy Grunberg ================================================================================ Archive-Date: Tue, 21 Mar 2000 09:53:53 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 21 Mar 2000 17:53:43 +0000 From: Hugh Stewart Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <38D7B727.D7790D1C-AT- ugsolutions.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: This is getting silly, but given a database of dance titles, how about:- Spring, The Spring Garden Spring Morning Tom Cook Spring Wedding Charles Bolton CELEBRATION OF SPRING Fried Herman SPRING POSY Elsie Watson Blackbirds Of Spring, The Al Olson First Day Of Spring, The Ron Beeson Promise Of Spring, The Gene Hubert Spring Fever Tony Parkes Spring Showers Geoff Cubitt Signs of Spring Ted Sannella Swing into Spring Orace Johnson The second block are all contras, so I don't know if that counts. Oh, and how about Drive the cold winter away Winter Memories Colin Hume Winter Dreams Waltz Gary Roodman ================================================================================ Archive-Date: Tue, 21 Mar 2000 10:16:42 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 21 Mar 2000 13:41:25 -0500 From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU, ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <4.1.20000321132911.0167d610-AT- popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: And then there's just about every dance by Jan Dale [Rowen, Lobelia 2, Love-in-a Mist, etc.], plus the entire collection A Fallibroome Garden. However, I dispute Speed the Plough, which I claim for January & Plough Monday. (~: Sharon Green (peripatetic Molly dancer--have kit, will travel) ================================================================================ Archive-Date: Tue, 21 Mar 2000 15:57:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Tue, 21 Mar 2000 18:57:09 -0500 (EST) From: JoAnne Rawls Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: "Goodbye to winter" in Boston To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000321235709.66631.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT Nobody's mentioned In the Fields of Frost and Snow or Winter Solstice for the winter portion. JoAnne ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Wed, 22 Mar 2000 07:24:41 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 22 Mar 2000 10:24:32 -0500 (EST) From: "Stephen D. Corrsin" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: old dance scholarship cliche To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000322152433.1854.qmail-AT- hotmail.com> MIME-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 7BIT "When we write about dance, we're not really writing about dance." Or words to that effect; actually, the point is, we're writing about politics, power, class, sexual relations, etc. Anyhow, that cliche, or quote, or old saw or saying, has been rolling around my brain lately. Can anyone substantiate it? That is, the paraphrase or quotation, not the idea. Relevance: well, I'm not really writing about ECD, since sword and its ilk is my scholarly field. But I just read Skiles Howard's book on English court dancing in the 16th-17th cs. There we go. thanks in advance, Steve Corrsin corrsin1-AT- hotmail.com 5166 Patrick Rd. West Bloomfield MI 48322 tel (248) 661-6283 ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ================================================================================ Archive-Date: Fri, 24 Mar 2000 14:21:02 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 24 Mar 2000 17:20:52 -0500 From: Maryn McKenna Reply-To: ECD-AT- playford.slac.stanford.edu Subject: hey, we're mainstream! To: ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT ...mainstream enough to be included in a spelling bee, anyway. |AM-GA--Spelling Bee, Ga Bjt,470| Valdosta student wins state bee, heads to national competition| By JUSTIN BACHMAN| |Associated Press Writer| ATLANTA (AP) - The final words were poussette and marchioness. If he nailed them both, 12-year-old Ming Lin Jr. would be headed to Washington, D.C., to represent Georgia in the national spelling bee and would become the fourth member of his family to place first or second in the state championship. Cool as a cucumber Friday on live television, the Valdosta seventh grader did it. He won with marchioness, a term for a noblewoman. ''It was one I knew. I had seen it before,'' he said afterward with the studied confidence of a seasoned speller. Lin, a student in the gifted program at Valdosta Middle School, finished third in the state bee last year. His sister, Victoria, won the Georgia bee in 1992, while two other sisters, Amy and Diana, finished second in 1991 and 1994. Poussette, a dance configuration in which a couple dances with hands joined, was the word that tripped up Scott Abraham, 14, who finished second. He left out an ''s.'' ... ================================================================================ Archive-Date: Fri, 24 Mar 2000 15:39:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 24 Mar 2000 23:31:33 +0000 From: Barry McNamara Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: hey, we're mainstream! To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU, ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000601bf95e9$20794400$6c73883e-AT- freeserve.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: ----- Original Message ----- From: Maryn McKenna To: Sent: Friday, March 24, 2000 10:20 PM Subject: hey, we're mainstream! > ...mainstream enough to be included in a spelling bee, anyway. > > |AM-GA--Spelling Bee, Ga Bjt,470| > Valdosta student wins state bee, heads to national competition| > > By JUSTIN BACHMAN| > |Associated Press Writer| > ATLANTA (AP) - The final words were poussette and marchioness. > If he nailed them both, 12-year-old Ming Lin Jr. would be headed to > Washington, D.C., to represent Georgia in the national spelling bee and > would become the fourth member of his family to place first or second in > the state championship. > Cool as a cucumber Friday on live television, the Valdosta seventh grader > did it. He won with marchioness, a term for a noblewoman. > ''It was one I knew. I had seen it before,'' he said afterward with the > studied confidence of a seasoned speller. > Lin, a student in the gifted program at Valdosta Middle School, finished > third in the state bee last year. His sister, Victoria, won the Georgia bee > in 1992, while two other sisters, Amy and Diana, finished second in 1991 > and 1994. > Poussette, a dance configuration in which a couple dances with hands > joined, was the word that tripped up Scott Abraham, 14, who finished > second. He left out an ''s.'' ... > > > > > ================================================================================ Archive-Date: Fri, 24 Mar 2000 15:39:36 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 24 Mar 2000 23:31:33 +0000 From: Barry McNamara Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: hey, we're mainstream! To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU, ecd-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <000601bf95e9$20794400$6c73883e-AT- freeserve.co.uk> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: ----- Original Message ----- From: Maryn McKenna To: Sent: Friday, March 24, 2000 10:20 PM Subject: hey, we're mainstream! > ...mainstream enough to be included in a spelling bee, anyway. > > |AM-GA--Spelling Bee, Ga Bjt,470| > Valdosta student wins state bee, heads to national competition| > > By JUSTIN BACHMAN| > |Associated Press Writer| > ATLANTA (AP) - The final words were poussette and marchioness. > If he nailed them both, 12-year-old Ming Lin Jr. would be headed to > Washington, D.C., to represent Georgia in the national spelling bee and > would become the fourth member of his family to place first or second in > the state championship. > Cool as a cucumber Friday on live television, the Valdosta seventh grader > did it. He won with marchioness, a term for a noblewoman. > ''It was one I knew. I had seen it before,'' he said afterward with the > studied confidence of a seasoned speller. > Lin, a student in the gifted program at Valdosta Middle School, finished > third in the state bee last year. His sister, Victoria, won the Georgia bee > in 1992, while two other sisters, Amy and Diana, finished second in 1991 > and 1994. > Poussette, a dance configuration in which a couple dances with hands > joined, was the word that tripped up Scott Abraham, 14, who finished > second. He left out an ''s.'' ... > > > > > ================================================================================ Archive-Date: Fri, 24 Mar 2000 19:49:18 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 24 Mar 2000 22:59:07 -0500 From: Michael S Franch Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Double Figure 8's in Contra To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000324.225911.-15959.1.franch-AT- juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7BIT At the Baltimore Folk Music Society's weekly contra dance on Wed., caller Ted Hodapp (from St. Paul, MN) called a dance with a double figure 8 in it. At first there were cries of alarm and dismay, but people learned it quickly (maybe quicker than I've seen new ECD dancers get it). People loved it. The funny thing was that I overheard some dancers, as they caught on, comparing it to the old familiar contra dance hey! Some foursomes did indeed seem to flatten or straighten it out into a hey configuration. It probably fortunate that the caller did not identify it as an ECD figure! Mike Franch ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. ================================================================================ Archive-Date: Fri, 24 Mar 2000 20:03:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 24 Mar 2000 23:03:05 -0500 (EST) From: Chicoqueen-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Double Figure 8's in Contra To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <84.2fff636.260d9479-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 3/24/2000 7:50:20 PM Pacific Standard Time, franch-AT- juno.com writes: > At the Baltimore Folk Music Society's weekly contra dance on Wed., caller > Ted Hodapp (from St. Paul, MN) called a dance with a double figure 8 in > it. At first there were cries of alarm and dismay, but people learned it > quickly (maybe quicker than I've seen new ECD dancers get it). So much for one description of contra I've heard: "ECD sped up and dumbed down." Reine Wonite ================================================================================ Archive-Date: Fri, 24 Mar 2000 22:47:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 24 Mar 2000 22:45:50 -0800 From: "Gary D. Shapiro" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Double Figure 8's in Contra To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000324.225911.-15959.1.franch-AT- juno.com> At 10:59 PM -0500 3/24/00, Michael S Franch wrote: >At the Baltimore Folk Music Society's weekly contra dance on Wed., caller >Ted Hodapp (from St. Paul, MN) called a dance with a double figure 8 in >it. Wow, I've never seen a contra with even a single figure 8. Lots of half figure 8s of course. I'd love to get my hands on a contra or two with a full figure 8 and a contra or two with double figure 8. A double half figure 8 wouldn't be out of the question either. -- "Come dancing, it's only natural." -- Ray Davies Gary Shapiro ================================================================================ Archive-Date: Sat, 25 Mar 2000 07:18:06 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 25 Mar 2000 10:17:50 -0500 (EST) From: DavBarnert-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: April Fools in February To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <9f.347e754.260e329e-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Did everyone see the current issue of the Dance Gypsy? Back in February, it seems everyone here in the northeast was talking about an item in the DG about a guy using a cell phone while dancing to line up a partner for the next dance. The new issue reveals the story to be an invention, a set-up for the current (April) issue where the response is shared. It didn't happen. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation) ================================================================================ Archive-Date: Sat, 25 Mar 2000 19:05:13 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sat, 25 Mar 2000 19:05:05 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: April Fools in February To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000326030505.8263.qmail-AT- web3305.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- DavBarnert-AT- aol.com wrote: > ...Back in > February, it seems everyone here in the northeast was talking > about an item in the DG about a guy using a cell phone while > dancing to line up a partner for the next dance. > > The new issue reveals the story to be an invention, a set-up > for the current (April) issue where the response is shared. > > It didn't happen. > As "connected" as some people seem to think they need to be, I wouldn't be surprised if it actually does. Andy in Portland __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Sun, 26 Mar 2000 05:37:40 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 26 Mar 2000 08:38:30 -0500 From: "Michael J. O'Connor" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: April Fools in February To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <000501bf9728$93895440$eadf7ad1-AT- oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: <20000326030505.8263.qmail-AT- web3305.mail.yahoo.com> .From: Andrew Peterson .> As "connected" as some people seem to think they need to be, I > wouldn't be surprised if it actually does. > . We need a preemptive strike here. Does somebody want to design a bumper sticker, along the lines of what Car Talk has done for drivers? ================================================================================ Archive-Date: Sun, 26 Mar 2000 10:00:20 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 26 Mar 2000 10:07:55 -0800 From: Heyer Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: April Fools in February To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <01bf974e$359eb520$bde7adce-AT- default> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I didn't know Car Talk had done a bumper sticker. What does it say? Marian Phillips ================================================================================ Archive-Date: Sun, 26 Mar 2000 10:07:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 26 Mar 2000 13:06:59 -0500 (EST) From: "Susan R. Lorand" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: car talk bumper sticker (no ECD content whatever) 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, 26 Mar 2000, Heyer wrote: > I didn't know Car Talk had done a bumper sticker. What does it say? > > Marian Phillips i believe it says "Drive now - talk later". (it may be described on their web page.) cheers, susie lorand princeton, nj ================================================================================ Archive-Date: Sun, 26 Mar 2000 11:12:10 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 26 Mar 2000 14:10:31 -0500 From: pam-AT- tedcrane.com (Pamela Goddard) Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Bumper stickers, lapel buttons: _relevant_ to list! To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <00032614103136-AT- tedcrane.com> Content-Transfer-Encoding: 7BIT Enough with this bumper sticker business. There's already a variety of lapel buttons with a very relevant message: "Shut Up and Dance" - Pam and Ted in Ithaca Where dancing is cheap and talk is well measured. ================================================================================ Archive-Date: Sun, 26 Mar 2000 13:18:50 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 26 Mar 2000 16:18:40 -0500 (EST) From: Chicoqueen-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Hang Up and Dance (was: car talk bumper sticker ) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 3/26/2000 10:08:16 AM Pacific Standard Time, srl-AT- phoenix.Princeton.EDU writes: > On Sun, 26 Mar 2000, Marian Phillips wrote: > > I didn't know Car Talk had done a bumper sticker. What does it say? > > i believe it says "Drive now - talk later". (it may be described on > their web page.) Rather than "Hang up and drive?" I was envisioning buttons that said "Hang Up and Dance". Reine Wonite ================================================================================ Archive-Date: Sun, 26 Mar 2000 16:17:35 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Sun, 26 Mar 2000 16:17:27 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Bumper stickers, lapel buttons: _relevant_ to list! To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000327001727.10878.qmail-AT- web3302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT --- Pamela Goddard wrote: > Enough with this bumper sticker business. > There's already a variety of lapel buttons > with a very relevant message: > > "Shut Up and Dance" > > - Pam and Ted in Ithaca > Where dancing is cheap and talk is well measured. > There is nothing I find to be more rude on the dance floor than a couple who are so engrossed in a conversation between themselves that they can barely get through the turn of the dance you are trying to dance with them. They stumble around and completely ignore the other people. There are particularly certain people at Contra here in Portland that I really get tired of pushing through the dance. I think sometime when I get to them I will just stop dancing and say, "I'm sorry to interrupt your conversation, go ahead and finish it and I'll just go wait for the next couple." Note to Mary Devlin: This happened to me last night at your dance and they are some of the same people who can't be bothered to listen to the dance instructions. They never know what they are supposed to do. They are *not* beginners either, they have been dancing longer in Portland than I have been here. Andy Peterson __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Mon, 27 Mar 2000 07:25:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 27 Mar 2000 10:25:03 -0500 From: "Gordon, Judy" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Hang Up and Dance (A True [Contra] Cellular Phone Story) To: "'ecd-AT- playford.slac.stanford.edu'" Message-ID: <0FS30020O6TUCG-AT- smtp.slac.stanford.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT I was an eyewitness to the following a year or so ago at a CD*NY Saturday evening contra dance: Male contra dancer (to remain nameless) is making his way up the line. His cellular phone rings. Without missing a beat, he whips the phone out of his pocket, barks into the phone: "I can't talk to you now--I'm busy!" Snap! Phone goes back in pocket; the dance goes on. One wonders: Why didn't he just turn it off? Yonina Gordon e-mail address: judy_gordon-AT- standardandpoors.com ================================================================================ Archive-Date: Mon, 27 Mar 2000 09:05:17 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 27 Mar 2000 12:05:03 -0500 (EST) From: Chicoqueen-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Hang Up and Dance (A True [Contra] Cellular Phone Story) To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <4.20d382b.2610eebf-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT In a message dated 3/27/2000 7:27:00 AM Pacific Standard Time, judy_gordon-AT- standardandpoors.com writes: > Male contra dancer (to remain nameless) is making his way up the line. His > cellular phone rings. Without missing a beat, he whips the phone out Funny! A man of modern times. I may get flamed for this, but if he didn't miss any beats, and if he assisted his partner and neighbors as called for, what's the harm here? Reine Wonite who prefers partners who keep their electronic tethers off the dance floor ================================================================================ Archive-Date: Mon, 27 Mar 2000 12:56:15 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 27 Mar 2000 15:58:49 -0500 From: Michael Bergman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Renaissance Dance, Cambridge,MA 3/28 To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <4.20d382b.2610eebf-AT- aol.com> Just a reminder, tomorrow Ken Pierce will teach at my 4th Tuesday Renn Dance, at the Old Cambridge Baptist Church, 1151 Mass Ave, Harvard Square. At this time of year, if you get there a little bit early, you can enjoy the marvelous stained glass window that graces the room in which we dance. Ken will be working on Bransles and Canaries from Arbeau's Orcehsography, and two pieces from Negri: Lo Spagnoletto and Il Villanico. As has been our habit in the past, we will probably do mostly short easy dances for the first half, break for refreshments, and then work on the more complicated pieces. While we sometimes work on expressly English pieces, this month we will not; however, some of these dances are likely to have been danced in England in the 16th century, though not English in origin -- in case any of you are interested in that. The dance runs from 7:30 - 10:00, and admission is by donation -- you need not pay anything; the suggested amount is $5. Our musicians will be an interesting mix, including a "lute-guitar", a hurdy-gurdy, a portative organ, several recorders, and at least one bass viol. As always, if you have questions, feel free to call or write: eclectic-AT- mit.edu, or (617) 964-7684. For last minute directions, you are probably better off calling; the directions are on my answering machine. --Mike Bergman ================================================================================ Archive-Date: Mon, 27 Mar 2000 20:40:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 27 Mar 2000 20:42:59 -0800 From: paul/victoria bestock Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: suggesions for a program for a demonstration team, anyone? To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <3.0.6.32.20000327204259.007aaa50-AT- oz.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hi, Giovanni, I enjoyed meeting you and dancing with you at the BAy Area Ball. When I got home your message regarding the demonstration was on my e-mail. I didn't know your stage was so small when I talked to you at the ball. I don't think you can to the falling back and going forward in Dublin Bay in such a small space, though its a delightfully energetic dance. Measure off the space and MAKE SURE it fits so no one backs off the front of the stage! If you fit, its a great choice because it peppy, dancers love it and it had a good tune. But I'd be surprised if it fits, and BACKING toward the front of the stage is risky because the dancers can't see where the edge is! Same problem with Cumberland Square Eight-- try out the slipping and see how much distance your dancers cover in 8 slips! If it fits, its a great choice because its energetic, dancers clearly have FUN doing it so it makes the audience want to try ECD, and its good to have a variety of formations in a demonstration and this is your only square. If it doesn't fit, look for a substitute that uses slipping, but in a circle, where you can really travel on the slips without falling off the stage. Gathering Peascods is good if you have 5 or more couples. The men in, women in, chorus looks great too. Rufty Tufty is a good choice because its peppy, it leads out in two directions, which is interesting to watch, and its for two couples which contrasts with the other dances in size. Keep it. Prince William is a good choice, but I suggest doing it only twice instead of three times, as the audience will get tired of watching it before you get tired of doing it. Mirror heys look good. Three couple sets will fit on your smallish stage. Good choice. Geud Man of Ballangeigh is OK-- the lead throughs look good-- but it does stay within the confines of the longways set. Its familiar to your dancers, and since you don't have a loot of rehearsal time so you may want to keep it. But if there is something everyone knows that has falling back opening up the set, or leads up a double in lines of four, those are better from the audience perspective because they contrast with the basic formation of squares of four people. Up a double facing the audience is like a friendly greeting to them-- try to find one dance that does that. (I love Gene Morrow's comment that there are only two English Country Dances from the audience perspective-- "the longways one and the other one." In other words, the longways set stuff tends to all look alike to an audience, and its good to find dances that break up the formation a bit.) You talk about something elegant, but none of the dances you list are-- they are all perky dances. How about one romantic dance in waltz time for contrast? Its important that the dancers know that the audience won't see the mistakes as long as they continue dancing and smiling. Learning to fake is part of the art of performance! You must convince the audience that what they saw was exactly the way it was meant to be. Most small errors the dancers think are disasters don't show up to an audience unless you point them out by freezing, stopping moving, or showing shock and horror on your faces. The most important thing is that your dancers like the dances and have fun. You have as a goal "selling" ECd to the audience, so lots of smiles, energy, flirtation, are more important than anything else. If the lines happen to be straight that's nice too, but not as important as the joy people have dancing. Best of luck. Let us know how it goes! Regards, Victoria Bestock, Artistic Director, Nonesuch English Country Dancers, Seattle. At 12:28 PM 3/17/2000 -0800, you wrote: >Good day. >the local Chamber of Commerce invited our ECD group to apply for a >performers' slot at the next street fair (themed: Europe and its cultures, >or something similar). It would be a great occasion to make new proselites, >and reach out to a large number of potential dancers, so I would like to >present ECD in the best possible light. > >I think I can convince enough of my dancers to volunteer the time, so my >problem now is to come up with a program. Maybe someone on this list has >done public demonstrations before and care to share some ideas, tidbits, advice. >here are the parameters of the 'show': >- it will be outdoor >- it will be on a stage set in the public street (closed to vehicular >traffic during the fair) >- it will last 20-25 minutes max >- the stage will be 20 by 24 feet large >- we can indicate a preference for a time slot between 12:00 and 18:00; at >18:30 the main act goes on stage. >- there will be the option of using recorded music or bringing musicians >along (a professional sound system avec sound operator is provided) > >I need advice as to which dances to select. Given the short time (the show >is on sunday 21 may) we will be able to squeeze in at most three practice >sessions, so I must pick dances which are either already very well known, or >easy to learn. I would also like to pick dances which are fun to watch (vs >fun to dance) and have a great tune (i.e. fun to listen). I would like to >have a mixture of playford, post playford and modern dances; some fast and >energetic, some slow and elegant. Finally, since our open-band musicians >have shown little enthusiasm for the idea (it is a volunteer endeavour, no >payment can be expected) I intend to limit the selection to dances for which >a good, well executed, danceable recording already exists. >I do not plan to coreograph anything: we will execute each dance a few >(probably no more than 4) times through, and then stop, regroup, and move on >to the next dance, while the M.C. (one of us) says a few words illustrating >ECD, its origin etc.. >Right now I am thinking of Prince William, Dublin bay, Rufy tufty, Dover >pier, Geud man of Ballangigh, Cumberland square 8, but am certainly open to >other suggestions. Notice that I listed 6 dances, although we will probably >have time to dance only 5 (alas, so many great dances, such a short lifespan). > >If you have anything that you feel can be useful (maybe even an already >prepared text of presentation for ECD [origin, history, evolution,..]), >please e-mail it to the list, or if you prefer privately to >sbecd-AT- geocities.com. And of course, if you are in the Los Angeles area and >would like to join in, just let me know. >Thank you for your attention and help. >Giovanni De Amici > > Check out our WEB site, at http://www.oz.net/~bestockp/ Read about our trip to the Rockies..... See the portfolio from Northwest New Year's Camp..... ================================================================================ Archive-Date: Mon, 27 Mar 2000 22:35:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Mon, 27 Mar 2000 22:35:21 -0800 (PST) From: Andrew Peterson Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Hang Up and Dance To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000328063521.29365.qmail-AT- web3306.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT A friend of mine used to go on call at the hospital at 11:00 once a month so she would turn on her vibrating pager just before time. It did not beep if she was paged and it didn't intrude on her ability to pay attention to others on the dance floor. Andy in Portland __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Wed, 29 Mar 2000 02:03:51 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 29 Mar 2000 12:00:42 +0200 From: Philippe Callens Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Double Figure 8's in Contra To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <38E1D44A.6DD61B6B-AT- uia.ua.ac.be> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000324.225911.-15959.1.franch-AT- juno.com> "Gary D. Shapiro" wrote: > At 10:59 PM -0500 3/24/00, Michael S Franch wrote: > > >At the Baltimore Folk Music Society's weekly contra dance on Wed., caller > >Ted Hodapp (from St. Paul, MN) called a dance with a double figure 8 in > >it. > > Wow, I've never seen a contra with even a single figure 8. Lots of > half figure 8s of course. > > I'd love to get my hands on a contra or two with a full figure 8 and > a contra or two with double figure 8. A double half figure 8 wouldn't. Here' s what I found in my work list of contras: - April Fool, by Steve Schnur, has a full figure eight. Published in Zesty Contras. - Pieces of Eight, by Mike Richardson, has a double figure eight. Published in Gems. - Cold Coffee Reel, by the late Don Armstrong, has a half double figure eight. - So has Teach Me, by Jim Saxe. And there *is* more in Zesty Contras. Have fun! Philippe Callens ================================================================================ Archive-Date: Wed, 29 Mar 2000 07:22:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 29 Mar 2000 10:22:09 -0500 From: "Gordon, Judy" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: RE: Double Figure 8's in Contra [Sorry ECD List Purists :-)] To: "'ecd-AT- playford.slac.stanford.edu'" Message-ID: <0FS6004DSW17YS-AT- smtp.slac.stanford.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT On Fri, 24 Mar 2000, Gary Shapiro wrote: >I'd love to get my hands on a contra or two with a full figure 8 and >a contra or two with double figure 8. A double half figure 8 wouldn't >be out of the question either. >>in reply to a message he snipped: >At 10:59 PM -0500 3/24/00, Michael S Franch wrote: >At the Baltimore Folk Music Society's weekly contra dance on Wed., caller >Ted Hodapp (from St. Paul, MN) called a dance with a double figure 8 in >it. I haven't had a chance to go through my file, but I know that Mike Richardson of Seattle, WA, wrote a dance titled "Pieces of Eight" that begins with a double figure 8. It's in his book "Crossing the Cascades," which I purchased several years ago from CDSS. Yonina Gordon ================================================================================ Archive-Date: Wed, 29 Mar 2000 13:31:08 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Wed, 29 Mar 2000 16:36:09 -0500 From: Benjamin Stein Reply-To: ECD-AT- playford.slac.stanford.edu Subject: New Knee To: English Country Dance , Strathspey Message-ID: <38E27749.5C3328A9-AT- globalnetisp.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT To all my friends on both the English and Scottish lists. I am recuperating from the installation of a new left knee joint or "total knee", done just a week ago. Progress is quite good and I hope to be back dancing by some time in May. Sorry if I have ignored the subjects or if any answers were terse but things still rather painful and I find it hard to concentrate. Getting around in the house on crutches. My best wishes to all. Ben Stein dancers-AT- globalnetisp.net ================================================================================ Archive-Date: Thu, 30 Mar 2000 07:14:34 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 10:15:09 -0500 From: Lou Vosteen Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Curly-headed Plowboy To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT In Peter Barnes book of ECD is a tune called the "Curley-headed Plowboy." There is no attribution given for the tune so I would assume it comes under the heading of "traditional." Also, I cannot find a reference for a dance by that name. Does anyone know if there is a dance for the tune, and, if so, a reference to where the figures may be found? Lou ================================================================================ Archive-Date: Thu, 30 Mar 2000 07:23:32 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 07:23:20 -0800 (PST) From: "J. Beer" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Off She Goes To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <20000330152320.12182.qmail-AT- web1103.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello all, A number of you sometimes teach my dance "Back She Comes" which is set to the tune "Off She Goes". Unfortunately the ABB structure made musicians (and me) crazy. Good news--I finally came up with a second A that works. Can I persuade others to also post their dance concoctions to the list? Jenny Beer =============== Off She Goes (We'll keep the name the same as the tune) longways duple minor A1 Taking hands with neighbor, women fall back WHILE men come forward. All set. Reverse--women forward, men back. Set again. A2 1st couple change places with a half gypsy R. Set (starting towards partner, ending towards neighbor). Turn neighbor 2 hands. B1 Off She Goes! 1st woman takes off down the center followed by partner. Return as a couple (PROPER) to top place, turning single away from partner into B2 Circle 4 hands round. With neighbor, turn 2 hands halfway to progress. All turn single. (I think of it as circle for 4, 2, and 1). ============= __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 30 Mar 2000 08:06:01 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 07:53:58 -0800 (PST) From: "J. Beer" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Fwd: Off She Goes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000330155358.14291.qmail-AT- web1105.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Hello all, A number of you sometimes teach my dance "Back She Comes" which is set to the jig "Off She Goes". Unfortunately the ABB structure made musicians (and me) crazy. Good news--I finally came up with a second A that works. Can I persuade others to also post their dance concoctions to the list? Jenny Beer (Please send individual replies to my real email: jbeer-AT- culture-at-work.com ) =============== Off She Goes (We'll keep the name the same as the familiar tune) Longways duple minor A1 Taking hands with neighbor, women fall back WHILE men come forward. All set. Reverse--women forward, men back. Set again. A2 1st couple change places with a half gypsy R. Set (starting towards partner, ending towards neighbor). Turn neighbor 2 hands. B1 Off She Goes! 1st woman takes off down the center followed by partner. Return as a couple (PROPER) to top place, turningsingle away from partner into B2 Circle 4 hands round. With neighbor, turn 2 hands halfwayto progress. All turn single. (I think of it as circle for 4, 2,and 1). ============= __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 30 Mar 2000 08:26:28 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 11:50:53 -0500 From: Sharon Green Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Curly-headed Plowboy To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU, ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <4.1.20000330114733.00b83a20-AT- popserver.panix.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT The Ploughboy in Community Dances Manual 5 is set to The Curly-Headed Ploughboy. Sharon At 10:15 AM 3/30/00 -0500, Lou Vosteen wrote: >In Peter Barnes book of ECD is a tune called the "Curley-headed Plowboy." >There is no attribution given for the tune so I would assume it comes under >the heading of "traditional." Also, I cannot find a reference for a dance >by that name. > >Does anyone know if there is a dance for the tune, and, if so, a reference >to where the figures may be found? > >Lou > > ================================================================================ Archive-Date: Thu, 30 Mar 2000 08:34:19 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 11:34:08 -0500 (EST) From: Eric Arnold Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Off She Goes 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 Thu, 30 Mar 2000, J. Beer wrote: [snip] > Can I persuade others to also post their dance concoctions to > the list? A very appropriate and worthwhile use of the list, in my opinion. Thanks, Jenny, for putting yours out here! For those of us for whom the tune _isn't_ familiar, at least by name, could you give a reference to a source or abc notation or something like that? Thanks! Eric Arnold ================================================================================ Archive-Date: Thu, 30 Mar 2000 11:44:47 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 14:45:35 -0500 From: Michael Bergman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: NEFFA needs volunteers! To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=us-ascii Content-Transfer-Encoding: 7BIT References: <20000328063521.29365.qmail-AT- web3306.mail.yahoo.com> It's that time of year again, when I run around desperately trying to find people to help at the New England Folk Festival. If you don't already know, the New England Folk Festival is a lot of fun. It's the 14th, 15th, and 16th of April. It features lots of dancing; mostly traditional New England style contras, English Country Dance, and 'International Folk Dance', but also many different specialties such as Israeli and Bulgarian and Macedonian and Hungarian and French (which includes dances as old as Bransles as well as 18th and 19th century dances), and all sorts of concerts, including many celtic and English songs, Sea Chanties, storytelling, shape note singing, Georgian (the *other* Georgia), Klezmer, well, it goes on and on. There are generally at least 4 tracks of concerts and 3 tracks of dancing at any time; most is participatory; some is performance. Most of the concerts are performance, most of the dances are participatory. Check out the web page for more details: www.neffa.org/~neffa. Note the '~', that's an important part of the address. If you don't live in the Boston area, note that this year the Festival is also Marathon Weekend. I am in charge of sound for the Festival. I have three contract sound engineers working for me, for whom I supply volunteer stage managers, and also 4 small concert halls which each need a volunteer combination Sound Engineer/Stage Manager. As well as setup and strike people, including people to hang lights, acoustic curtains, and carry stuff all over the school. We also need people to act as "floaters", carrying a pager and ready to step in as a substitute when someone doesn't show up, for those of you who don't like to be over-scheduled. People with cars to bring equipment to and from the festival are also needed. Something new this year is that we are looking for people with dance experience who have a good ear, to provide tips to the pro sound people (most of whom are not dancers) as to how things sound on the dance floor. Musicians are especially suited to this task. We will be running a couple of sound workshops (in the Boston area) between now and then; contact Peter (olszowka-AT- sophia2.somerville.ma.us) if interested in taking one. The workshops teach enough sound to get by; they are free, and there is no obligation to work at the festival. We focus on the use of a basic 8 channel powered board, mic placement, simple feedback control similar to that used at most folk dances in the Boston area. Judy Schaffer is coordinating sound volunteers this year; she can be reached at judy.schaffer-AT- aspect.com. If you want to volunteer for some other aspect of the festival, check out the on-line volunteer form, www.neffa.org/~neffa/volunteer.html Volunteers get in to one session of the Festival for free for each hour they work; 4 hours gets you into the entire Festival. There are four sessions: Friday Night, Saturday Morning/Afternoon, Saturday evening/Night, and Sunday. A few of the jobs we have call for intermittent work and thus require a committment for a longer period of time in order to work the same amount; contact me or Judy for details. Judy can also send you a detailed list of all the sound jobs that we're trying to fill. --Mike Bergman ================================================================================ Archive-Date: Thu, 30 Mar 2000 20:12:59 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 20:12:47 -0800 (PST) From: "J. Beer" Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Off She Goes--tune To: ECD-AT- SSRL04.SLAC.STANFORD.EDU Message-ID: <20000331041247.23843.qmail-AT- web1101.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7BIT Oh I do love the internet... In answer to Eric's request, the music for Off She Goes is posted on Richard's Tune page: http://www.leeds.ac.uk/music/Info/RRTuneBk/RRtunes3/01/00000146.html --Jenny B jbeer-AT- culture-at-work.com __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com ================================================================================ Archive-Date: Thu, 30 Mar 2000 21:01:52 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Thu, 30 Mar 2000 23:02:07 -0600 From: Dianna Shipman Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Curly-headed Plowboy To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Message-ID: <012601bf9ace$63df9200$fbe1490c-AT- pavilion> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT References: The DanceData index for Scottish dances shows this tune as "traditional" and the only dance it lists that use it is the Scottish County Dance "Tidal River Reel" . Dianna Dianna L. Shipman diannashipman-AT- worldnet.att.net PMB 134, 1436 W. Gray Houston, TX 77019-4946 Scottish Country Dancing and More: web page: http://home.att.net/~diannashipman phone: 713-522-1212 ----- Original Message ----- From: "Lou Vosteen" To: Sent: Thursday, March 30, 2000 9:15 AM Subject: Curly-headed Plowboy > In Peter Barnes book of ECD is a tune called the "Curley-headed Plowboy." > There is no attribution given for the tune so I would assume it comes under > the heading of "traditional." Also, I cannot find a reference for a dance > by that name. > > Does anyone know if there is a dance for the tune, and, if so, a reference > to where the figures may be found? > > Lou > > > ================================================================================ Archive-Date: Fri, 31 Mar 2000 00:27:31 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 31 Mar 2000 00:27:19 -0700 (PDT) From: Alan Winston - SSRL Central Computing Subject: Dances with tunes in Barnes (was: Curly-headed ploughboy) To: ECD-AT- PLAYFORD.SLAC.STANFORD.EDU Reply-To: ECD-AT- playford.slac.stanford.edu Message-ID: <01JNNVVYHWY096CGZE-AT- SSRL.SLAC.STANFORD.EDU> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Folks -- If you're looking through Barnes - at least Barnes95 and subsequent - and want to know where to find a dance that goes with a particular tune, try looking in the back. Not the master index, at the very back, but close to the end. You'll find a list which, I am in a position to say authoritatively, was intended to satisfy exactly this kind of curiousity. In fact, that list shows that "The Curly Headed Ploughboy" goes with the dance "The Ploughboy" as published in the fifth volume of the Community Dances Manuals. -- 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: Fri, 31 Mar 2000 12:50:26 PST Sender: owner-ecd-AT- playford.slac.stanford.edu Date: Fri, 31 Mar 2000 15:49:58 -0500 (EST) From: DavBarnert-AT- aol.com Reply-To: ECD-AT- playford.slac.stanford.edu Subject: Re: Off She Goes To: ECD-AT- SSRL04.SLAC.STANFORD.EDU CC: eba-AT- umich.edu Message-ID: <7d.2f0e12b.26166976-AT- aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7BIT Eric wrote: >For those of us for whom the tune _isn't_ familiar, at least by >name, could you give a reference to a source or abc notation or >something like that? Perhaps you're not aware of John Chambers' abc search engine at: http://trillian.mit.edu/~jc/music/abc/FindTune.html Type in the title (or a fragment) and if the abc's out there, it will find it and serve it up in your choice of several formats (abc, gif, MIDI, PostScript). I just tried it with "Off She Goes" and got 36 matches. ______ /\/\/\/\ <______> | | | | | David Barnert <______> | | | | | <______> | | | | | Albany, N.Y. <______> \/\/\/\/ Ventilator Concertina Bellows Bellows (Vocation) (Avocation)