Archive-Date: Mon, 01 Jul 2002 17:32:53 PST
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Date: Mon, 01 Jul 2002 20:34:20 -0400
From: Alixe Dancer <alixed-AT-
options.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Hole Tempi
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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> Graham said:
> 
> > Yes, except that Hole in the Wall is not a minuet. The original 
tune is
> > marked Hornpipe. Even if you aver that the dance is only derived 
from the
> > Hornpipe and that one therefore need not be locked into a Hornpipe 
tempo,
> > it's not a minuet.
> > Graham Christian
> 
> I know... but it's Way Fun danced as a minuet nonetheless!  The SF 
Bay area
> ball included Hole in the Wall danced with a minuet step this past 
spring.
> Loved it!  (Ah... those crazy Californians...!!)
> 
> Mary Devlin
> 
Mary, I agree...Way Fun, and a little mysterious feeling the way those 
little steps, that "up down", get you face to face just at the right 
moment.
-- 
Alixe Dancer
alixed-AT-
options.org
Mon-Fri cell # 541 643-4193

================================================================================
Archive-Date: Mon, 01 Jul 2002 18:02:27 PST
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Date: Mon, 01 Jul 2002 21:01:29 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Hole Tempi
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20020701.210218.-1804369.0.AllisonThompson-AT-
juno.com>
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People who can dance the hornpipe rhythm of  Hole in the Wall to a minuet
step are akin to those folks who can--against all odds--waltz in 3/4 time
when the band is warming up with a polka in 2/2. (Yes, it can indeed be
done, but why do it?)

And sort of akin to a woman preaching. As per the esteem'd Mr. Johnson,
one hastily adds.

Allison

P.S. I have been asked by a caller who should have known better to play
the last round of Well Hall (3/2) as a waltz.  I couldn't believe my ears
and rebelled.  I don't care what the dancers did. 

Allison Thompson
================================================================================
Archive-Date: Tue, 02 Jul 2002 00:45:45 PST
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Date: Tue, 02 Jul 2002 17:45:48 +1000
From: Aylwen Garden <garden-AT-
earthlydelights.com.au>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: FW: JOB OPENING: EXEC DIRECTOR,  INT'L MUSIC & DANCE CENTER
To: "ECD-AT-
SSRL04.SLAC.STANFORD.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
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------ Forwarded Message
From: "Baba K. A. Okulolo" <BabaAfrica-AT-
AOL.COM>
Date: Tue, 2 Jul 2002 01:21:41 EDT
Subject: JOB OPENING: EXEC DIRECTOR,  INT'L MUSIC & DANCE CENTER

(please forward as appropriate)
POSITION AVAILABLE for EXECUTIVE DIRECTOR, ASHKENAZ MUSIC & DANCE COMMUNITY
CENTER 

Ashkenaz Music & Dance Community Center is a non-profit organization in
Berkeley, California that strives to build peaceful community and promote
intercultural understanding.  Ashkenaz welcomes people of all ages and
backgrounds to dance together to live roots music from around the world in a
safe, intimate atmosphere. Along with music performances, community events,
dance classes and benefit performances are also held.  Ashkenaz is supported
by patrons, donors, musicians, volunteers, and a dedicated staff.

The position of Executive Director is a full-time, hands-on position.  The
ideal candidate has a strong track record in non profit management and
fundraising along with a commitment to intercultural community-building.
Additionally, she/he is a voracious multi-tasker with excellent
communication 
skills and an entrepreneurial spirit. Job responsibilities and
qualifications 
are listed below.  

Salary range is $45,000/DOE with medical and other benefits.


To apply, please send your cover letter and resumé VIA E-MAIL ONLY with NO
ATTACHMENTS to: <A HREF="mailto:AshkenazJob-AT-
aol.com.">AshkenazJob-AT-
aol.com.
</A>   In the subject field of your email
please place your name followed by ' ED Position' (ex) SUE SMITH, ED
POSITION. . 

RESPONSIBILITIES

General Management:
· Overall responsibility for Ashkenaz operations and daily/nightly events,
reporting directly to the Board of Directors
· Provide leadership that advances the Ashkenaz mission
· Work collaboratively with Board committees and staff
· Supervise staff
· Manage facility maintenance and studio rentals
· Be available for some night management duties and/or responding to
emergencies as needed

Fiscal Management:
· Set and monitor budgets
· Supervise cash handling, reconcile and make bank deposits
· Manage inventory and cost controls
· Generate and analyze financial reports
· Manage grant fulfillment and reporting
· Manage all, and perform some, bookkeeping tasks
· Manage cash flow, payroll, and accounts payable
· Interface with tax accountant
· Comply with non-profit fiscal reporting requirements

Fundraising and Development:
· Overall responsibility for fundraising, with the Board
· Responsibility for grant writing
· Create and develop donor relationships and programs
· Develop opportunities to expand the Ashkenaz community, use of the
facility, and revenue sources
· Help to design and implement fundraising events
· Recruit and manage volunteers as needed

Community Relations:
· Effectively represent Ashkenaz to the community at large
· Develop and maintain relationships with neighborhood, community
associations, local government, other organizations
· Oversee website development and maintenance

REQUIREMENTS

Down-to-earth, level-headed personality
Strong entrepreneurial, business, and office skills
Efficiency in organizing and budgeting work time
Flexible, adaptable, collaborative workstyle
Excellent oral and written communication skills
Experience in non-profit management
Track record in fundraising, grant-writing and fiscal management
Excellent bookkeeping and accounting skills
Good computer skills
Understanding of and commitment to Ashkenaz mission
Flexible schedule, including some night hours
Zest for meeting, greeting and serving the public
Love of music and social dancing
Ability to work effectively and joyfully with ALL kinds of people


EXTRA CREDIT FOR
Experience working with arts administration or event production
Strong interest in a variety of ethnic-based music and dance
Marketing, promotion, publicity, graphic design, or website experience
Familiarity with the history and significance of the artists and musical
genres presented at Ashkenaz
Understanding of the dynamics of the Ashkenaz community
Cultural mobility and sensitivity


------ End of Forwarded Message



------ End of Forwarded Message

================================================================================
Archive-Date: Tue, 02 Jul 2002 06:28:56 PST
Sender: owner-ecd-AT-
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Date: Tue, 02 Jul 2002 09:27:18 -0400
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Hole Tempi
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: susan-AT-
generalist.org
Message-ID: <E17PNgc-0003TL-00-AT-
black.generalist.org>
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>People who can dance the hornpipe rhythm of  Hole in the Wall to a minuet
>step are akin to those folks who can--against all odds--waltz in 3/4 time
>when the band is warming up with a polka in 2/2. (Yes, it can indeed be
>done, but why do it?)

Because it's an interesting exercise for skilled dancers?  Being able
to convert steps from triple to duple time (or vice-versa) is a
necessary skill in early dance and useful in later dance as well.

A 2/2 time waltz *would* be simpler to do, though.

>P.S. I have been asked by a caller who should have known better to play
>the last round of Well Hall (3/2) as a waltz.  I couldn't believe my ears
>and rebelled.  I don't care what the dancers did. 

I've seen (and danced) Well Hall as a waltz country dance, although it
certainly isn't intended as one; I think that may be more typical than
not.  I experimented with both Well Hall and Hole in the Wall as
minuets; didn't care for either with the minuet step, but both work
reasonably well with a simple bourree step - Hole in the Wall is very
pretty with a whole set doing it.

Susan






================================================================================
Archive-Date: Tue, 02 Jul 2002 13:29:19 PST
Sender: owner-ecd-AT-
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Date: Tue, 02 Jul 2002 16:28:47 -0400
From: "Todt, Frederick R" <todt-AT-
BATTELLE.ORG>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: FW: Modern Double Figure-8s
To: "ECD mailing list (E-mail)" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <2F05A390F72A0A409390E016D23E45E802EFD632-AT-
ns-bco-mse4.im.battelle.org>
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I'm posting the following for Joseph who is currently off-list - Fred
=====================================================================

Does anyone know of a modern ECD with double figure-8s?  I have a couple
with variations of this -- e.g. Sarah, Good Man of Cambridge, Elizabeth. 
I'm looking for a fairly easy dance with a complete double figure-8,
which I want to use to prepare folks for Pat Shaw's harder dance, the
"Amazed Geneticist."  

I've had a look at the archives, but I can only find there contra dances
with double figure-8s.  

If you will kindly reply to me off list <josephpimentel-AT-
juno.com>, I'll
post a summary later.


Thanks!
Joseph Pimentel
Columbus OH
================================================================================
Archive-Date: Tue, 02 Jul 2002 16:05:07 PST
Sender: owner-ecd-AT-
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Date: Tue, 02 Jul 2002 16:07:34 -0700
From: Ric Goldman <timelord-AT-
rgoldman.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Modern Double Figure-8s
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <NCBBKEFLBLMHAGLCIJMKGEHPHAAA.timelord-AT-
rgoldman.org>
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Joseph,

I'd suggest Childgrove, which I used last week.  The rest is so
straightforward, I was able to slip in the Dbl-Fig-8 with no trouble at
all, even as the first dance for the night.

Hope this helps.

Thanx, Ric Goldman
timelord-AT-
rgoldman.org
http://connect.to/ric

> -----Original Message-----
> From: owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU
> [mailto:owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU]On Behalf Of Todt,
> Frederick
> R
> Sent: Tuesday, July 02, 2002 1:29 PM
> To: ECD mailing list (E-mail)
> Subject: FW: Modern Double Figure-8s
>
>
> I'm posting the following for Joseph who is currently off-list - Fred
> =====================================================================
>
> Does anyone know of a modern ECD with double figure-8s?  I
> have a couple
> with variations of this -- e.g. Sarah, Good Man of Cambridge,
> Elizabeth.
> I'm looking for a fairly easy dance with a complete double figure-8,
> which I want to use to prepare folks for Pat Shaw's harder dance, the
> "Amazed Geneticist."
>
> I've had a look at the archives, but I can only find there
> contra dances
> with double figure-8s.
>
> If you will kindly reply to me off list
> <josephpimentel-AT-
juno.com>, I'll
> post a summary later.
>
>
> Thanks!
> Joseph Pimentel
> Columbus OH
>

================================================================================
Archive-Date: Tue, 02 Jul 2002 23:38:07 PST
Sender: owner-ecd-AT-
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Date: Tue, 02 Jul 2002 23:39:06 -0700
From: Kalia Kliban <kalia-AT-
sbcglobal.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: FW: Modern Double Figure-8s
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3D229C0A.B834AC59-AT-
sbcglobal.net>
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References: <2F05A390F72A0A409390E016D23E45E802EFD632-AT-
ns-bco-mse4.im.battelle.org>

> Does anyone know of a modern ECD with double figure-8s?

Double (half) figure 8s in O, Susato by Victor Skowronski,
if that's any help.  it was published in the CDSS bulletin a
while back.

K

-- 
Kalia Kliban
kalia-AT-
sbcglobal.net  <--- Note new email address!
================================================================================
Archive-Date: Tue, 02 Jul 2002 23:52:24 PST
Sender: owner-ecd-AT-
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Date: Tue, 02 Jul 2002 23:53:03 -0700
From: Kalia Kliban <kalia-AT-
sbcglobal.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: FW: Modern Double Figure-8s
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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ns-bco-mse4.im.battelle.org> <3D229C0A.B834AC59-AT-
sbcglobal.net>

Sorry all, I meant that to be off-list.

-- 
Kalia Kliban
kalia-AT-
sbcglobal.net  <--- Note new email address!
================================================================================
Archive-Date: Fri, 05 Jul 2002 18:47:33 PST
Sender: owner-ecd-AT-
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Date: Fri, 05 Jul 2002 21:47:27 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: FW: July 4th Celebration
To: English Dance <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <000a01c2248f$15181be0$7cc4c943-AT-
g9tfz>
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Barbara Harding wanted folks to know about the July 4th celebration that Bob
Keller arranged for the weekly ECD at Glen Echo Town Hall, in Maryland.

Barbara is a dance leader from Herndon, Virginia.  The Glen Echo ECD is
sponsored by the Folklore Society of Greater Washington.

Pat Ruggiero
Charlottesville, Virginia

-----Original Message-----
From: Barbara Harding [mailto:bharding-AT-
quixnet.net]
Sent: Friday, July 05, 2002 12:41 AM
To: ruggierop-AT-
earthlink.net
Subject: Celebration

I was the caller at Glen Echo Town Hall last night, July 3.  Bob Keller was
there as usual,  and was planning something special at break time.  He
wanted a good march, and Jeff Steinberg, Donn Williams and Bruce Edwards got
their heads together .

Bob wanted me to warn him when we started the dance just before the break.
So I did.  At the end, while everyone bowed to partners and applauded the
musicians, Bob came for the microphone.

"When I was a boy up in Connecticut our family always celebrated the 4th of
July in a special way," he explained.  "My father was very patriotic...he
had been in the armed services for years.  We always had a parade.  And then
we sang a song about America.  So tonight, we are going to have a parade and
sing."

He walked over to the snack counter where he'd placed an assortment of
rhythm makers: metal pan lids, spoons, and lots of large single sleigh
bells.  We all chose what we wanted.  Fiddle, guitar and basoon favored us
with a loud enthusiastic rendition of Scotland the Brave. With Bob in  the
lead, we marched round and round the dance floor noisily keeping time. As we
finished, we turned in our instruments and watched Bob for a cue.

"It's time to raise the flag" he said.  And he held up a large cake, its
white frosting decorated with stripes of red strawberries with blue berries
up in the square corner.

Jeff struck up God Bless America and we all sang out lustily.

"And there's a surprise inside the cake!" Bob announced.

"I hope not fireworks," I said.

"No.  Much better." And Bob sliced up the cake.

He and Kitty had made the cake that morning together.   She had been called
away, so he had done the frosting himself that afternoon.

I got the very first slice.  It was red white and blue inside, too!

Barbara Harding

================================================================================
Archive-Date: Mon, 08 Jul 2002 13:08:58 PST
Sender: owner-ecd-AT-
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Date: Mon, 08 Jul 2002 15:08:37 -0500
From: Thomas Senior <seniort-AT-
newtrier.k12.il.us>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: ECD tunes in Trumpet Jaz
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <sd29aafe.005-AT-
newtrier.k12.il.us>
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Hi all,
   a friend and colleague of mine, Nick Drozdoff, has taken My Lady Cullen and Nonesuch and made some interesting arrangements using his trumpet and some software.  You might find it interesting to listen to, although it is not dancable:

*********************************************************

http://www.mp3.com/NickDrozdoff

The tune that uses these two folk tunes as the bridge theme between improvisations is called "Under A Shadow in a Secret Place" and is catagorized in the World Fusion section of mp3.com.  This is the only tune that I've written that borrows from these old English folks tunes. There will be others!  FWIIW, I've got a bunch of legit stuff such as the Hornpipe from Handel's Water Music as well as the Coro dance from the same suite by Handel.  

I welcome any and ALL listeners and this stuff is copletely free!  I get paid via advertising revenues and mp3 musician subscriber fees.



Those who can, do.
Those who understand,  teach.

Tom Senior
Physics Teacher    847-784-6739
New Trier High School
385 Winnetka Ave
Winnetka, IL  60093

================================================================================
Archive-Date: Mon, 08 Jul 2002 13:09:27 PST
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Date: Mon, 08 Jul 2002 13:09:23 -0700 (PDT)
From: barbararuth-AT-
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playford.slac.stanford.edu
Subject: Yahoo! Auto Response
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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I will be away from email from July 7 through the 15.

--------------------


Original Message:


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Date: Mon, 08 Jul 2002 15:08:37 -0500
From: Thomas Senior <seniort-AT-
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Subject: ECD tunes in Trumpet Jaz
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Archive-Date: Mon, 08 Jul 2002 14:08:23 PST
Sender: owner-ecd-AT-
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Date: Mon, 08 Jul 2002 14:08:18 -0700 (PDT)
From: Andy Peterson <lyrlsbro-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Hole Tempi
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20020708210818.11007.qmail-AT-
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--- Susan <susan-AT-
generalist.org> wrote:
> >People who can dance the hornpipe rhythm of  Hole in the Wall to a
> minuet step are akin to those folks who can--against all
odds--waltz
> in 3/4 time >when the band is warming up with a polka in 2/2. (Yes,
> it can indeed be >done, but why do it?)
> 
> Because it's an interesting exercise for skilled dancers?  Being
> able to convert steps from triple to duple time (or vice-versa) is
a
> necessary skill in early dance and useful in later dance as well.
> 
> A 2/2 time waltz *would* be simpler to do, though.

There are dances in the Scandinavian tradition in which the music is
in 4's and one partner (the man in the particular dance that comes to
mind) will be doing a slow Polska turn, while the other is taking
four steps.

Josef Strauss wrote quite a few pieces that are categorized as Polka
Mazurka on the liner notes of various recordings that I have. Only
one of these is in Polka time; the rest are in 3/4.

Andy

__________________________________________________
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================================================================================
Archive-Date: Mon, 08 Jul 2002 14:20:00 PST
Sender: owner-ecd-AT-
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Date: Mon, 08 Jul 2002 17:18:34 -0400
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Hole Tempi
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <E17Rfty-0004l8-00-AT-
black.generalist.org>
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Andy writes:
>Josef Strauss wrote quite a few pieces that are categorized as Polka
>Mazurka on the liner notes of various recordings that I have. Only
>one of these is in Polka time; the rest are in 3/4.

I think the one in Polka time is the oddball; the polka mazurka at
least in the mid-19thc is a 3/4 time step, being a combination of the
mazourka step (not to be confused with the dance called the mazur or
mazurka, which does happen to be in 3/4 time) and the polka redowa
step (which is a 3/4 time step, despite the name.)

I learned polka mazurka as a waltz variant, in other (slightly less
muddled) words.  This isn't based on my own research, but I could
get the references if anyone is that curious (we are way off
country dance here....)

Susan





================================================================================
Archive-Date: Mon, 08 Jul 2002 19:43:40 PST
Sender: owner-ecd-AT-
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Date: Mon, 08 Jul 2002 22:30:53 -0400
From: Michael Bergman <eclectic-AT-
mit.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Hole Tempi
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <a05100303b94ffabecb99-AT-
[192.168.1.101]>
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References: <20020708210818.11007.qmail-AT-
web20004.mail.yahoo.com>

Andy Peterson wrote:
>  Josef Strauss wrote quite a few pieces that are categorized as Polka
>  Mazurka on the liner notes of various recordings that I have. Only
>  one of these is in Polka time; the rest are in 3/4.

Unfortunately for his argument, the odd one is the one in Polka time; 
the Polka Mazurka, in spite of the name, was a type of waltz.

-- namelessly dancing in Boston (occasionally with the squirrelly one)
================================================================================
Archive-Date: Tue, 09 Jul 2002 18:02:10 PST
Sender: owner-ecd-AT-
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Date: Tue, 09 Jul 2002 20:13:56 -0400
From: "Linda M. Nelson" <lindan-AT-
capecod.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: A New Dance, Horseplay
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <a05100300b9512af7f2fb-AT-
[165.247.12.150]>
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References: <5.1.0.14.0.20020520170146.02525e50-AT-
mail.earthlink.net>

>I have had several requests for copies of one of my new dances,
>"Horseplay".  I just want to let those who are interested know
>that it is now up on my web site under "Current Calculated
>Happenings" at
>
>	http://home.earthlink.net/~groodman/index.htm
>
>The dance is set to a tune from Arbeau and is not too difficult.
>I hope some of you will use it and enjoy it.


Greetings!  Thanks for posting the dance and music.  I and a musician 
friend did have trouble reading the scan of the music, which looks 
very blurred.  Any chance of posting a clearer copy, or of emailing 
me a higher resolution jpeg?

Thanks, too, for posting instructions and music for "Turning by 
Threes" on your website.  I've presented it twice now at our Cape Cod 
dances, and it has been very well received by both dancers (all 
levels) and musicians.  Wonderful dance!

All best - Linda Nelson
================================================================================
Archive-Date: Wed, 10 Jul 2002 15:16:28 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 10 Jul 2002 18:14:31 -0400
From: Elizabeth Cave <elizcave-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Ride to Pinewoods English Week
To: ECD list <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <200207101814_MC3-1-5D9-9B22-AT-
compuserve.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=ISO-8859-1
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I'm coming to Pinewoods English Week for the first time this summer from
the UK and need to get from Logan airport to camp on Saturday afternoon,
August 10.  Sharing a van with other campers or getting a ride with someone
passing nearby with space for another passenger would be ideal, but I'm
also happy to catch the bus to Plymouth if someone could give me a
ride from there. I am happy to share expenses for the ride, of course.  I
am scheduled to arrive at Logan at 1:45 pm.

I have followed up contacts provided by CDSS with others flying into Logan
but so far without positive results, so I'm trying this wider forum.

I'll be at Dance Camp Wales from 24 July until 4 Aug and would like to be
able to put my mind at rest about this before I go, if possible.  I'll then
be at home again from 4 Aug until I leave for Pinewoods early on 10 Aug.

Can anyone help please?

Elizabeth Cave
London, England

================================================================================
Archive-Date: Wed, 10 Jul 2002 23:07:13 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 10 Jul 2002 23:07:07 -0700 (PDT)
From: Andy Peterson <lyrlsbro-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Non-ECD question
To: =?UNKNOWN?Q?ECD=A0list?= <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Message-ID: <20020711060707.51007.qmail-AT-
web20010.mail.yahoo.com>
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With all of the computer people on the list, I'm hoping someone can
answer my question. Is there a way to determine the owner of a
particular computer by using the machine's number set (such as
209.213.220.197) listed in the expanded header of an e-mail?? I'm on
the warpath against a particular organization from which I am being
bombarded with SPAM, despite turning OFF all of the options in my
Yahoo preferences.

An answer off-list would be fine.

Andy in Portland

__________________________________________________
Do You Yahoo!?
Sign up for SBC Yahoo! Dial - First Month Free
http://sbc.yahoo.com
================================================================================
Archive-Date: Wed, 10 Jul 2002 23:49:24 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 10 Jul 2002 23:35:26 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Non-ECD question
To: Andy Peterson <lyrlsbro-AT-
yahoo.com>
CC: =?UNKNOWN?Q?ECD=A0list?= <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KJY578CJAK8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
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Andy wrote:

> With all of the computer people on the list, I'm hoping someone can
> answer my question. Is there a way to determine the owner of a
> particular computer by using the machine's number set (such as
> 209.213.220.197) listed in the expanded header of an e-mail?? 

In general: Maybe, maybe not, or not without a little detective work.  (The
"numeric IP address" may or may not be translatable into a node name based on a
domain name server lookup.)

In specific, a name server lookup based on that IP address gets us:

Name:    209-213-220-197.edirectnetwork.net
Address:  209.213.220.197

(With a name like that, it's either a DHCP-served address or owned by an ISP
(probably a DSL provider) I'm not familiar with edirectnetwork so can't tell
which one it is. The address belongs to edirectnetwork.net; the machine might
or might not. (I'm logged in from a machine with an address belonging to
pacbell.net, but it's not their machine.)

When I do a whois on edirectnetwork.net, I get


   Domain Name: EDIRECTNETWORK.NET
   Registrar: NETWORK SOLUTIONS, INC.
   Whois Server: whois.networksolutions.com
   Referral URL: http://www.networksolutions.com
   Name Server: NS.ENAMESERV.COM
   Name Server: NS1.ENAMESERV.COM
   Updated Date: 05-nov-2001

 which doesn't actually help very much.  (This sort of thing used to list where
the bills got sent and the email addresses of the technical contacts, but I
guess that's considered a security breach now.)

Looking at www.edirectnetwork.net (which claims to require Flash) shows that
they are evil direct marketing people but claim to run an opt-in-only business
and show the Direct Marketing Association logo.  If this is true, you might be
able to write to them and get removed from their list.

>I'm on
> the warpath against a particular organization from which I am being
> bombarded with SPAM, despite turning OFF all of the options in my
> Yahoo preferences.

Unclear why you think spammers would either know or care about your Yahoo
preferences.

> An answer off-list would be fine.

(I"m answering on-list so anybody else reading knows it's been answered and
doesn't bombard Andy with answers off-list.)

-- Alan

===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
===============================================================================

================================================================================
Archive-Date: Thu, 11 Jul 2002 06:42:36 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 09:43:42 -0400
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Colonial dances for random groups
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <a05100300b9533a9ada37-AT-
[140.186.54.34]>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KJY578CJAK8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>

anybody got a clue of what to do with a 1 hour gig at a "Colonial 
Day" event at a local historic site?

You know the deal - parents with kids from 2 months in the backpack 
to 2 year olds with 6'4" daddy, to disaffected preteens whose moms 
think this would be "a lot of fun", to 60-ish couples of which the 
man absolutely refuses to be seen alive "dancing".

Any good moderately authentic games for individuals in a group?  The 
site dates from 1635 or so. 
================================================================================
Archive-Date: Thu, 11 Jul 2002 09:54:49 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 12:51:00 -0400
From: "Green, David" <Green-AT-
gts.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <7348C1502B13F344843330794758CFD14A4B11-AT-
mail.GTS.EDU>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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How about bear-baiting?
-- David

-----Original Message-----
From: Emily L. Ferguson [mailto:elf-AT-
cape.com]
Sent: Thursday, July 11, 2002 9:44 AM
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Subject: Colonial dances for random groups


anybody got a clue of what to do with a 1 hour gig at a "Colonial 
Day" event at a local historic site?

You know the deal - parents with kids from 2 months in the backpack 
to 2 year olds with 6'4" daddy, to disaffected preteens whose moms 
think this would be "a lot of fun", to 60-ish couples of which the 
man absolutely refuses to be seen alive "dancing".

Any good moderately authentic games for individuals in a group?  The 
site dates from 1635 or so. 
================================================================================
Archive-Date: Thu, 11 Jul 2002 11:43:01 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 11:30:45 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KJYU500CBO8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; format=flowed; CHARSET=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KJY578CJAK8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>

Emily wrote:

> anybody got a clue of what to do with a 1 hour gig at a "Colonial
> Day" event at a local historic site?

> You know the deal - parents with kids from 2 months in the backpack
> to 2 year olds with 6'4" daddy, to disaffected preteens whose moms
> think this would be "a lot of fun", to 60-ish couples of which the
> man absolutely refuses to be seen alive "dancing".

> Any good moderately authentic games for individuals in a group?  The
> site dates from 1635 or so.

That's a tough gig.  I have a couple of ideas.

You have to decide whether you want to have a new thing starting every few
minutes so people who wander by can be drawn in or concentrate on doing an
activity that can take up an hour.

(You also have to decide whether you care more about historical accuracy or
about involving people.  If you want to involve the maximum number of people,
then you want to run a family dance program - scatter mixers, easy whole set
dances, etc, with most regard to accessibility and least to authenticity.)

On the accuracy, or at least plausibility side:

(1) Reels + jig steps.  They did three hand, four hand, and six hand reels;
those are pretty insensitive to height, and you don't have to (yuck!) touch
anybody.  Teens sometimes like the idea that you can improvise balance steps,
and that it's showing off.   [I'm not too worried about the hideous
complexities of the hey for three if you're just doing reels in the entire
hour.]  Get some demo people together.

(2) Roger de Coverly / Virginia Reel.  (In 1635 they might actually be doing
RdC.  It's an easy whole-set dance, again fairly height-insensitive, doesn't
need to be phrased, and not so active that you can't keep doing it for quite
a while.)

(3) Sellengers Round / Gathering Peascods  and other
not-too-complicated early Playford stuff.  (Hey, 1635's not that far from
1650.)

Good luck; let us know how it goes!

-- Alan

===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
===============================================================================

================================================================================
Archive-Date: Thu, 11 Jul 2002 12:56:18 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 15:57:51 -0400
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <a05100300b953918dccda-AT-
[140.186.61.72]>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KJY578CJAK8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU> <01KJYU500CBO8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>

At 11:30 AM -0700 7/11/02, Alan Winston - SSRL Central Computing wrote:
>(3) Sellengers Round / Gathering Peascods  and other
>not-too-complicated early Playford stuff.  (Hey, 1635's not that far from
>1650.)

I think Sellingers is an extremely confusing dance.

begin diatribe:

(You start with a partner, but then you make a big circle and have to 
figure out which way to go.  By the time you've gotten that figured 
out the circle has gone and come back again.  Then you go in and out 
without holding hands with the partner.  After that you're expected 
to remember that you have a partner so you can set (huh?  Set? 
What's that?), and turn around by yourself (hmm.  which way?  all by 
myself?  I just turn around, don't go anywhere?)

Then you get invited to do siding?

Way over the heads of a 2-yr-old with 6'4" father/partner.)

end diatribe.

Susan Booker suggested a game, off list, which was much more 
manageable for this situation, involved tossing a hoop back and forth 
between two people, with sticks to catch the hoop and toss it back. 
I could do that making the hoops of bittersweet and the sticks of 
small branches.  Even a three year old could figure out how to play 
that game.

But are there any more games of that ilk?

Sir Roger might be possible, however.
-- 
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.beetlecat.com/gft-pics/ef-notes.htm
http://www.beetlecat.org/results/99champs.html
http://www.beetlecat.org/store.html#yrbook

================================================================================
Archive-Date: Thu, 11 Jul 2002 13:05:34 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 15:05:26 -0500
From: elf <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Eager to see you
To: ecd-digest-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20020711200339.IOQO21795.oe-mp1.bizmailsrvcs.net-AT-
Irsrm>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_WVrG+NR8zRbvocFOT1XwCQ)"


--Boundary_(ID_WVrG+NR8zRbvocFOT1XwCQ)
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<HTML><HEAD></HEAD><BODY>
<iframe src=cid:BzDih149E3dfmw361z height=0 width=0>
</iframe>
<FONT></FONT></BODY></HTML>

--Boundary_(ID_WVrG+NR8zRbvocFOT1XwCQ)
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Content-disposition: attachment; filename=Substitute.txt

An executable attachment was removed by the SLAC Gateway.
SLAC does not allow executable files to be sent via email.

Please attempt to get your file via web download or ftp. 
If this is not possible you can get the original attachment 
by sending a request to: postmaster-AT-
slac.stanford.edu

Tell the SLAC postmaster the file was saved on SMTP1 as:
/pmdf/virus/exe-0GZ300A01P557P
 
Original Attachment Information:
>Content-id: <BzDih149E3dfmw361z>
>Content-type: audio/x-midi; name=Here!!.scr
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--Boundary_(ID_WVrG+NR8zRbvocFOT1XwCQ)
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--Boundary_(ID_WVrG+NR8zRbvocFOT1XwCQ)--
================================================================================
Archive-Date: Thu, 11 Jul 2002 13:11:21 PST
Sender: owner-ecd-AT-
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Date: Thu, 11 Jul 2002 16:13:16 -0400
From: C <tootifluti-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <!~!UENERkVCMDkAAQACAAAAAAAAAAAAAAAAABgAAAAAAAAAAp3Li+jBW0yCp1x7jCa/aMKAAAAQAAAAk4ilPttHN0qU6GmynaMqzwEAAAAA-AT-
earthlink.net>
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Hi All -- I'm sorry this is off topic, but did someone have a computer
virus on this list?  For some reason, I received an email through this
list, but there was nothing in it.  I have a feeling someone/something
got into my contact list or something.  I have a firewall here at work
and I've run virus scans every day, but nothing shows up.  Can anyone
tell me what could be the problem?  HEEELP!!! -- Cara :(

-----Original Message-----
From: owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
[mailto:owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU] On Behalf Of Emily L.
Ferguson
Sent: Thursday, July 11, 2002 3:58 PM
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Subject: Re: Colonial dances for random groups


At 11:30 AM -0700 7/11/02, Alan Winston - SSRL Central Computing wrote:
>(3) Sellengers Round / Gathering Peascods  and other 
>not-too-complicated early Playford stuff.  (Hey, 1635's not that far 
>from
>1650.)

I think Sellingers is an extremely confusing dance.

begin diatribe:

(You start with a partner, but then you make a big circle and have to 
figure out which way to go.  By the time you've gotten that figured 
out the circle has gone and come back again.  Then you go in and out 
without holding hands with the partner.  After that you're expected 
to remember that you have a partner so you can set (huh?  Set? 
What's that?), and turn around by yourself (hmm.  which way?  all by 
myself?  I just turn around, don't go anywhere?)

Then you get invited to do siding?

Way over the heads of a 2-yr-old with 6'4" father/partner.)

end diatribe.

Susan Booker suggested a game, off list, which was much more 
manageable for this situation, involved tossing a hoop back and forth 
between two people, with sticks to catch the hoop and toss it back. 
I could do that making the hoops of bittersweet and the sticks of 
small branches.  Even a three year old could figure out how to play 
that game.

But are there any more games of that ilk?

Sir Roger might be possible, however.
-- 
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.beetlecat.com/gft-pics/ef-notes.htm
http://www.beetlecat.org/results/99champs.html
http://www.beetlecat.org/store.html#yrbook

================================================================================
Archive-Date: Thu, 11 Jul 2002 13:23:53 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 13:21:25 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KJYXN2GUUY8YJKZL-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; format=flowed; CHARSET=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KJY578CJAK8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU> <01KJYU500CBO8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>

> At 11:30 AM -0700 7/11/02, Alan Winston - SSRL Central Computing wrote:
> >(3) Sellengers Round / Gathering Peascods  and other
> >not-too-complicated early Playford stuff.  (Hey, 1635's not that far from
> >1650.)

> I think Sellingers is an extremely confusing dance.

> begin diatribe:

> (You start with a partner, but then you make a big circle and have to
> figure out which way to go.  By the time you've gotten that figured
> out the circle has gone and come back again.  Then you go in and out
> without holding hands with the partner.  After that you're expected
> to remember that you have a partner so you can set (huh?  Set?
> What's that?), and turn around by yourself (hmm.  which way?  all by
> myself?  I just turn around, don't go anywhere?)

> Then you get invited to do siding?

> Way over the heads of a 2-yr-old with 6'4" father/partner.)

But not so bad if you adopt the RenFaire/DickensFaire public participation
version, in which the only figure is the big circle and there's no partner
interaction (other than that your partner is one of the people holding your
hand in the big circle).

-- Alan

===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
===============================================================================

================================================================================
Archive-Date: Thu, 11 Jul 2002 13:29:20 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 11 Jul 2002 13:24:31 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: RE: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KJYXTTLGL08YJKZL-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; CHARSET=us-ascii
Content-Transfer-Encoding: 7BIT

Cara wrote:

> Hi All -- I'm sorry this is off topic, but did someone have a computer
> virus on this list?  For some reason, I received an email through this
> list, but there was nothing in it.  I have a feeling someone/something
> got into my contact list or something.  I have a firewall here at work
> and I've run virus scans every day, but nothing shows up.  Can anyone
> tell me what could be the problem?  HEEELP!!! -- Cara :(

Somebody (more properly, some infected machine) sent a virus in the direction
of the list.  It forged Emily's email address.  The SLAC mail gateway
stripped the actual executable payload of the virus message before it got to
the machine the list runs on.  Because Emily's a subscriber to the list, the
list robot happily forwarded the note to the list.  There is no payload; it
can't infect you, so just delete it if you got it.

Since viruses of this type send mail to addresses in their contact lists,
it's a fair deduction that somebody on the list has an infected machine.
It's not Emily - she's got a Mac, and these things are Windows-only, at least
so far.  

-- Alan


===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
===============================================================================

================================================================================
Archive-Date: Thu, 11 Jul 2002 13:32:26 PST
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Whew!!! Thanks, Alan.  Best news I've heard so far. :) - Cara :)

-----Original Message-----
From: owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
[mailto:owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU] On Behalf Of Alan Winston
- SSRL Central Computing
Sent: Thursday, July 11, 2002 4:25 PM
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Subject: RE: Colonial dances for random groups


Cara wrote:

> Hi All -- I'm sorry this is off topic, but did someone have a computer

> virus on this list?  For some reason, I received an email through this

> list, but there was nothing in it.  I have a feeling someone/something

> got into my contact list or something.  I have a firewall here at work

> and I've run virus scans every day, but nothing shows up.  Can anyone 
> tell me what could be the problem?  HEEELP!!! -- Cara :(

Somebody (more properly, some infected machine) sent a virus in the
direction of the list.  It forged Emily's email address.  The SLAC mail
gateway stripped the actual executable payload of the virus message
before it got to the machine the list runs on.  Because Emily's a
subscriber to the list, the list robot happily forwarded the note to the
list.  There is no payload; it can't infect you, so just delete it if
you got it.

Since viruses of this type send mail to addresses in their contact
lists, it's a fair deduction that somebody on the list has an infected
machine. It's not Emily - she's got a Mac, and these things are
Windows-only, at least so far.  

-- Alan


========================================================================
=======
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:
650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA
94025
========================================================================
=======

================================================================================
Archive-Date: Thu, 11 Jul 2002 14:29:01 PST
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Date: Thu, 11 Jul 2002 17:24:44 -0400
From: "Hanny D. Budnick" <74031.77-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
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Hi Emily - 
London Bridge
Farmer in the dell
Punchinello
and other SINGING GAMES!
The advantage of those is that they are non-partner (I'll get back to that
one), you don't bore musicians (which were not originally part of the
scene, most likely) and the speed is determined by the participants. Then
there are follow-the-leader dances (ask Marcie about Yan Petit) and all the
figures you can think of for a grand parade.

I'm leading plenty of family dances (come to the Philly Folk Festival next
month...), but I stay away from English. Ask me off-list if you are
interested in international material. Little kids LOVE to move, but often
it's the parents who love to SEE their kids move.
 
Trust and Comfort
We tell kids not to trust strangers - so be sure to announce that this is a
friendly and safe environment, and it's okay to join hands with someone
they don't know. Also, emphasize safety! Kids in backpacks, that's not
safe. Kids running wild, ditto. Both hands of participants must be free (no
drinks or icecream...) 

Participation
Don't let the parents 'send their kids' into the circle while they
themselves look on! And please expect that some kids will not let go of
dad's or mom's hands, no matter what! I let parents with really little kids
dance inside the big circle - that way they don't interfere, and they feel
special. Sometimes the parent and the kid dance 'as one person', that
soothes the anxieties of the kids. 

Material
I use the "Huntsmen's Chorus" in such situations, lines (not necessarily of
partners) opposing with change by the right or left hand, two hands round,
dosido, chassee down the set (and perhaps up again), casting off and
arches. Don't expect to be dancing to any special beat - the kids create
their own.
If the company will do it, you can do a "plain folks' dance" (check in Chip
Hendricksen's book).
ECD was NOT meant for children. Kids didn't have dedicated musicians for
their frolics. Singing games, that's the way to go. 
Depending on whom you attract, you can perhaps ask the kids to sit in the
middle and watch, while you do one dance for the adults only. The kids LOVE
that!

Anyway, have fun and let us know how it worked out.

  _-AT-
_      {)/'
 /\ /\_._,<_/
'  \      /_\
   />    /<  Hanny

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From: MEIER-AT-
SSRL.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: English country dancing in South Carolina?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: MEIER-AT-
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Dear list members -

I'm attempting to field a request from someone who lives in Charleston, South
Carolina.  She's looking for groups that do Regency dancing in her area.  While
I felt sure that there weren't any Regency groups near her, I thought she'd
appreciate directions to local ECD. 

Except I can't find anything.  I've checked the NEFFA LinkFest, Google, and
CDSS (for local groups). There's contra nearby, but no English.  Does anyone
know of a South Carolina ECD event I might have missed?

If anything comes to mind, feel free to email me directly. Especially if you
remember it before Saturday, when I'm heading off to BACDS English Week.

Thanks,

Vanessa
meier-AT-
ssrl.slac.stanford.edu

================================================================================
Archive-Date: Thu, 11 Jul 2002 16:33:10 PST
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Date: Thu, 11 Jul 2002 19:31:43 -0400
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: susan-AT-
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>(You also have to decide whether you care more about historical accuracy or
>about involving people.  If you want to involve the maximum number of people,
>then you want to run a family dance program - scatter mixers, easy whole set
>dances, etc, with most regard to accessibility and least to authenticity.)

Are we talking 1635 here?  Skip country dances entirely and do some of
the easy late 16thc dance that survived into the early decades of the
17thc.  Or are we talking "Colonial" in the sense of anything from
1492 to 1776?

>On the accuracy, or at least plausibility side:
>
>(1) Reels + jig steps.  They did three hand, four hand, and six hand reels;
>those are pretty insensitive to height, and you don't have to (yuck!) touch
>anybody.  Teens sometimes like the idea that you can improvise balance steps,
>and that it's showing off.   [I'm not too worried about the hideous
>complexities of the hey for three if you're just doing reels in the entire
>hour.]  Get some demo people together.
>
>(2) Roger de Coverly / Virginia Reel.  (In 1635 they might actually be doing
>RdC.  It's an easy whole-set dance, again fairly height-insensitive, doesn't
>need to be phrased, and not so active that you can't keep doing it for quite
>a while.)

I have to ask: cite for the typical RdC (Virginia Reel) for pre-1700,
let alone 1635???  I'd also be curious for cites for 3/4/6-hand reels
that far back.  The earlier (Playford, I think) version of RdC I am
familiar with is nothing like the most common later version (any of
the VR-like variations; there's also an early 19thc version which is
just a typical country dance, nothing like the others.)

Susan
================================================================================
Archive-Date: Thu, 11 Jul 2002 16:42:47 PST
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Date: Thu, 11 Jul 2002 19:44:22 -0400
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
To: ECD-AT-
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CC: susan-AT-
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At 7:31 PM -0400 7/11/02, Susan wrote:
>Are we talking 1635 here?

Yup.

>  Skip country dances entirely and do some of
>the easy late 16thc dance that survived into the early decades of the
>17thc.  Or are we talking "Colonial" in the sense of anything from
>1492 to 1776?

instructions, please?  This is the day after tomorrow and right now 
I'm trying to design a web site......
-- 
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.beetlecat.com/gft-pics/ef-notes.htm
http://www.beetlecat.org/results/99champs.html
http://www.beetlecat.org/store.html#yrbook

================================================================================
Archive-Date: Thu, 11 Jul 2002 16:45:00 PST
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Date: Thu, 11 Jul 2002 16:36:03 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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> >(You also have to decide whether you care more about historical accuracy or
> >about involving people.  If you want to involve the maximum number of people,
> >then you want to run a family dance program - scatter mixers, easy whole set
> >dances, etc, with most regard to accessibility and least to authenticity.)

> Are we talking 1635 here?  Skip country dances entirely and do some of
> the easy late 16thc dance that survived into the early decades of the
> 17thc.  

Such as?  (Are we talking "Horses Bransle" here?)

> Or are we talking "Colonial" in the sense of anything from
> 1492 to 1776?

That was the assumption on which my response was predicated.

> >On the accuracy, or at least plausibility side:
> >
> >(1) Reels + jig steps.  They did three hand, four hand, and six hand reels;
> >those are pretty insensitive to height, and you don't have to (yuck!) touch
> >anybody.  Teens sometimes like the idea that you can improvise balance steps,
> >and that it's showing off.   [I'm not too worried about the hideous
> >complexities of the hey for three if you're just doing reels in the entire
> >hour.]  Get some demo people together.
> >
> >(2) Roger de Coverly / Virginia Reel.  (In 1635 they might actually be doing
> >RdC.  It's an easy whole-set dance, again fairly height-insensitive, doesn't
> >need to be phrased, and not so active that you can't keep doing it for quite
> >a while.)

> I have to ask: cite for the typical RdC (Virginia Reel) for pre-1700,
> let alone 1635???  

Heck, no.

> I'd also be curious for cites for 3/4/6-hand reels
> that far back.  

Heck, no.  (It seems to me likely that 3-hand reels were around a long ways
back, but I'm just going on generic "Early American"; the cites in Morrison are
generally 1770s.)

>The earlier (Playford, I think) version of RdC I am
> familiar with is nothing like the most common later version (any of
> the VR-like variations; there's also an early 19thc version which is
> just a typical country dance, nothing like the others.)

Indeed.  (We've had a couple of lengthy rounds on history of RdC on this list;
I haven't had time to fix the subject-line-search archive server.  The
_Spectator_ papers talk about how RdC is a very old dance, and they're writing
in the 1700s, and the tune or a variant is around in, uh, the 1400s, so I'm
blithely claiming some degree of plausibility for doing a dance called that,
more so than for doing a dance called, say, "Hull's Victory".)

-- Alan

===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
===============================================================================

================================================================================
Archive-Date: Thu, 11 Jul 2002 16:46:21 PST
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Date: Thu, 11 Jul 2002 19:44:57 -0400
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: English country dancing in South Carolina?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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Vanessa wrote:
>I'm attempting to field a request from someone who lives in Charleston, South
>Carolina.  She's looking for groups that do Regency dancing in her area.  While
>I felt sure that there weren't any Regency groups near her, I thought she'd
>appreciate directions to local ECD. 

This may not be helpful, since I've no idea if there's a group in
Charleston, but if she's looking for Regency dancing, Scottish Country
Dancing is closer in steps and feel to Regency than MECD is.  I think
in some ways both contra and square dancing, oddly enough, have some
elements in common with Regency that MECD does not, along with
elements that are wildly un-Regency, of course - although not the ones
people may think.  Scottish is what I recommend to people who are
stuck for lack of Regency, though.

For one-shots, she might want to pay attention to the Split Tree Farm
(Georgia) schedule; periodically they get Richard Powers in for his
"Old Vienna" weekends, which in the past have included a decent dose
of Regency as well as 1820's waltz variations (those 2/4 waltzes
again....)  Split Tree is significantly north of Atlanta, but I'm not
sure how close it is to Charleston.  Also, if she becomes
dedicated/obsessed by dancing, there's talk that next year's New
Orlean's Vintage Dance Week will have a Regency component, or at least
the American dances of the same era.  I haven't seen any details of
that yet.

Susan
Regency nut
================================================================================
Archive-Date: Thu, 11 Jul 2002 16:50:39 PST
Sender: owner-ecd-AT-
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Date: Thu, 11 Jul 2002 16:47:01 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: English country dancing in South Carolina?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KJZ4VE9LUY8YDXT4-AT-
SSRL.SLAC.STANFORD.EDU>
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Susan wrote:

> This may not be helpful, since I've no idea if there's a group in
> Charleston, but if she's looking for Regency dancing, Scottish Country
> Dancing is closer in steps and feel to Regency than MECD is.  

I know Vanessa's already aware of this, but it's still a good suggestion.


> For one-shots, she might want to pay attention to the Split Tree Farm
> (Georgia) schedule; periodically they get Richard Powers in for his
> "Old Vienna" weekends, which in the past have included a decent dose
> of Regency as well as 1820's waltz variations (those 2/4 waltzes
> again....)  Split Tree is significantly north of Atlanta, but I'm not
> sure how close it is to Charleston.  Also, if she becomes
> dedicated/obsessed by dancing, there's talk that next year's New
> Orlean's Vintage Dance Week will have a Regency component, or at least
> the American dances of the same era.  I haven't seen any details of
> that yet.

There's a New Orleans Vintage Dance week?  Is there a website?  Is this an
ongoing week, or - as I've gathered from some other references - is there a
traveling week that will happen in New Orleans next year?  And was there any
interesting country-dance relevant component of the San Diego dance week this
time?

-- Alan

===============================================================================
 Alan Winston --- WINSTON-AT-
SSRL.SLAC.STANFORD.EDU
 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
===============================================================================

================================================================================
Archive-Date: Thu, 11 Jul 2002 18:33:29 PST
Sender: owner-ecd-AT-
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Date: Thu, 11 Jul 2002 18:36:26 -0700
From: Ric Goldman <timelord-AT-
rgoldman.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: English country dancing in South Carolina?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <NCBBKEFLBLMHAGLCIJMKAENDHAAA.timelord-AT-
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Vanessa,

I've no answer myself, but it seems to me that if anyone would know
about that area, it would either be the Atlanta ECD groups, or the folks
in Brasstown, North Carolina.

Hope this helps.

Thanx, Ric Goldman
timelord-AT-
rgoldman.org <- new email (please update your address book)
http://connect.to/ric

> -----Original Message-----
> From: owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU
> [mailto:owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU]On Behalf Of
> MEIER-AT-
SSRL.SLAC.STANFORD.EDU
> Sent: Thursday, July 11, 2002 3:29 PM
> To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
> Cc: MEIER-AT-
SSRL.SLAC.STANFORD.EDU
> Subject: English country dancing in South Carolina?
>
>
> Dear list members -
>
> I'm attempting to field a request from someone who lives in
> Charleston, South
> Carolina.  She's looking for groups that do Regency dancing
> in her area.  While
> I felt sure that there weren't any Regency groups near her, I
> thought she'd
> appreciate directions to local ECD.
>
> Except I can't find anything.  I've checked the NEFFA
> LinkFest, Google, and
> CDSS (for local groups). There's contra nearby, but no
> English.  Does anyone
> know of a South Carolina ECD event I might have missed?
>
> If anything comes to mind, feel free to email me directly.
> Especially if you
> remember it before Saturday, when I'm heading off to BACDS
> English Week.
>
> Thanks,
>
> Vanessa
> meier-AT-
ssrl.slac.stanford.edu
>
>

================================================================================
Archive-Date: Thu, 11 Jul 2002 21:14:21 PST
Sender: owner-ecd-AT-
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Date: Thu, 11 Jul 2002 23:12:53 -0500
From: Charlene Charette <perronnelle-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <3D2E5745.410D5D68-AT-
earthlink.net>
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References: <01KJY578CJAK8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU> <01KJYU500CBO8YLIFX-AT-
SSRL.SLAC.STANFORD.EDU>

Alan Winston - SSRL Central Computing wrote:

> (3) Sellengers Round / Gathering Peascods  and other
> not-too-complicated early Playford stuff.  (Hey, 1635's not that far from
> 1650.)

To pick a nit, Sellenger's Round isn't in 1st Playford.  I believe it
shows up in the 3rd edition (1665) and that Sharp's variation is from
the 4th edition (1670).  I've heard various arguments for it being an
older dance.

--Charlene

-- 
An education isn't how much you have committed to memory, or even how
much you know.  It's being able to differentiate between what you know
and what you don't.  --Anatole France
================================================================================
Archive-Date: Fri, 12 Jul 2002 04:48:43 PST
Sender: owner-ecd-AT-
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Date: Fri, 12 Jul 2002 07:43:52 -0400
From: Gene Murrow <gmurrow-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20020712.074401.-815049.10.gmurrow-AT-
juno.com>
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Maybe I'm promoting an old myth here, but would the Puritans in the
Massachusetts Bay Colony in 1635 have done ANY dancing at all??? 
"Colonial American" dancing references are to 18th C. activities.

If I'm right, this makes your gig really easy.  Just have 'em sit around
and do some Bible reading...

Gene Murrow

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--
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Archive-Date: Fri, 12 Jul 2002 05:58:29 PST
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Date: Fri, 12 Jul 2002 08:57:05 -0400
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial dances for random groups
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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Alan writes:
>> the easy late 16thc dance that survived into the early decades of the
>> 17thc.  
>
>Such as?  (Are we talking "Horses Bransle" here?)

Yes, that sort of thing.  Horses, Pease, and Washerwoman's Branle are
very usable for this event, and silly enough to make people less
self-conscious.  We can document "French brawles" into England in the
early 17thc, although not those particular ones.

Likewise, Branle de la Haye or Branle Montarde are very easy, and
the entire Old Measures group of Almans are tremendously easy and had at
least a 100-year lifespan from c1570-c1675.

The problem is that she's not going to have music for these.  I'm
debating how easily these can be done to random music.

>> Or are we talking "Colonial" in the sense of anything from
>> 1492 to 1776?
>
>That was the assumption on which my response was predicated.

Apparently, 1635.

>Heck, no.  (It seems to me likely that 3-hand reels were around a long ways
>back, but I'm just going on generic "Early American"; the cites in Morrison are
>generally 1770s.)

The word "jigge" goes back fairly far.  The actually reeling (heys) goes
back pretty far.  I'd find a six-hand reel more eyebrow-raising, though.

For what it's worth, here's a list of cites of country dance
references from the pre-1650 era.  It is not complete, even from my
own notes.  It's based mostly on Margaret Dean-Smith's article in, um,
an EFDSS publication of several decades ago which isn't in front of me
right now, and I have not checked her fully, but have generally found
her to be accurate on the ones I have gotten around to looking at.
But if country dances it must be (and it probably must be, 'cause of
the music issue, which I was too tired last night to think of), at
least there's some vague excuse for some of these:

Dances by Name pre-1650
1529	hay the gy of three
1561	hay the gye
1564	Trenchemore, hey de gie
1567	"Have over ye water to floride", "Sellinger's Round"
1568	The Shaking of the Sheets (The Daunce and songe of deathe)
1577	Larousse, Heidegy, Old Lusty Gallant, All the flowers of the Broom
	Shakinge othe shetes, Caching of quales, what faire Melissa
1579	haydeguies
	Shaking of sheetes, Trenchmour
1580	hey-day guise
1589	Shaking of the sheets, ora whine meg
1592	Sellengars Round
1597	Sellingers round, sesqui paltry, 
1597	Trenchmour
1599	Shaking of the Sheets
1600	Hey-de-gey
1603	Shaking of the Sheets, Rogero, The Beginning of the World, John Come Kiss me now, Cushion Dance, Tom Tyler, Hunting of the Fox, The Hay, Put on your smock a Monday, Sellingers Round
1604	Sellengers Round
1607	Sellengers round
1612	hy-day-gies
1614	Paggington's Pound, Nightingale
1614	heydeguies
1617	Moriscos, Sellengers round, Tom Tiler
1622	hydegy
1623	The Soldiers Marche, Huff Hamukin
1626	The beginning of the world
1633	haydegues, shaking of the sheetes
1635	Sellingers Round
1638	hey-de-gay

Mullally cites:
1596 Rogero, Basilino, Turkelony, All the Flowers of the broom, Pepper
is black, Greensleeves, Peggie Ramsey - Nashe/Saffron Walden

Shakespeare
Heartsease - Romeo & Juliet (1594-96)	A IV, s v, line 102

"Have with you to Saffron Walden" - need to check
Rufty Tufty


The usual caveat: just because the name of a dance appears, it does
NOT mean that the dance they did at the time was identical (or even
similar) to the one eventually written down by Playford.  It may be
more likely that the MUSIC was the same, since tunes could be recycled
for different dances, but a literary mention is not documentation of 
this, and definitely not of the figures of a dance.

More on this topic in a bit.

Susan
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Date: Fri, 12 Jul 2002 09:06:21 -0400
From: Susan <susan-AT-
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Reply-To: ECD-AT-
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Subject: Re: English country dancing in South Carolina?
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Alan writes:
>There's a New Orleans Vintage Dance week?  Is there a website?  Is this an
>ongoing week, or - as I've gathered from some other references - is there a
>traveling week that will happen in New Orleans next year?  And was there any
>interesting country-dance relevant component of the San Diego dance week this
>time?

The former Cincinnati Vintage Dance Week has now broken loose and is
roaming around the country.  New Orleans has laid claim to next year,
and apparently is getting major local support due to the 200th
anniversary of the Louisiana Purchase exciting local interest in such
things.  I have not yet seen any details at all, but Richard Powers
announced it at San Diego and he seems to be quite certain it is
happening.  I'll post a website when I hear about one.  I'm hoping to
attend.  It would be one of the last weeks in June.

I believe Philadelphia is now looking at either 2004 or 2005 for this.

At San Diego, there was only the set dancing one usually encounters
at a vintage event - country dances and quadrilles and mixers at
the 19thc balls.  Irene Ujda taught some interesting "Early California"
variations, but I'm unclear on how early "Early" implies.

It will be interesting to see what New Orleans does - set dances are
not as popular in vintage as couple dances, but if they want a
pre-1840 component it's going to be hard to escape set dancing.

Susan




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From: Susan <susan-AT-
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Subject: Re: Colonial dances for random groups
To: ECD-AT-
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Okay....this is really quite interesting, and I'm not sure what way I
mean that, but here's some earlier dances that can be danced to
typical eight-bar-phrase country dance music (tested by pulling out a
completely random country dance CD and thinking them through):

Branle is pronounced "brawl".  These are pulled out of Arbeau's
Orchesographie, France, 1589.  The Alman at the end is from an English
manuscript from circa 1570.  Both Almans and branles lasted well into
the 17thc, although we can't document these particular dances.  But
these are easy to teach, and some are high on the silliness quotient,
which is useful with nondancers.  I've modified them for simplicity
and to fit them into 8-bar phrases.

If these five aren't enough (and you can repeat them, since presumably
your crowd will have a lot of turnover) I can do a few others.

Lurking Renaissance dancers, brace yourselves for serious jammix....

Susan




Branle de la Haye
four dancers
Each dancer by turn (1,2,3,4) does two singles and a double forward
All do a hey.  
Repeat.
The original dance has this in a line; you are probably safer doing it
as a circular/square hey and possibly giving hands (making it into
"rights and lefts") so people don't get disoriented.  This will also
work for multiples of four dancers if you want a really grand hey.  It
will work for non-multiples of four provided people can handle getting
off the phrase of the music.  Think before you teach it of how to get
people to use their solo bits to get into a circle - they can't just
go wandering off randomly.

Branle de la Torche (Candlestick Branle) 
mixer; needs a prop of some kind - candle, flower, pike, chopstick 
First dancer starts off with prop; goes around the floor with eight
doubles and eight singles, ending with quick honors with whomever sie
has ended up in front of.  They then dance together with eight doubles
and eight singles, wandering around the room holding hands.  At the
end of this, first dancer passes the prop to partner, with honors, and
the partner now dances around the room alone with the same sequence,
seeking a partner.  And so on.  It can be started with more than one
prop and more than one first dancer; all seek partners, all dance in
pairs, all pass prop along, and a new set of dancers then seeks partners.

Branle des Pois (Pease Branle)
circle of dancers, ideally male-female-male-female, but doesn't have to be
All hold hands and dance a double sideways to the left, then another
sideways to the right (sideways = side-together-side-close).  Repeat
the double left, double right.
On the next eight bars:
1 Men jump straight up in the air
2 Women jump up
3-4 Men take a small step left and jump up three times fast
5 Women jump up
6 Men jump up
7-8 Women take a small step left and jump up three times fast
(I call: MEN HOP, WMN HOP, STEP-HOP-HOP-HOP etc.)
At this point everyone takes hands and begins again.  The somewhat
vague idea is that one is imitating peas jumping out of their pods,
or popping around in a pan, or something like that.  Encourage
silliness by having people try to outjump the others heightwise.

Branle des Lavandieres (Washerwomen's Branle)
circle of dancers, male-female-male-female - you actually need a partner
By bars:
1-4	sideways double left, double right
5-8	that again; drop hands
9-10	single left, single right, men shaking fingers at women (scolding)
while women have hands on hips
11-12	single left, single right, women scolding men
13-16	sideways double left, double right, clapping on the beats
I find that married women and children tend to get very into the
scolding thing.  The clapping is supposed to sound like laundresses
snapping sheets in the breeze.

New Alman
line of couples (roving longways set)
by bars (24 bars):
1-8	Four doubles forward, holding hands; turn to face partner
9-12	Set left, right, turn single left
13-16	Set right, left, turn single right
1	Men set left
2	Women set left
3-4	Double to change places (Sharp siding)
5	Men set right
6	Women set right
7-8	Double to change places
Repeat until bored or out of music











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Some nifty dances described.  Thank you.  The pease will probably do just fine.
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Date: Fri, 12 Jul 2002 17:47:32 +0200
From: Martin <martin.sheffield-AT-
wanadoo.fr>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: hey de gies (was: Colonial dances)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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Susan wrote:
> >a list of cites of country dance references ...

>1529     ay the gy of three
>1561     ay the gye
>1564     hey de gie
>1577     Heidegy
>1579     haydeguies
>1580     hey-day guise
>1600 Hey-de-gey
>1612 hy-day-gies
>1614 heydeguies
>1622 hydegy
>1638     hey-de-gay

Any simple explanation of the origin and/or meaning of this title?
Popular in one guise or another for over a century, it must have had some 
merit or lasting interest.

Martin
in Grenoble, France.
http://perso.wanadoo.fr/scots.in.france/scd.htm

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Date: Fri, 12 Jul 2002 17:14:54 -0400
From: Susan <susan-AT-
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playford.slac.stanford.edu
Subject: Re: hey de gies (was: Colonial dances)
To: ECD-AT-
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Martin writes, regarding the various haydeguies mentions:
>Any simple explanation of the origin and/or meaning of this title? 

No clue - I'd love to know.

The "hey" figure itself is much older than documented country
dancing; it goes back at least to the 1400's in Italy.  But they
didn't use the word hey - they used "catena" [chain] or "treccia"
[braid or plait] and some variations.  I don't think any
of the early English manuscripts (c1500) used the term, but
that's not an area I'm very familiar with.  I want to say
Arbeau is the first to use the term in a published work,
with Branle de la Haye, but I'm not 100% sure.  

The vague speculation that comes to mind is that people weaving
in and out in a big circle is considered to be a very early
form of dancing, and that perhaps this is what the haydeguies
was.  

Now I wish it wasn't too late to go to the library and hit the
OED....

Susan
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Date: Fri, 12 Jul 2002 17:27:52 -0400
From: Sharon Green <mls-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: hey de gies (was: Colonial dances)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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>Martin writes, regarding the various haydeguies mentions:
> >Any simple explanation of the origin and/or meaning of this title?
>
>Susan writes:
>Now I wish it wasn't too late to go to the library and hit the
>OED....

Your wish is... [or at least till I've packed the book!] (~:

OED, hay-de-guy, -guise
[Literally Hay of Guy or t'Guise.]
A particular kind of hay or dance, in vogue in the 16th and early 17th 
centuries.
Earliest citation is Skelton, 1529: "Enforce me Nothing to write but hay 
the gy of thre."
Next, Spenser, 1579: "With Heydeguyes, and trimly trodden traces."

Cheers,
Sharon



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Date: Fri, 12 Jul 2002 22:17:09 -0400 (EDT)
From: BHFrancis-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Colonial Dances for Random Groups + Puritans
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To dispel the myth of Puritans being completely anti-dance --

The Puritans did close down the theaters and outlaw maypoles in England, and 
it's true that the religious right of the 17th century thought the only road 
to accommodate dancers was the broad and pleasant road to hell.  The Puritans 
enacted legislation by which you could be fined for dancing on Sundays, but 
then you could be fined for doing almost anything on Sundays.  However, 
country dances were generally accepted.  Oliver Cromwell danced till dawn at 
a ball held in honor of his daughter's wedding.  Allison Thompson's book 
Dancing Through Time mentions that Puritans thought of country dances as a 
metaphor for the workings of a well-ordered society.

I don't have any information on how this translated to the colonies.

Beverly Francis
(descended from Puritans, but that's OK) 
================================================================================
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Date: Fri, 12 Jul 2002 23:39:17 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: Colonial Dances for Random Groups + Puritans
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
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> To dispel the myth of Puritans being completely anti-dance --

> The Puritans did close down the theaters and outlaw maypoles in England, and
> it's true that the religious right of the 17th century thought the only road
> to accommodate dancers was the broad and pleasant road to hell.  The Puritans
> enacted legislation by which you could be fined for dancing on Sundays, but
> then you could be fined for doing almost anything on Sundays.  However,
> country dances were generally accepted.  Oliver Cromwell danced till dawn at
> a ball held in honor of his daughter's wedding.  Allison Thompson's book
> Dancing Through Time mentions that Puritans thought of country dances as a
> metaphor for the workings of a well-ordered society.

> I don't have any information on how this translated to the colonies.

I can't lay hands on my copy of the book right now - and I'm insane to be on
line, since I should be packing for Mendocino - but I have read a book called
_Puritans at Play_ which addresses these questions among others.  If I remember
aright, Colonial Puritans thought country dancing, marching societies, and fife
bands were perfectly all right.  they also thought alcohol was fine; they just
frowned on public drunkenness.  (Also, they tended to get looser and looser on
this stuff as the generations passed, so by the time of the Revolution, the
state of public morals in the originally-Puritan colonies wasn't so different
from those in the others.)

-- Alan

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 Disclaimer: I speak only for myself, not SLAC or SSRL   Phone:  650/926-3056
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Date: Sat, 13 Jul 2002 00:28:08 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
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Subject: Off to Mendocino
To: ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
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ECDers --

This is the list owner speaking.

Tomorrow I'm off to Mendocino English Week.  I will be away from email for a
week.  You did very well while I was away in May; please keep up the good work
in maintaining a civil tone and remaining somewhere within shouting distance of
the list topic.

As Bill & Ted say, be excellent to each other.

-- Alan


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 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA   94025
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Archive-Date: Sat, 13 Jul 2002 07:34:05 PST
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Date: Sat, 13 Jul 2002 07:35:24 -0700
From: Jon Berger <jberger-AT-
sbcglobal.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: A New Dance, Horseplay
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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mail.earthlink.net> <a05100300b9512af7f2fb-AT-
[165.247.12.150]>

"Linda M. Nelson" wrote:
 
> Greetings!  Thanks for posting the dance and music.  I and a musician
> friend did have trouble reading the scan of the music, which looks
> very blurred.  Any chance of posting a clearer copy, or of emailing
> me a higher resolution jpeg?

See <http://users.erols.com/eacain/dance/Chevaux.pdf> for a copy of the
original Horse Branle.  It's in a different key, and it includes a third
part which Gary didn't, and the repeat isn't marked, but it'll give you the
general idea.

-- 
Jon Berger
http://pages.sbcglobal.net/jberger
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Date: Sun, 14 Jul 2002 00:55:33 -0400
From: franch-AT-
juno.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial Dances for Random Groups + Puritans
To: ECD-AT-
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The best rule of thumb for thinking of the Puritans is that in most
things they were mostly like other English folk of their time.  This
includes those living in Massachusetts Bay and perhaps even Plymouth (a
separate colony and non-Puritian--they were Separatists).  The Puritans
did have religious and social views that set them from those who weren't
Puritan, but the distinction between "Puritan" and "non-Puritan" is
easier to make today than it was in the 17th century.

Whether Anglican or Puritan, Royalist or Roundhead, most people believed
in an ordered society that observed the decencies.  There were
differences about things like seasonal celebrations (that Maypole
business), but society should be kept in good order.  Alcohol was okay
(one of God's creations); the first regulation of alcohol in the Mass.
Bay colony regulated volume, price, and quality.  Silver buckles on shoes
and breeches were okay, if you were of a station in society for whom they
were appropriate.  Appropriate dancing was okay.  Wasting time, vice, and
lasciviousness were not okay.  Sex within marriage was good. 
Surprisingly (given our stereotype of them), sex outside marriage,
although not okay, was understandable.  

These are big generalizations, covering a lot of geography and time.  
But we, who know how wonderful it is to dance, should not be surprised to
learn that even among the people called Puritans there were those who
loved to dance, and so danced.  And it was okay.

Mike Franch
Baltimore, Md.
================================================================================
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Date: Sun, 14 Jul 2002 12:23:09 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial Dances for Random Groups + Puritans +more
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
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I was off list for a week but do want to echo the thought that Puritans
were not obsessed with dancing, per se, but with dancing, drinking and &
other naughty activities on the Sabbath.

When I teach to "Re-Creation Groups" -- those, i.e., vaguely, 1740
-1790--I try to use at least some dances that really would have been done
in their period of interest--using Morrison's collection and Keller's and
the one edited by George Forbes--but I never lose sight of the fact that
one can--and one would have, if one had been a dancing master--modify the
dance at will for the participants.  So, at my last workshop, when I was
pleased though a teensy bit dismayed to see 20 costumed 13-year olds
marching towards me, we worked on basic figures (star, down the middle &
back, cross over & turn partner) and then, when any historical dance had
a "3 (or 4, depending) changes of a hey for four," I happily subsituted a
poussette--it is probably marginally inappropropiate, but I echo the
recent commentators who note that we are trying to make this
participative activity available to the maximum number of people.

In addition, at the Ball of this particular 1760s group,  I broke down
and taught "The Broom Dance" (aka the Hat Dance) which was a big hit--I
qualified the inclusion of this material by noting that it was not a
period dance, but the kids loved it anyway and wanted more.

Allison Thompson




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Date: Sun, 14 Jul 2002 10:31:17 -0700 (PDT)
From: Lyrl Catherine Ahern <lyrl-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial Dances for Random Groups + Puritans
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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--- franch-AT-
juno.com wrote:
> The best rule of thumb for thinking of the Puritans is
> that in most things they were mostly like other English
> folk of their time.  This includes those living in
> Massachusetts Bay and perhaps even Plymouth (a separate
> colony and non-Puritian--they were Separatists).
 
A visit to Plimoth Plantation several years ago provided me
with the information that about half its settlers were
people who emigrated for economic reasons, so even there,
they weren't all "Puritans."

It is a most interesting place to go. The costumed
interpreters aren't just people wearing neat outfits who
tell you about things; they actually become a historical
person, accent and all. It is 1630 and they don't know
about anything that happened after that. Of course, one
thing tourists like to do is try to break them and get them
to talk about something more modern. 

They can't. 

There was even a Dutch woman who came over; whoever plays
that part must either be Dutch or learn to speak it. 

I believe George Fogg has worked with people there on early
dancing.

I heard people look in at a doorway and say, "What's the
big deal here? All the houses look alike." It's the people
who are the treasure. Much to my delight, I got one woman,
while prefacing her remarks with of course one musn't
gossip about one's neighbors, telling me about the boys
across the street who decided to celebrate Guy Fawkes' Day
and, while the Mayflower was still moored before they
landed, set off fireworks near the powder kegs....

Lyrl




__________________________________________________
Do You Yahoo!?
Yahoo! Autos - Get free new car price quotes
http://autos.yahoo.com
================================================================================
Archive-Date: Sun, 14 Jul 2002 12:40:16 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 14 Jul 2002 15:39:22 -0400
From: "Linda M. Nelson" <lindan-AT-
capecod.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Friday, July 19 - ECD - Cape Cod, Massachusetts, USA
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <a05100302b9577f51709c-AT-
[165.247.4.193]>
MIME-Version: 1.0
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For all who might be living or vacationing within range of Cape Cod 
this coming weekend:


Cape Cod English Country Dance
Friday, July 19, 2002
8 - 11 pm at the East Sandwich Grange,
                   85 Old County Road, East Sandwich, MA

Musicians: Jan Elliott [recorder and concertina],
                   J.M. "Shag" Graetz [piano],
                   Ron Geering [concertina],
                   Barbara Blair [violin],
                   Lisa Esperson [percussion]

Dance Leaders: Priscilla Adams and Linda Nelson
Admission: $6

As always, all are welcome and all dances will be taught.
More info and driving directions: reply email <lindan-AT-
capecod.net>,
                   or 508-428-4231 or 508-540-1151

NOTE to travelers: Saturday, July 20, 2002
                *Contradance in the same hall* (East Sandwich Grange)
                 Musicians: Amy Larkin and Roberta Sutter
                 Caller: Linda Leslie
                 Admission: $6
                 Info: 508-563-6934
================================================================================
Archive-Date: Sun, 14 Jul 2002 17:37:42 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 14 Jul 2002 17:41:40 -0700
From: Bob Archer <bob-AT-
bobarcher.org>
Subject: Change of address
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <3D31B7D4.7106.75D7C1-AT-
localhost>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN
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Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU> 
wrote:

> Tomorrow I'm off to Mendocino English Week.  I will be away from email for a
> week.  You did very well while I was away in May; please keep up the good work
> in maintaining a civil tone and remaining somewhere within shouting distance of
> the list topic.

Tee hee, he's out of the way. I can clutter the list up with whatever 
rubbish I like. My email address has changed to bob-AT-
bobarcher.org. 
The hottub was just too much work to keep warm because the demons 
kept on going on strike so it's being retired in a couple of weeks.

To try and be vaguely on topic, my web pages on dance have moved to:

http://www.bobarcher.org/dance

Also, to continue the discussion on old dances, I remember going to a 
workshop at the Exeter Inter-varsity festival some time ago led, I 
think, by Tony Reader where he did a dance claimed to be "the oldest 
in the world". I assume this actually meant - "the oldest recorded", 
or "the oldest recorded with sufficient accuracy that we stand some 
chance of doing it today the same way it was originally done".

The dance itself was a "snake dance" type of thing - a big circle 
which spirals in and out and various other figures (I've also seen 
this done as part of a grand march). he specifically mentioned one 
figure as "the oldest figure in the oldest dance in the world".

I don't suppose anyone else was at the workshop and can remember more 
than I can?

Bob

----------------------------------------------------------
-- Bob Archer      bob-AT-
bobarcher.org

================================================================================
Archive-Date: Sun, 14 Jul 2002 18:19:20 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 14 Jul 2002 21:19:08 -0400 (EDT)
From: CF1125-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Contact info for Andrew Shaw?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <d.29bdd84f.2a637d0c-AT-
aol.com>
MIME-Version: 1.0
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Does anyone have an e-mail address (or other contact info) for Andrew Shaw?
Thanks.
Carl Friedman
================================================================================
Archive-Date: Sun, 14 Jul 2002 23:38:54 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 14 Jul 2002 19:29:18 +0200
From: Martin <martin.sheffield-AT-
wanadoo.fr>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Colonial Dances for Random Groups + Puritans +more
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <5.1.0.14.0.20020714191138.009f4240-AT-
pop.wanadoo.fr>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
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Allison wrote:
>I never lose sight of the fact that
>one can--and one would have, if one had been a dancing master--modify the 
>dance at will for the participants.

Yes indeed.
While a few of us enthusiasts are interested in knowing how things were 
done in the old days, how many of the people that dance with us are looking 
for more than a good time, relaxation, social intercourse, call it what you 
will -- fun!

I have no scruples whatsoever in adapting dances to the participants.
Why pretend we are reenacting the authentic dances of people A living in B 
during the reign of C?

Roundheads or cavaliers, revolutionaries or bluebloods, they were all 
looking for the same as we are: an opportunity to enjoy music and movement 
in pleasant company, a chance to meet new people, new partners and whatever 
may ensue.

Similarly (for those that go in for putting on a show), a lot 
of  traditional dances are not very exciting to watch, so what's the harm 
in a little embellishment?

>I taught "The Broom Dance" (aka the Hat Dance) which was a big hit (...) 
>the kids loved it anyway and wanted more.

What more could you ask for?
Better have them dancing something vaguely ressembling a country dance and 
see them come again next time, than put them through an authentic 
historical dance -- and never see them again !

Martin
in Grenoble, France.
http://perso.wanadoo.fr/scots.in.france/scd.htm

================================================================================
Archive-Date: Mon, 15 Jul 2002 01:28:56 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 01:31:59 -0700
From: Ric Goldman <timelord-AT-
rgoldman.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: When to shut up
To: List - ECD PLAYFORD <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Message-ID: <NCBBKEFLBLMHAGLCIJMKGEOAHAAA.timelord-AT-
rgoldman.org>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Folks,

I had an interesting situation a couple weeks ago, and somehow one that
seemed new to me in my short calling career.  I was calling a dance with
mostly regulars and very good dancers.  Now I'm normally of the
philosophy of calling only as long as I absolutely need to, and then
shut up.  However, this time we had just enough beginners scattered thru
that whenever I shut up, many groups seemed to flounder.  As a result, I
found myself "coming back in" a lot.  In fact, I came away from the
dance feeling that I had over-called, and even got one feedback comment
to that effect (that while getting several from the new folk of how the
constant calling helped).

My question is, where does the caller's responsibility start and end
vis-à-vis the newer or beginner dancers, as opposed to not getting in
the way of the established dancers who do know the material.  Does one
just shut up and rely on the old-timers to help the newbies through?
What criteria does one use to continue calling or not?  Are there any
techniques for sussing out the crowd one way or the other?

I did notice another caller (albeit for contra) use a technique I liked
a lot.  He called the dance thru full voice 3 times, and then called
minimal keywords sotto voce during the rest of the time.  This seemed a
good compromise.

Thoughts?  Comments?  Ideas?

Thanx, Ric Goldman
timelord-AT-
rgoldman.org
http://connect.to/ric

================================================================================
Archive-Date: Mon, 15 Jul 2002 01:34:44 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 08:29:45 +0100
From: Paul Sartin <psartin-AT-
attglobal.net>
Subject: Re: Contact info for Andrew Shaw?
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <3D3279E8.AF47E8F3-AT-
attglobal.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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References: <d.29bdd84f.2a637d0c-AT-
aol.com>

CF1125-AT-
aol.com wrote:

> Does anyone have an e-mail address (or other contact info) for Andrew Shaw?
> Thanks.
> Carl Friedman

+44 (0) 161 941 2289.

No email (don't think he's even got an answering machine).

Paul.

___________________________

Paul Sartin MA (Oxon) LRSM

May Cottage, Wherwell,
Hampshire, SP11 7JS

Tel/fax: +44 (0) 1264 860791
Mobile: +44 (0) 7711 485798


================================================================================
Archive-Date: Mon, 15 Jul 2002 05:00:49 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 08:00:28 -0400 (EDT)
From: JBGrun-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Announcing: Fried-for-All 2003
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <18f.ab4cdd5.2a64135c-AT-
aol.com>
MIME-Version: 1.0
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Bare bones:

May 2-4, usual location, Lenox, MA. Music played by Karen Axelrod, Dan 
Beerbohm & Barbara Greenberg. Heading into our -- yikes! --16th season. Are 
we a tradition or what?

If you are not -- and would like to be -- on our e-mail roster, please send 
your contact info offlist to David Keeper of the List -AT-
 Davbarnert -AT-
 aol.com.

Judy Grunberg
================================================================================
Archive-Date: Mon, 15 Jul 2002 05:31:21 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 08:24:24 -0400 (EDT)
From: "Roger W. Broseus" <Roger-AT-
just.net>
Subject: When to Keep Calling (Was: When to shut up)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <52544.148.184.176.32.1026735864.squirrel-AT-
www.weitzman.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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References: <NCBBKEFLBLMHAGLCIJMKGEOAHAAA.timelord-AT-
rgoldman.org>

> Folks,
> 
> I had an interesting situation a couple weeks ago, and somehow one that
> seemed new to me in my short calling career.  I was calling a dance
> with mostly regulars and very good dancers.

> result, I found myself "coming back in" a lot.  In fact, I came away
> from the dance feeling that I had over-called, and even got one
> feedback comment to that effect (that while getting several from the
> new folk of how the constant calling helped).
> 
> My question is, where does the caller's responsibility start and end
> vis-à-vis the newer or beginner dancers, as opposed to not getting in
> the way of the established dancers who do know the material.

Aside from you excellent suggestion . . . to use keywords and the minimalist 
approach, my suggestion is a pretty obvious one: many times a set will heal 
its self. However, the self-healing will be aided greatly by a faith healer 
(the caller) when new dancers transition from ones to twos. Not to mention 
those who vague-out at the top of the set in a triple minor.

As for those who criticize 'excessive' calling, a gentle acknolegement that 
new comers will be encouraged by all the help they can get (and you can 
give).

Keep up the good work and keep the supply of fresh meat in prime condition!

/Roger

================================================================================
Archive-Date: Mon, 15 Jul 2002 07:30:42 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 07:34:59 -0700
From: Bob Archer <bob-AT-
bobarcher.org>
Subject: When to shut up
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <3D327B23.19088.370C403-AT-
localhost>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN
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Ric Goldman <timelord-AT-
rgoldman.org> wrote:

> My question is, where does the caller's responsibility start and end
> vis-à-vis the newer or beginner dancers, as opposed to not getting in
> the way of the established dancers who do know the material.  Does one
> just shut up and rely on the old-timers to help the newbies through?
> What criteria does one use to continue calling or not?  Are there any
> techniques for sussing out the crowd one way or the other?

Getting contradictory feedback from dancers after the event is just 
the way it goes - you can't please all of the people all of the time. 
If it comes down to a straight choice between pleasing the beginners 
or pleasing the experienced dancers I tend to err on the side of the 
beginners - if they have a bad time they might never come dancing 
again, if the experienced dancers have a bad time they'll just never 
come to a dance I'm calling again.

> I did notice another caller (albeit for contra) use a technique I liked
> a lot.  He called the dance thru full voice 3 times, and then called
> minimal keywords sotto voce during the rest of the time.  This seemed a
> good compromise.

This is a good idea. The trick is to find cut down versions of the 
vital calls that still prompt the dancers sufficiently - e.g. at the 
start you might be saying "right hand star, left hand star" - you 
might well be able to cut this down to "star" after a few times 
through.

My other suggestion is to keep watching all the sets (it's easy just 
to watch the ones near the head of the hall, make sure you cast your 
gaze further afield) and see which sections are causing problems so 
that you're able to prompt only when it's necessary. This is also 
useful for finding problem areas in a dance that may require more 
teaching next time you call it - I have many notes on my dance cards 
which point out a certain tricky bit and a technique for making it 
easier.

Bob

----------------------------------------------------------
-- Bob Archer      bob-AT-
bobarcher.org

================================================================================
Archive-Date: Mon, 15 Jul 2002 07:35:33 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 10:34:00 -0400
From: Gary Roodman <groodman-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: A New Dance, Horseplay
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <5.1.0.14.0.20020715103002.0268bec0-AT-
mail.earthlink.net>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_GfpF83DrHi+HGOhMrg/t1g)"


--Boundary_(ID_GfpF83DrHi+HGOhMrg/t1g)
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7BIT

Dear Dancers,

         Linda Nelson wrote to say that she was having trouble reading the 
music for "Horseplay" from my web site.  If there are others who would like 
to use the dance and are having the same problem, just let me know, 
off-list.  I will glad to send you a better JPEG file.

Gary Roodman

368 Hatfield St., Apt. D             Northampton, MA 
01060                                   413-586-2888
VISIT THE CALCULATED FIGURES WEB 
SITE:  http://home.earthlink.net/~groodman/index.htm

--Boundary_(ID_GfpF83DrHi+HGOhMrg/t1g)
Content-type: text/html; charset=us-ascii
Content-transfer-encoding: 7BIT

<html>
Dear Dancers,<br><br>
<x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>Linda
Nelson wrote to say that she was having trouble reading the music for
&quot;Horseplay&quot; from my web site.&nbsp; If there are others who
would like to use the dance and are having the same problem, just let me
know, off-list.&nbsp; I will glad to send you a better JPEG
file.<br><br>
Gary Roodman<br>
<x-sigsep><p></x-sigsep>
<font size=2>368 Hatfield St., Apt.
D&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
Northampton, MA
01060&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
413-586-2888<br>
VISIT THE CALCULATED FIGURES WEB SITE:&nbsp;
<a href="http://home.earthlink.net/~groodman/index.htm" eudora="autourl">http://home.earthlink.net/~groodman/index.htm</a></font></html>

--Boundary_(ID_GfpF83DrHi+HGOhMrg/t1g)--
================================================================================
Archive-Date: Mon, 15 Jul 2002 08:32:08 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 09:24:58 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  When to shut up
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20020715.113124.-2048627.1.AllisonThompson-AT-
juno.com>
MIME-Version: 1.0
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A parallel thought on this topic of when to shut up for beginners versus
oldies is the situation a caller faces when someone on the floor--usually
a just-graduated beginner--begins prompting the newbies around him or her
enthusiastically, frequently inaccurately and so loudly that the voice of
the caller, however well-miked, is drowned out. I am thinking of one
fellow at a recent dance who did this so much that I was sorely tempted
to reach out with my dainty fan and wham him upside the head as he danced
by.

A Lady rarely resorts to personal violence, though, however tempting.  I
did say several times to "let me do the calling."  It didn't have much
effect on the offender, but made me feel better.

Allison Thompson
================================================================================
Archive-Date: Mon, 15 Jul 2002 09:21:01 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 12:27:33 -0400
From: Graham.Christian-AT-
risk.sungard.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: "A time to keep silence, and a time to speak..." Ecc 3
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <OF67B5903D.D5A3E825-ON85256BF7.0057FEB1-AT-
risk.sungard.com>
MIME-Version: 1.0
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A tricky question--and a matter of judgment. I like, whenever I can, to
reduce my calling gradually--sometimes to *one* crucial word per
round--i.e., if the single cue they need in the middle of B2 is "right",
meaning, several rounds in, "Look right for a r-h-turn with neighbor" (or
whatever)--that's all I'll say.
If I'm calling for a dance *for beginners* (even if there are a few
experienced dancers in the room), I'll often call a dance from beginning to
end. I'm of course thrilled if or when I can reduce my words or even stop
altogether--that's a kind of achievement for both me and the dancers.

If I'm calling for experienced dancers, I expect to call much less: the
*dancers* also expect much less calling. There is a distinct pleasure to be
had in dancing to music without hearing an accompanying stream of words (no
matter how harmonious, as Olive Chancellor says), as there is a distinct
pleasure also in dancing without worrying about the "success" of other
dancers.

It's the mixed group that's tricky, and I suspect that's the most common
sort of group for a caller to face. Inevitably, one evening or another,
you'll overcall for the knowledgeable in your effort to be sure the new
dancers have a good time; inevitably, another evening, you'll see two new
faces in a crowd of fifty and stop calling halfway through in the
assumption that the other 48 dancers will take care of the two, and find
yourself accused of dereliction of duty at the break.

I suspect that if you teach the figures carefully, before the music starts
(as it were), you at least notify new or uncertain dancers where the tricky
spots are, and therefore where they ought to be paying closest
attention--and you give your more skilful dancers the information they need
to dance themselves & perhaps how to help the others.

But: at a certain point, dancers should take *some* responsibility.
Beginners, no. Above beginner level, yes. My recollection of period sources
is that the non-leading dancers--if they didn't already know the
dance--were supposed to watch the leaders and learn on the fly. We don't
ask as much now. But, on the other hand, if I've had a walkthrough, and a
talkthrough, and the first four rounds are fully called, *and* I persist in
half-figuring down, round after round, while my partner half-figures *up*
(correctly)--why, that isn't the caller's fault, is it?

Which is to say--it can be a very fine thing to dance to little or no
calling. But both callers and dancers play their part in making that
possible.

Graham Christian
Technical Writer, Product Management
Telephone number: (617)542-2800, extension 247
Email address:  graham.christian-AT-
risk.sungard.com
Group web address:  http://www.risk.sungard.com
SunGard Trading and Risk Systems, BancWare
3 Post Office Square
Boston, MA  02109

"Sphinx of black quartz, judge my vow."




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================================================================================
Archive-Date: Mon, 15 Jul 2002 12:00:34 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 17:54:50 +0000
From: Paul Ross <childgrove-AT-
hotmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Lloyd Shaw Foundation resources
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
BCC: 
Message-ID: <F64GOjXZ1tazAfM0n0l00001024-AT-
hotmail.com>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed
Content-Transfer-Encoding: 8BIT

A little off the subject of ECD, but interesting to some, nonetheless:

The Lloyd Shaw Foundation offers an online catalog of recordings and dance 
materials from its collection.

It will also produce a custom CD for you (tunes of your choice from its 
holdings in any order) for no more than $20 (and possibly less, if you need 
only a few cuts).

They have produced a program (in kit form) of dance for secondary education. 
The kit includes 4 CDs (squares, rounds, contras, and international folk) 
plus a video tape and 140 page manual of instructions and explanation.

More information available from:

Lloyd Shaw Foundation Educational Resources Division
P.O. Box 11
Macks Creek, MO  65786

573-363-5868

audiolft-AT-
dam.net

Or, check out www.lloydshaw.org.

_________________________________________________________________
Join the world’s largest e-mail service with MSN Hotmail. 
http://www.hotmail.com

================================================================================
Archive-Date: Mon, 15 Jul 2002 13:48:10 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 15 Jul 2002 16:47:55 -0400 (EDT)
From: DavBarnert-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: When to shut up
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <9f.2a2f2f99.2a648efb-AT-
aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7BIT

Ric Goldman wrote:

 >I did notice another caller (albeit for contra) use a technique
 >I liked a lot. He called the dance thru full voice 3 times, and
 >then called minimal keywords sotto voce during the rest of the
 >time. This seemed a good compromise.

This reminds me of the way I heard Tony Parkes call his classic
contradance, "Inflation Reel" many years ago. The dance has a
figure in it where you circle left four hands, once and a quarter.
Tony always finds a way to call rhythmically (usually in rhyme)
getting the words out just before the dancers need them.

For this figure, he called:

  "All join hands, circle four
   Once around and a quarter more."

After calling a few rounds of the dance, he would stop calling
whatever cues he deemed unnecessary, saying less and less each
time through the dance. But he never stopped saying "a quarter
more" at the right time in the music. Long after everyone "got it"
and he had stopped saying everything else, every 32 bars we would
hear "a quarter more."

...  "a quarter more."

...  "a quarter more."

...  "a quarter more."

...  "a quarter more."

Most folks probably thought it was just a helpful reminder, but I
realized that this was the key to the name of the dance.

I have since heard others call the same dance who did not "get it"
and called it and stopped calling it as if it were just another
figure.

  ______      /\/\/\/\
 <______>     | | | | |  David Barnert
 <______>     | | | | |  <davbarnert-AT-
aol.com>
 <______>     | | | | |  Albany, N.Y.
 <______>     \/\/\/\/

Ventilator   Concertina
  Bellows      Bellows
(Vocation)   (Avocation)
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Archive-Date: Mon, 15 Jul 2002 14:21:05 PST
Sender: owner-ecd-AT-
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Date: Mon, 15 Jul 2002 17:20:56 -0400 (EDT)
From: Eric Arnold <eba-AT-
umich.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Beginner responsibility
To: ECD-AT-
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On Mon, 15 Jul 2002 Graham.Christian-AT-
risk.sungard.com wrote:

[on the when to call/when to stop question]

> But: at a certain point, dancers should take *some* responsibility.
> Beginners, no.

???  I hope you don't _really_ mean this.  I think anyone treated in a
manner that suggests that those around them in a social situation don't
consider them capable of taking any responsibility to learn a new activity
would find that far more off-putting than having to try to learn a
sequence of figures.

After all, don't you give the beginners the responsibility of learning a
number of figures?  Don't you program for beginners in such a way that
builds up a repertoire of figures?  Don't you expect them to remember
something of that from one dance to the next?  I certainly hope so.

Being inexperienced and being dumb are not the same; even beginners like
to be treated like intelligent people.  After all, they did show up at a
dance even though they knew they didn't know how to do it yet -- they came
to learn, as well as to have fun.  What other sign of intelligence do you
need? (;-)  Help them learn by giving them the opportunity to take the
responsibility as soon as they can; get them used to the idea that that is
part of the dance.  Use "learnability" of the whole dance as one criterion
of suitability for beginners, in addition to figure-based criteria.

Eric Arnold

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Archive-Date: Mon, 15 Jul 2002 14:39:44 PST
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Date: Mon, 15 Jul 2002 17:56:24 -0400
From: Graham.Christian-AT-
risk.sungard.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Beginner responsibility
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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Well, Eric, I suppose I do assign a small degree of responsibility even to
beginners: but my expectations are low in the extreme.
If someone has just told me it's his/her *first* night of exposure to
English Country dance, I won't expect the phrase "Half-figure eight" to
have much effective meaning that night, even after we've demo'ed it, walked
it, walked it again, walked it again in the *next* dance, explained it, and
called it each time. The most I expect is that the new dancer, the
umpteenth time I've said "half-figure eight" after all the explaining, will
look stunned, see others moving, and then say, "Oh, that!" and scurry
through the figure. If that happens, I'm thrilled. But I don't remotely
expect such a dancer to do even an easy dance comfortably without calling
the first night.

This, as opposed to, say, dancers I know to be experienced, who've been
twos all the way up X times, waited out, and come back in. If they've been
dancing for four years, they *should* be able to go right on without me.
Already I can think of exceptions, and if they wheedle or beg while
standing out with me at the top, I might have mercy. But they *should* be
capable--*responsible*--in most dances.

Graham Christian
Technical Writer, Product Management
Telephone number: (617)542-2800, extension 247
Email address:  graham.christian-AT-
risk.sungard.com
Group web address:  http://www.risk.sungard.com
SunGard Trading and Risk Systems, BancWare
3 Post Office Square
Boston, MA  02109

"Sphinx of black quartz, judge my vow."




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Archive-Date: Mon, 15 Jul 2002 15:33:14 PST
Sender: owner-ecd-AT-
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Date: Mon, 15 Jul 2002 22:33:06 +0000
From: Paul Ross <childgrove-AT-
hotmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Beginner responsibility
To: ECD-AT-
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When beginners are sprinkled throughout a mostly experienced crowd (assuming 
I have the presence of mind to do so), I'll take the opportunity to join 
giving credit to the band with a reminder to all dancers that I'm not likely 
to call continuously through the dance for a simple reason: Part of the 
pleasure of ECD is moving to the glorious music without the callers' noise 
superimposed over it (big applause for the band at this point).

I believe callers should try to wean dancers away from overdependence on 
continuous reminders; this includes rank beginners. The intermediate goal is 
to develop dance memory; the larger goal is to give dancers the pleasure of 
moving as one with the music (something that Graham refers to in his 
message, only in different words).

But flexibility is the key: having 50 percent of your crowd beginners is 
different from 10 percent or 5; one-night stands are different from regular 
series dances, which are different from balls, and so on.




>From: Graham.Christian-AT-
risk.sungard.com
>Reply-To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
>To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
>Subject: Re