Archive-Date: Tue, 01 Oct 2002 07:05:18 PST
Sender: owner-ecd-AT-
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Date: Tue, 01 Oct 2002 09:53:47 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Seeking Artist
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021001.100542.-1918227.2.AllisonThompson-AT-
juno.com>
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I'm looking for an artist to provide line drawings for the cover, back &
occasional interior spot for a book of dances.  Some familiarity with
costume of 1720 or so would be nice, as I want very representational-type
pictures.

If you or anyone you know is interested, please reply off-line & I'll
provide the details. I will want to see a few style samples. There won't
be much fortune, but there might be some fame, so this might make a nice
project for a young artist who is building his/her portfolio.

Thanks!

Allison


e:  allisonthompson-AT-
juno.com
================================================================================
Archive-Date: Tue, 01 Oct 2002 09:25:32 PST
Sender: owner-ecd-AT-
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Date: Tue, 01 Oct 2002 12:25:07 -0400 (EDT)
From: David.Millstone-AT-
valley.net (David Millstone)
Subject: taxonomy
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <19445120-AT-
enfield.VALLEY.NET>
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--- Alan Winston wrote:
I think "Country Dance" is any kind of dance in which the most typical basic
unit is the couple, where the initial formation significantly determines the
relationship of the basic units, and where basic units deliberately interact in
a prescribed way with other basic units in the course of the dance.
--- end of quote ---

Larry Jennings puts contra dances under the general heading of what he labels
"SAPpy dancing."
S = Structured
A = Accessible
P = Participatory

David Millstone
================================================================================
Archive-Date: Tue, 01 Oct 2002 10:45:35 PST
Sender: owner-ecd-AT-
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Date: Tue, 01 Oct 2002 10:41:13 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: taxonomy
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KN5C0ZU8HQ9VUT0F-AT-
SSRL.SLAC.STANFORD.EDU>
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David Millstone quoted me:

> --- Alan Winston wrote:
> I think "Country Dance" is any kind of dance in which the most typical basic
> unit is the couple, where the initial formation significantly determines the
> relationship of the basic units, and where basic units deliberately interact in
> a prescribed way with other basic units in the course of the dance.
> --- end of quote ---

and wrote:

> Larry Jennings puts contra dances under the general heading of what he labels
> "SAPpy dancing."
> S = Structured
> A = Accessible
> P = Participatory

This is another way of slicing it; I think SAPpy mostly equates to "community
dancing" in the scheme I proposed.  But does Larry have other axes along which
to chart this stuff?

Incidentally, an off-list correspondent suggests "Set Dancing" where I had 
"Country Dancing", which has considerable merit, since it doesn't get mired in
the  French/English "contra"/"country" distinction, doesn't confuse ECD with
country/western dance, and has better historical backing.

-- 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: Tue, 01 Oct 2002 15:08:46 PST
Sender: owner-ecd-AT-
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Date: Tue, 01 Oct 2002 18:08:17 +0000 (US/Eastern)
From: cedar-AT-
interlog.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: The Collier's Daughter - letter from 1851
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <E17wVBh-0005px-00-AT-
app5.nasc.inter.net>
MIME-Version: 1.0
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Perhaps this is generally known, but I found this letter interesting
in explaining the possible meaning of the title of the dance.  The
question arising from it, I suppose, is in today's society, has it
become fashionable again to be "like the collier's daughter"?

http://home.earthlink.net/~stenhouse/coal/pbl/mrbrown.htm


Christine


================================================================================
Archive-Date: Tue, 01 Oct 2002 15:47:56 PST
Sender: owner-ecd-AT-
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Date: Tue, 01 Oct 2002 15:47:49 -0700 (PDT)
From: Benjamin Stein <ecdscd-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Seeking Artist
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021001224749.54143.qmail-AT-
web20709.mail.yahoo.com>
MIME-Version: 1.0
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--- Allison M Thompson <allisonthompson-AT-
juno.com> wrote:
> I'm looking for an artist to provide line drawings for
> the cover, back &
> occasional interior spot for a book of dances.  Some
> familiarity with
> costume of 1720 or so would be nice, as I want very
> representational-type
> pictures.
> 
> If you or anyone you know is interested, please reply
> off-line & I'll
> provide the details. I will want to see a few style
> samples. There won't
> be much fortune, but there might be some fame, so this
> might make a nice
> project for a young artist who is building his/her
> portfolio.
> 
> Thanks!
> 
> Allison
> 
> 
> e:  allisonthompson-AT-
juno.com

Hi Allison: Provided that you could supply pictures of
costumes I would be quite interested. You may, or may not,
know that I did the line drawings in the Herman's book on
Folk Dancing in the late 1940's and the drawings in Lani
Melamed's book (she was a Montreal dance leader) in the
1970's. Would be happy to provide samples. Would love to do
another book.

Ben Stein
ecdscd-AT-
yahoo.com
511 North Street
Burlington, Vt. 05401 USA
802-863-4105


__________________________________________________
Do you Yahoo!?
New DSL Internet Access from SBC & Yahoo!
http://sbc.yahoo.com
================================================================================
Archive-Date: Wed, 02 Oct 2002 08:49:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 02 Oct 2002 11:58:34 -0700
From: Charlie Dyer <cdyer-AT-
ix.netcom.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: All day English country dance and the Andrew and Rachel Jackson Ball
To: ECD List <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
CC: "Dyer(Yale), Charles" <chdyer-AT-
aya.yale.edu>
Message-ID: <001a01c26a45$b60713c0$0101a8c0-AT-
pavilion>
MIME-Version: 1.0
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The English country dancers of Jacksonville and St. Augustine, FL invite you
to an all day dance and the first annual Rachel and Andrew Jackson Ball on
Saturday, November 2, 2002 in Jacksonville at the Church of the Good
Shepherd, Episcopal, 1100 Stockton St. Dancing will be from 10 AM to 12:15
PM; 2 PM to 4:15  PM; and the ball from 8 PM to 11 PM. Period, festive or
dressy attire requested but not required.
Music by Carole Wetzel, Beverly Chapman and Veronica and Ted Lane.  Calling
by Charlie Dyer and guests.  Cost is $20 for registrations postmarked before
October 12th.
Registration form and more information can be found at:
http://chdyer.tripod.com/  Contact Charlie Dyer at chdyer-AT-
aya.yale.edu or
904-731-7058.  Thanks.

PS This is the weekend of the Georgia-Florida football game and hotel rooms
will be harder to find than normally.  Book early.  Some local dancers may
be able
to provide hospitality.  See web site for hospitality contact.





================================================================================
Archive-Date: Wed, 02 Oct 2002 09:50:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 02 Oct 2002 12:50:25 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Hall evaluation, Washington D.C. area
To: Scottish Dance <strathspey-AT-
strathspey.org>, English Dance <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <002d01c26a33$ce742630$fec4c943-AT-
g9tfz>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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To any folks in the Washington, D.C., area who have danced in the Cherrydale
Fire House, Arlington, Virginia -- would you comment on the quality of the
floor, the amenities in the hall, the availability of parking, and anything
else relevant to its suitability for country dancing?

Private replies, please.

Pat
Charlottesville, Virginia

================================================================================
Archive-Date: Wed, 02 Oct 2002 20:11:13 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 02 Oct 2002 20:15:57 -0700
From: Lydee Scudder <Lydee-AT-
Lydee.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Early One Morning
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <B9C1047C.2344%Lydee-AT-
Lydee.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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on 9/23/02 7:13 AM, Graham.Christian-AT-
risk.sungard.com at
Graham.Christian-AT-
risk.sungard.com wrote:

> 
> You may well want to use Scott Higgs' dance of this name, published in his
> pamphlet of the same name...

Scott's dance has been very well received here in Sebastopol.

lydee
-----

BE in balance with Jin Shin Jyutsu

Lydee Scudder
Jin Shin Jyutsu practitioner and self-help instructor
P.O. Box 1015
Occidental, CA 95465
http://www.Lydee.com
(707) 874-1335

================================================================================
Archive-Date: Thu, 03 Oct 2002 08:18:06 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 10:17:55 -0500 (CDT)
From: Jonathan Sivier <j-sivier-AT-
ux1.cso.uiuc.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: ECD class for high school
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210031517.g93FHtk04610-AT-
staff2.cso.uiuc.edu>
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   I've been asked to put together a short class (4 days, 1 hour/day)
on ECD for a local high school for next February and I was wondering
if anyone else has done something like this?  We want to make the class
at least somewhat academic and have more than just dancing so I'm hoping
to be able to tie it into history, etc.  Does anyone have any suggestions
for things we might want to cover, things that have worked well in the
past, pointers to history info and ideas for readings we can give the
kids?  My first pass at a course outline is as follows (this is very
rough and will undoubtedly change)

Day 1 - basics of country dance and discuss/dance some early court dances
        (pavane, dance from the Inns of Court, etc.)

Day 2 - Playford era ECD

Day 3 - ECD in the American colonies/early American dance, late 1700's, early
        1800's

Day 4 - ECD today

   Thanks.

Jonathan

-------------------------------------------------------------------------
|  Jonathan Sivier               |Q: How many angels can dance on the   |
|  j-sivier-AT-
uiuc.edu             |   head of a pin?                     |
|  Flight Simulation Lab         |A: It depends on what dance you call. |
|  Beckman Institute             |                                      |
|  405 N. Mathews                |  SWMDG - Single White Male           |
|  Urbana, IL  61801             |          Dance Gypsy                 |
|  Work: 217/244-1923            |                                      |
|  Home: 217/359-8225            |  Have shoes, will dance.             |
-------------------------------------------------------------------------
|  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
-------------------------------------------------------------------------
================================================================================
Archive-Date: Thu, 03 Oct 2002 08:43:32 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 11:43:22 -0400
From: eba-AT-
umich.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <7173578.1033645402-AT-
OphthyElecGX260.med.umich.edu>
MIME-Version: 1.0
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References: <200210031517.g93FHtk04610-AT-
staff2.cso.uiuc.edu>


--Boundary_(ID_DmJSvgz5ylkzHwOKzpqwLw)
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--On Thursday, October 03, 2002 10:17 AM -0500 Jonathan Sivier 
<j-sivier-AT-
ux1.cso.uiuc.edu> wrote:

>    I've been asked to put together a short class (4 days, 1 hour/day)
> on ECD for a local high school for next February and I was wondering
> if anyone else has done something like this?  We want to make the class
> at least somewhat academic and have more than just dancing so I'm hoping
> to be able to tie it into history, etc.

Jonathan--the 17th century in England is an incredibly rich period in many 
ways.  Among notable things that I like to cite to give a bit of a feel for 
the intellectual, political, and social climate are:

the opening of the first coffee house in London, about 1650, by a Greek;

the first publishing of newspapers (also about mid-century);

the beginnings of copyright law, as opposed to publication rights by royal 
priviledge;

the growth of political parties, and the shift in power from the reigning 
monarch to the party in power (before/after the Commonwealth);

the publisning of Newton's Principia;

and the evolution of the concepts of major and minor keys and their 
associated harmonic components, along with the selection of certain sizes 
of each of the renaissance musical instrument families and the further 
evolution into many of the ancestors of the modern orchestral instruments.

The literature of the time, too, is well worth correlating to the other 
developments.  The Protestant/Catholic battles, too, are going on and play 
an important role in things that also affected the things that happened in 
the colonization of North America.

And there are many other areas equally worth mention that I have not 
touched upon.  It was a robust and exciting time from a historical 
perspective.

Eric Arnold

--Boundary_(ID_DmJSvgz5ylkzHwOKzpqwLw)
Content-type: text/enriched; charset=iso-8859-1
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<fontfamily><param>Courier New</param><flushleft>


--On Thursday, October 03, 2002 10:17 AM -0500 Jonathan Sivier <<j-sivier-AT-
ux1.cso.uiuc.edu> wrote:


>    I've been asked to put together a short class (4 days, 1 hour/day)

> on ECD for a local high school for next February and I was wondering

> if anyone else has done something like this?  We want to make the class

> at least somewhat academic and have more than just dancing so I'm hoping

> to be able to tie it into history, etc. 


Jonathan--the 17th century in England is an incredibly rich period in many ways.  Among notable things that I like to cite to give a bit of a feel for the intellectual, political, and social climate are:


the opening of the first coffee house in London, about 1650, by a Greek;


the first publishing of newspapers (also about mid-century);


the beginnings of copyright law, as opposed to publication rights by royal priviledge;


the growth of political parties, and the shift in power from the reigning monarch to the party in power (before/after the Commonwealth);


the publisning of Newton's <italic>Principia</italic>;


and the evolution of the concepts of major and minor keys and their associated harmonic components, along with the selection of certain sizes of each of the renaissance musical instrument families and the further evolution into many of the ancestors of the modern orchestral instruments.


The literature of the time, too, is well worth correlating to the other developments.  The Protestant/Catholic battles, too, are going on and play an important role in things that also affected the things that happened in the colonization of North America.  


And there are many other areas equally worth mention that I have not touched upon.  It was a robust and exciting time from a historical perspective.


Eric Arnold


--Boundary_(ID_DmJSvgz5ylkzHwOKzpqwLw)--
================================================================================
Archive-Date: Thu, 03 Oct 2002 09:03:25 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 11:56:38 -0400
From: "Hanny D. Budnick" <74031.77-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: ECD class for high school
To: Blind.Copy.Receiver-AT-
compuserve.com
Message-ID: <200210031200_MC3-1-13D5-8A8D-AT-
compuserve.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Jonathan -
unless your high school has dancing (or even other non-competitive
physical/social LEGAL activities) in their program, my guess is that the
kids will be swamped with history, readings etc. anyway and can benefit
from dancing, dancing and more dancing. Of course you can give them a sheet
with suggested readings, alert them to the website with Bob Keller's
Playford compendium, have your copies of various sources at hand - but
otherwise: get them moving! That way you can give them a glimpse of what we
enjoy, and perhaps open doors for their own discovery of themselves in
dancing. What an opportunity!

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

================================================================================
Archive-Date: Thu, 03 Oct 2002 09:28:02 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 12:27:50 -0400
From: Campbell Kaynor <Campbell_Kaynor-AT-
biogen.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <OF84BC8FBA.46D9A71B-ON85256C47.0058E151-AT-
biogen.com>
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I did a program of classes for kids studying American history, in which I
taught 17th century ECD (as an example of what the settlers brought) on day
1. Day 2 I taught 3 dances from the late 18th-19th centuries (to
demonstrate the evolution of taste and discussed things like how important
dancing was for less supervised private and social communication and that
full advantage of these opportunities was provided by the fairly lengthy
periods of "inactive" status in the dances). Finally I taught 3 contras (to
show what people enjoy today and discussed things like the prevalence of
"active" status in the newer compositions (and how that relates to modern
tastes). I of the dances was closely related in the series so that they
could follow the evolution of choreography (I think I used Trip to
Tunbridge/Opera Reel/Chorus Jig).

It worked for me with those children, but you will have to assess your
specific audience, what will work best, and have lots of plans B, C, D
etc... ready to hand so you can shift into the best plan without much
back-tracking.

One other piece of advice is to leave the bulk of the talking for the last
session. I find that recapping what we have done and how they are related
is easier to do retrospectively, it provides an excuse to dance them all
again with a more knowledgeable eye, and by the final session the children
should be more interested in the history and how it connects to events and
society at the end. In the beginning the task is to capture positive
attitudes from even those who think history is a bore and as Hanny so
eloquently said, there is no better way to do this than by "danceing,
dancing, and more dancing."

Cammy

================================================================================
Archive-Date: Thu, 03 Oct 2002 09:36:52 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 11:36:44 -0500 (CDT)
From: Jonathan Sivier <j-sivier-AT-
ux1.cso.uiuc.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210031636.g93GaiA24744-AT-
staff1.cso.uiuc.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

Hanny D. Budnick writes:
> 
> unless your high school has dancing (or even other non-competitive
> physical/social LEGAL activities) in their program, my guess is that the
> kids will be swamped with history, readings etc. anyway and can benefit
> from dancing, dancing and more dancing. Of course you can give them a sheet
> with suggested readings, alert them to the website with Bob Keller's
> Playford compendium, have your copies of various sources at hand - but
> otherwise: get them moving! That way you can give them a glimpse of what we
> enjoy, and perhaps open doors for their own discovery of themselves in
> dancing. What an opportunity!

   That was my first thought.  However this class will be part of an open
week at the school where they have a large variety of different, non-typical
classes.  I've been informed that a class that had just dancing would be
listed as a 'fun' class, but one with some academic aspects would be listed
as 'academic'.  The kids are required to sign up for a certain number of
academic classes so the probability of getting a critical mass of students
will be higher if we include some reading and history (even assign homework
perhaps) rather than just dancing.  We also hope to get some of the students
who play musical instruments and the music teacher involved.

Jonathan

================================================================================
Archive-Date: Thu, 03 Oct 2002 09:38:52 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 11:38:45 -0500 (CDT)
From: Jonathan Sivier <j-sivier-AT-
ux1.cso.uiuc.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210031638.g93Gcjg25548-AT-
staff1.cso.uiuc.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Campbell Kaynor writes:
> 
> I did a program of classes for kids studying American history, in which I
> taught 17th century ECD (as an example of what the settlers brought) on day
> 1. Day 2 I taught 3 dances from the late 18th-19th centuries (to
> demonstrate the evolution of taste and discussed things like how important
> dancing was for less supervised private and social communication and that
> full advantage of these opportunities was provided by the fairly lengthy
> periods of "inactive" status in the dances). Finally I taught 3 contras (to
> show what people enjoy today and discussed things like the prevalence of
> "active" status in the newer compositions (and how that relates to modern
> tastes). I of the dances was closely related in the series so that they
> could follow the evolution of choreography (I think I used Trip to
> Tunbridge/Opera Reel/Chorus Jig).

   Thanks for the info.  Do you happen to have a list of the dances you used
on the different days?

Jonathan

================================================================================
Archive-Date: Thu, 03 Oct 2002 09:44:17 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 12:40:13 -0400
From: "Hanny D. Budnick" <74031.77-AT-
compuserve.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: Blind.Copy.Receiver-AT-
compuserve.com
Message-ID: <200210031243_MC3-1-13D7-3B4F-AT-
compuserve.com>
MIME-Version: 1.0
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Yeah, Eric!
  _-AT-
_      {)/'
 /\ /\_._,<_/
'  \      /_\
   />    /<

================================================================================
Archive-Date: Thu, 03 Oct 2002 10:04:40 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 03 Oct 2002 10:09:25 -0700
From: Lydee Scudder <Lydee-AT-
Lydee.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <B9C1C7D4.2350%Lydee-AT-
Lydee.com>
MIME-Version: 1.0
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on 10/3/02 8:56 AM, Hanny D. Budnick at 74031.77-AT-
compuserve.com wrote:

> Jonathan -
> unless your high school has dancing (or even other non-competitive
> physical/social LEGAL activities) in their program, my guess is that the
> kids will be swamped with history, readings etc. anyway and can benefit
> from dancing, dancing and more dancing. Of course you can give them a sheet
> with suggested readings, alert them to the website with Bob Keller's
> Playford compendium, have your copies of various sources at hand - but
> otherwise: get them moving! That way you can give them a glimpse of what we
> enjoy, and perhaps open doors for their own discovery of themselves in
> dancing. What an opportunity!
> 
> _-AT-
_      {)/'
> /\ /\_._,<_/
> '  \      /_\
> />    /<   Hanny


 I agree with Hanny. I actually have done quite a bit of this sort of thing.
If all you have is 4 hours I would focus on dancing.

lydee
-----

BE in balance with Jin Shin Jyutsu

Lydee Scudder
Jin Shin Jyutsu practitioner and self-help instructor
P.O. Box 1015
Occidental, CA 95465
http://www.Lydee.com
(707) 874-1335

================================================================================
Archive-Date: Thu, 03 Oct 2002 11:15:12 PST
Sender: owner-ecd-AT-
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Date: Thu, 03 Oct 2002 14:15:02 -0400
From: Campbell Kaynor <Campbell_Kaynor-AT-
biogen.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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biogen.com>
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It will take some digging that I may not get around to before you need it,
but I'll try.
Cammy


                                                                                                                                   
                      Jonathan Sivier                                                                                              
                      <j-sivier-AT-
ux1.cso.uiuc.ed        To:       ECD-AT-
SSRL04.SLAC.STANFORD.EDU                                      
                      u>                               cc:                                                                         
                      Sent by:                         Subject:  Re: ECD class for high school                                     
                      owner-ecd-AT-
PLAYFORD.SLAC.S                                                                                    
                      TANFORD.EDU                                                                                                  
                                                                                                                                   
                                                                                                                                   
                      03-Oct-2002 12:38 PM                                                                                         
                      Please respond to ECD                                                                                        
                                                                                                                                   
                                                                                                                                   






   Thanks for the info.  Do you happen to have a list of the dances you
used
on the different days?

Jonathan





================================================================================
Archive-Date: Thu, 03 Oct 2002 11:21:02 PST
Sender: owner-ecd-AT-
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Date: Thu, 03 Oct 2002 13:20:54 -0500 (CDT)
From: Jonathan Sivier <j-sivier-AT-
ux1.cso.uiuc.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210031820.g93IKsI18457-AT-
staff2.cso.uiuc.edu>
MIME-Version: 1.0
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Campbell Kaynor writes:
> 
> 
> It will take some digging that I may not get around to before you need it,
> but I'll try.

   Thanks for the effort.  Any help will be appreciated.

Jonathan

================================================================================
Archive-Date: Thu, 03 Oct 2002 13:44:37 PST
Sender: owner-ecd-AT-
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Date: Thu, 03 Oct 2002 14:59:07 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: ECD class for high school - text sources
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021003.164532.-1913409.11.AllisonThompson-AT-
juno.com>
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Not to toot my own horn, but my book, Dancing Through Time, available
through CDSS or at my website, contains interesting readings & snippets
from literature & dancing masters, from 1400-1918. When I do lecturing on
topics like this, I like to pass out numbered pages with one quote on
each to various people in group & when I get to that part of the talk, I
ask the person with the relevant number to read the quotation--it helps
to keep them awake.

If you were to focus just on 19th century, the book From the Ballroom to
Hell, compiled by someone whose name escapes me--Beth Aldridge?--is a
detailed & wonderful collection of contemporary advice, articles,
critiques, etc. 

There are good historical pictures in Sharp's & Sach's book on the
history of dance, but forget the text. (This statement is true of most of
the older books on dance history.)  However, you could blow some of the
pictures up--on the copier, I mean--and post them around the room for
visual interest. If you have children handy, they could color them in for
you.

Allison

(The Squirrel Hill Press)

================================================================================
Archive-Date: Fri, 04 Oct 2002 07:52:40 PST
Sender: owner-ecd-AT-
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Date: Fri, 04 Oct 2002 09:50:51 -0500
From: Thomas Senior <seniort-AT-
newtrier.k12.il.us>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: ECD class for high school
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <sd9d6498.052-AT-
MAILSVR2>
MIME-Version: 1.0
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Jonathan, et al.,
   It might be a good idea to show a few video snippits after a day or
two of dancing so the students can contrast what they have done to what
has been interpreted by the BBC and other movie producers.  I am sure
this list can give you a few sources, (perhaps from the archives) and
the clips are usually short, and would be a good introduction to /
reprieve from  a lecture.

Have fun,

Tom Senior
Chicago
================================================================================
Archive-Date: Mon, 07 Oct 2002 09:26:30 PST
Sender: owner-ecd-AT-
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Date: Mon, 07 Oct 2002 17:09:47 +0100
From: John Meechan <john-AT-
jmtraining.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: test
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <000b01c26e1b$f541d5a0$6ebc0550-AT-
default>
MIME-Version: 1.0
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John Meechan

John Meechan Training
024 76 744211
john-AT-
jmtraining.org
www.jmtraining.org



================================================================================
Archive-Date: Mon, 07 Oct 2002 19:31:29 PST
Sender: owner-ecd-AT-
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Date: Mon, 07 Oct 2002 22:31:08 -0400
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: from the musicology list
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <a05100301b9c7f3776d69-AT-
[140.186.55.108]>
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References: <20021001224749.54143.qmail-AT-
web20709.mail.yahoo.com>

the death of baroque dance scholar Wendy Hilton.  According to people 
who have been in touch with her much more recently than I, she died 
in her sleep at home on 21 September.

She was the author of the 1981 book _Dance of Court and Theater: The 
French Noble Style 1690-1725_, and for many years offered a summer 
Workshop in Baroque Dance at Stanford University.  The study of 
baroque dance was a strong influence in the early music performance 
practice program at Stanford, and that workshop was a manifestation 
of its importance.

The obit appeared in the NYTimes on October 5th.
================================================================================
Archive-Date: Tue, 08 Oct 2002 08:15:53 PST
Sender: owner-ecd-AT-
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Date: Tue, 08 Oct 2002 11:15:26 -0400
From: Campbell Kaynor <Campbell_Kaynor-AT-
biogen.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Wendy Hilton
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <OF98935D9E.7790FEC2-ON85256C4C.0053C406-AT-
biogen.com>
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Thanks Emily for this sad news.

================================================================================
Archive-Date: Tue, 08 Oct 2002 08:43:49 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 08 Oct 2002 11:43:34 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: death of Wendy Hilton
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <001a01c26ee1$7627c510$fac4c943-AT-
g9tfz>
MIME-Version: 1.0
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I had heard that she was not in good health, and I am now saddened to hear
of her death.  Thanks to Emily for letting us know.

Pat

================================================================================
Archive-Date: Thu, 10 Oct 2002 01:58:27 PST
Sender: owner-ecd-AT-
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Date: Thu, 10 Oct 2002 18:59:22 +1000
From: Aylwen Garden <garden-AT-
earthlydelights.com.au>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: English Country Dance, Sat 12 Oct, Canberra, Australia
To: "ECD-AT-
SSRL04.SLAC.STANFORD.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <B9CB7E8A.6284%garden-AT-
earthlydelights.com.au>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
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Please do come to a very special one-off night this Saturday (12th October,
8pm) at St. John's Church Hall, Constitution Ave, Reid for a "A Medieval
Bush Dance!"
John Garden will be leading fun dances to go with an exciting repertoire of
mostly 14th-17th century tunes played by the band Earthly Delights (bringing
even more fabulous instruments than normal - e.g. Jon Jones will have loan
of a rare period-style cow-hide head rope-tension cat-gut snare drum).
Special guests will be "Concordia Mirabilis" playing beautiful 13th-16th
century music on recorders, crumhorn and cornetto.
Just $12 at the door ($10 concession) Please bring a supper table
contribution! Posters and info at
http://www.earthlydelights.com.au/upcoming.htm 

================================================================================
Archive-Date: Thu, 10 Oct 2002 06:29:13 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 10 Oct 2002 09:28:55 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Test message
To: English Dance <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>, Organic Gardening <OGL-AT-
LSV.UKY.EDU>, Scottish Dance <strathspey-AT-
strathspey.org>
Message-ID: <000b01c27060$fb747580$03c4c943-AT-
g9tfz>
MIME-Version: 1.0
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Test message. Please ignore.

Pat
================================================================================
Archive-Date: Thu, 10 Oct 2002 12:57:00 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 10 Oct 2002 16:54:48 -0300
From: John Wood <johnwood-AT-
accesscable.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: In The Bleak Mid-Winter
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <000f01c27096$e4217b40$b4068a18-AT-
accesscable.net>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_XGlmLjCMIdZtUUXMPMlHAw)"

This is a multi-part message in MIME format.

--Boundary_(ID_XGlmLjCMIdZtUUXMPMlHAw)
Content-type: text/plain; charset=iso-8859-1
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Hi, good Folks:

Would appreciate an answer to this question
relating to the above dance: 

If the notation that I have is incorrect, that may
well be why I do not have any progression.

On the other hand, is the progression made 
on bars 29 to 32.

All agog!

Regards, John
[Bedford, Nova Scotia]

--Boundary_(ID_XGlmLjCMIdZtUUXMPMlHAw)
Content-type: text/html; charset=iso-8859-1
Content-transfer-encoding: 7BIT

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; charset=iso-8859-1">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT face=Arial size=2>Hi, good Folks:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Would appreciate an answer to this 
question</FONT></DIV>
<DIV><FONT face=Arial size=2>relating to the above dance: </FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>If the notation that I have is incorrect, that 
may</FONT></DIV>
<DIV><FONT face=Arial size=2>well be why I do not have any 
progression.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>On the other hand, is the progression made 
</FONT></DIV>
<DIV><FONT face=Arial size=2>on bars 29 to 32.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>All agog!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Regards, John</FONT></DIV>
<DIV><FONT face=Arial size=2>[Bedford, Nova Scotia]</FONT></DIV></BODY></HTML>

--Boundary_(ID_XGlmLjCMIdZtUUXMPMlHAw)--
================================================================================
Archive-Date: Thu, 10 Oct 2002 20:13:46 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 10 Oct 2002 23:13:22 -0400
From: Joyce Crouch <joycecrouch-AT-
pobox.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: English Country Dance for Advanced Dancers - Oct 20, 2002 -	Amherst MA
To: ECD List <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
CC: Marianne Taylor <taylorgorman-AT-
juno.com>
Message-ID: <B9CBB863.2D50%joycecrouch-AT-
pobox.com>
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Dear Friends within driving distance of Western Massachusetts,

Do join us Sunday, October 20, 2002 for a wonderful afternoon of dancing
with experienced dancers.  (Complete familiarity with dance figures
necessary.)  This "Advanced Dance" will take place at the lovely Munson
Library Auditorium in South Amherst, MA.  Time is 2-5 PM.

Delicious refreshments at break...if the weather is nice, we'll enjoy them
outdoors close by the picturesque South Amherst village green in its fall
glory.  Admission $10.

Dancing will be expertly and joyously led by Marianne Taylor, with gorgeous
danceable music by Susan Conger, violin; Doug Creighton, flute & melodeon;
and Margaret Ann Martin, piano.


-- Special bonus -- Make a fall weekend of it!  Come the day before to the

Pleasures of the Town ***10th Anniversary Dance Party*** on Sat evening,
October 19, 8-11 PM, also at Munson Library.  Open to all.

-- Decorations! Cake! Old Friends! Nostalgia! --

Marianne Taylor, who was instrumental in the formation of the band and thus
the beginning of the series back in the 20th century (1992), will be calling
a program of wonderful, mostly old-favorite dances.   Music will be provided
for you by (who else?) Pleasures of the Town -- Doug Creighton, flute &
melodeon, & Joyce Crouch, piano, supplemented by previous guest musicians
sitting in.   Admission $7.

For information on either dance, call Ruth at 413-253-3828.  Directions to
Munson Library at end of this message.

Hope to see some of you there!!

Joyce Crouch [writing for the Advanced Dance Committee and the Pleasures of
the Town Committee, all duly affiliated with Amherst Area English Country
Dancers and proud of it!]

P.S.  We continue our amazing celebratory fall season on Sat evening Nov 16
at 8 pm with a program of "local favorite" requested dances, titled "Dances
You Can't Get Enough Of," led by Helene Cornelius, who called the very first
dance sponsored by Pleasures of the Town, in October 1992.  It took place in
the Unitarian Meetinghouse in downtown Amherst; 3 months later the series
moved to a larger hall, Munson Library, where it's been ever since.

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

Directions to Munson Library on South East Street, South Amherst, MA:

From I-91, take Exit 19 (Route 9, toward Amherst).  Go east approximately 5+
miles on Route 9.  Go past Amherst town common, under the railroad overpass,
and turn right at the next traffic light onto South East St.  Continue on
this road a couple of miles and bear left at the fork as you approach the
South Amherst town common.  Munson Library is on the left.   Free Parking at
the church next door or on the street.


=================================================================
Joyce B Crouch                Telephone: 413-549-4123
95 Pulpit Hill Road                 Fax: 413-549-7096
Amherst MA 01002                  email: joycecrouch-AT-
pobox.com


================================================================================
Archive-Date: Fri, 11 Oct 2002 11:29:28 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 11 Oct 2002 14:29:41 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Seeking London Ontario contact
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20021011.142952.-1771525.6.AllisonThompson-AT-
juno.com>
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I can't find my group directory!  Is anyone on the list from London,
Ontario & can tell me who is the organizer(s)?

Thanks!

Allison Thompson
================================================================================
Archive-Date: Fri, 11 Oct 2002 11:29:33 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 11 Oct 2002 14:29:41 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Seeking London Ontario contact
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20021011.142952.-1771525.6.AllisonThompson-AT-
juno.com>
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I can't find my group directory!  Is anyone on the list from London,
Ontario & can tell me who is the organizer(s)?

Thanks!

Allison Thompson
================================================================================
Archive-Date: Fri, 11 Oct 2002 11:40:11 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 11 Oct 2002 15:02:14 -0400
From: David Kanistanaux <dkanistanaux-AT-
voyager.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Seeking London Ontario contact
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20021011183958.IJQV24595.sccrmhc02.attbi.com-AT-
david.attbi.com>
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You might try Tom Seiss at tfsiess-AT-
sympatico.ca

Cheers

David K.

----------
: From: Allison M Thompson <allisonthompson-AT-
juno.com>
: To: ECD-AT-
ssrl04.SLAC.STANFORD.EDU
: Cc: ECD-AT-
ssrl04.SLAC.STANFORD.EDU
: Subject: Re: Seeking London Ontario contact
: Date: Friday, October 11, 2002 2:29 PM
: 
: I can't find my group directory!  Is anyone on the list from London,
: Ontario & can tell me who is the organizer(s)?
: 
: Thanks!
: 
: Allison Thompson
================================================================================
Archive-Date: Sat, 12 Oct 2002 20:13:35 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 12 Oct 2002 23:12:09 -0400
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: NYC 19thc Dance Workshops
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: susan-AT-
generalist.org
Message-ID: <E180ZAn-0002j9-00-AT-
black.generalist.org>
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(Regular monthly posting)


For the NYC-accessible and historically curious:

EAS Historical Dance Workshops
Sunday, October 20, 2002

My regular monthly dance workshop this month will be split between
Regency (intermediate group, always this era) and 1860's (beginner
group).  The Regency section will be doing French country dances,
circa 1804, with steps.  The main workshop (1860's) will cover
mid-19th century polka, galop, and schottische as well as dancing the
popular Richard Powers interpretation of the "Galop Quadrille".


To be specific:

1:00-2:00 - Intermediate; Regency set dances with all the nifty steps
added in.  This is open to anyone, but I only review the basic steps
and step combinations before moving on to slightly more difficult
ones, so if you aren't quick at picking up steps you may get a bit lost.
This is bouncy and mildly strenuous - more akin to modern Scottish
Country Dance than ECD.

2:00-4:00 - Basic; Polka and polka variations, galop, schottische, and
the infamous "Galop Quadrille".  This will be also be lively and bouncy.

Cost is $15 in general; $10 if this is your first time at one of
our workshops.  Note that this is part of a three-workshop
series on 1860's dance; the other dates are Nov. 3 and Dec. 8, and
all three workshops may be had for $40.00.  There are numerous
Victorian balls this fall at which one may dance these dances - 
see our calendar at http://www.elegantarts.org/vintageevents.html/

PLEASE RSVP to: meredith-AT-
elegantarts.org - the number of people we
are expecting affects how I prepare for the class!

Time:
1:00-2:00pm - Intermediate (steps)
2:00-4:00pm - Basic (no steps)

Location:
Hop, Swing, and a Jump, 132 Crosby Street #2
for directions, see our webpage, http://www.elegantarts.org/classprac.html/

EAS offers monthly historical social dance classes of the 15th through
early 20th centuries - Renaissance, 17th century country dance,
Regency/Jane Austen/1810's, American Civil War/1860's, Belle
Epoque/1890's, and Ragtime/1910's.  See our website for more
information.  http://www.elegantarts.org/

To receive these announcements consistently, please email
info-AT-
elegantarts.org to be added to our mailing list - I only announce
on the ECD list the workshops a) that include something that resembles
country or set dance, and b) that I remember to post.

Susan




================================================================================
Archive-Date: Mon, 14 Oct 2002 18:37:02 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 15 Oct 2002 11:38:04 +1000
From: Aylwen Garden <garden-AT-
earthlydelights.com.au>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Support Needed for Christmas ECD Dance Publication
To: "ECD-AT-
SSRL04.SLAC.STANFORD.EDU" <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>, "Renaissance Dance Mailing List <RENDANCE-AT-
morgan.ucs.mun.ca>" <RENDANCE-AT-
morgan.ucs.mun.ca>, "sca-dance-AT-
andrew.cmu.edu" <sca-dance-AT-
andrew.cmu.edu>
Message-ID: <B9D1AE9C.6690%garden-AT-
earthlydelights.com.au>
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> This message is in MIME format. Since your mail reader does not understand
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Dear English Country Dancers, Renaissance Dancers and other Historical
Dancers,

Invitation to subscribe to łThe Christmas Carol Dance Book˛ - fun dances to
fit 64 carols together with music, lyrics and history.

Go down in history with us! We are calling on as many kind folk as possible
to help us complete our major project of 2002 - The Christmas Carol Dance
Book. Though the word 'carol' once implied dance as much as song, the two
dimensions gradually separated. To bring them back together,  master
choreographer John Garden has spent the last 2 years devising, testing and
refining 64 original social dances in dozens of different formations to fit
64 well-loved Christmas carols from the last 7 centuries. The dances all
work exceedingly well, are lots of fun, and, in their style and figures,
echo the carols' historical origins and lyrical storyline. The book will
contain easy to follow dance instructions, carol lyrics, chorded musical
notation, dance descriptions, historical notes and illustrations. It is a
major achievement. We have no grant or commercial backer, and to get to
press in time for release at the beginning of December, we desperately need
pre-orders before the end of October. All subscribers will be named and
thanked inside the cover of the book (just as we did for our last major
project, The Lost Dances of Earthly Delights). Cost is just $20 AUD - either
by money order to 87 Schlich St., Yarralumla, A.C.T., 2600 Australia or by
credit card to garden-AT-
earthlydelights.com.au or via web-site
http://www.earthlydelights.com.au plus flat postage fee for any number of
copies of $5 AUD for inside Australia and $10 AUD for overseas. As it will
make a fabulous Christmas gift, we hope you will order for family and
friends as wellŠ just don't forget to let us know whose names to put in and
where to send the copies!

NB. If ordering from overseas, please remember that the Australian dollar is
very low, so you may only be paying half of this in your currency!

Warmest Regards, Aylwen Garden

 




--Boundary_(ID_faBYP0+uLHuunx+/FeerjQ)
Content-type: text/html; charset=US-ASCII
Content-transfer-encoding: QUOTED-PRINTABLE

<HTML>
<HEAD>
<TITLE>Support Needed for Christmas ECD Dance Publication</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#FFFFCC">
<FONT FACE=3D"Verdana"><BR>
</FONT><FONT COLOR=3D"#330066"><FONT FACE=3D"Arial">Dear English Coun=
try Dancers, Renaissance Dancers and other Historical Dancers,<BR>
<BR>
Invitation to subscribe to &#8220;The Christmas Carol Dance Book&#822=
1; - fun dances to fit 64 carols together with music, lyrics and hist=
ory.<BR>
<BR>
Go down in history with us! We are calling on as many kind folk as po=
ssible to help us complete our major project of 2002 - The Christmas =
Carol Dance Book. Though the word 'carol' once implied dance as much =
as song, the two dimensions gradually separated. To bring them back t=
ogether, &nbsp;master choreographer John Garden has spent the last 2 =
years devising, testing and refining 64 original social dances in doz=
ens of different formations to fit 64 well-loved Christmas carols fro=
m the last 7 centuries. The dances all work exceedingly well, are lot=
s of fun, and, in their style and figures, echo the carols' historica=
l origins and lyrical storyline. The book will contain easy to follow=
 dance instructions, carol lyrics, chorded musical notation, dance de=
scriptions, historical notes and illustrations. It is a major achieve=
ment. We have no grant or commercial backer, and to get to press in t=
ime for release at the beginning of December, we desperately need pre=
-orders before the end of October. All subscribers will be named and =
thanked inside the cover of the book (just as we did for our last maj=
or project, The Lost Dances of Earthly Delights). Cost is just $20 AU=
D - either by money order to 87 Schlich St., Yarralumla, A.C.T., 2600=
 Australia or by credit card to garden-AT-
earthlydelights.com.au or via =
web-site http://www.earthlydelights.com.au plus flat postage fee for =
any number of copies of $5 AUD for inside Australia and $10 AUD for o=
verseas. As it will make a fabulous Christmas gift, we hope you will =
order for family and friends as well&#8230; just don't forget to let =
us know whose names to put in and where to send the copies!<BR>
<BR>
NB. If ordering from overseas, please remember that the Australian do=
llar is very low, so you may only be paying half of this in your curr=
ency!<BR>
<BR>
Warmest Regards, Aylwen Garden<BR>
</FONT></FONT><FONT FACE=3D"Arial"><BR>
&nbsp;<BR>
</FONT><FONT FACE=3D"Verdana"><BR>
<BR>
</FONT>
</BODY>
</HTML>


--Boundary_(ID_faBYP0+uLHuunx+/FeerjQ)--
================================================================================
Archive-Date: Mon, 14 Oct 2002 19:59:10 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 14 Oct 2002 22:58:46 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: FW: From a concerned friend
To: Scottish Dance <strathspey-AT-
strathspey.org>, English Dance <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <000b01c273f6$c7850d90$a3c4c943-AT-
g9tfz>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

This was sent to me from a "concerned friend."  I infer a warning to
maintain one's dance strength and stamina throughout one's life, perhaps
even to the eschewing of domestic felicities.  (Others may take a different
view....)

See http://www.bartleby.com/121/27.html and take warning!

Pat

================================================================================
Archive-Date: Tue, 15 Oct 2002 17:14:31 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 15 Oct 2002 17:14:18 -0700 (PDT)
From: Benjamin Stein <ecdscd-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: FW: From a concerned friend
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021016001418.42780.qmail-AT-
web20706.mail.yahoo.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT


--- Patricia Ruggiero <ruggierop-AT-
earthlink.net> wrote:
> This was sent to me from a "concerned friend."  I infer a
> warning to
> maintain one's dance strength and stamina throughout
> one's life, perhaps
> even to the eschewing of domestic felicities.  (Others
> may take a different
> view....)
> 
> See http://www.bartleby.com/121/27.html and take warning!
> 
> Pat

Yhank youi Pat but at near 80, 59 seems like a mere youth!

Ben Stein
Burlington, Vt. USA
> 


__________________________________________________
Do you Yahoo!?
Faith Hill - Exclusive Performances, Videos & More
http://faith.yahoo.com
================================================================================
Archive-Date: Tue, 15 Oct 2002 22:54:49 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 16 Oct 2002 01:43:22 -0500
From: sol weber <solweber-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: The sniper
To: ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: solweber-AT-
juno.com
Message-ID: <20021016.014923.-293897.4.solweber-AT-
juno.com>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_AFQ5iXu2nnSTW6o3B1KE4A)"

This message is in MIME format.  Since your mail reader does not understand
this format, some or all of this message may not be legible.

--Boundary_(ID_AFQ5iXu2nnSTW6o3B1KE4A)
Content-type: text/plain; charset=us-ascii
Content-transfer-encoding: 7BIT


As one who has lived and worked in Wash D.C., who has friends in that
area, and who occasionally dances at the Glen Echo site, it's especially
disturbing to hear the terrifying reports of the sniper attacks.  
It was startling to hear the name of the latest victim, 'Linda Franklin',
though it became apparent right away
that it was a different Linda, not the one many of us know from Pinewoods
Camp.  What a horror.

Below is a message that Artie Shaw sent to the Camper's Week list.  I
assume it's OK to share it.
Love and best wishes to all my friends and acquaintances down there.  Sol


(The message) 
Dear All
We're alive and safe  -so far.  Tonight's shooting was very close.  Alice
was at that Home Depot this morning.  The police have roadblocks out
everywhere.  I just got home from the Harvest Ale in Greenfield MA and
Alice is at a birth.
This feeling of fear is unlike anything I've experienced.  I grew up in
New York City and, while I had my radar up frequently, it usually had to
do with being in neighborhoods where there was reason to be afraid.  Even
after Septemebr 11th we didn't feel particularly fearful.  But this is
different- completely random, in ordinary places, at any time of day or
night.  I went to get money from an ATM this evening (before the latest
shooting) and I was actually zigzagging erratically in front of the ATM
to present less of a target.
One sad sidelight of this string of shootings is that people get shot in
DC every week (if not every day) and it doesn't make the news.
One more sad note - tonight is the fifth anniversary of the night that
Joan died.  Time passes, life goes on.
Treasure each other.
Artie Shaw

--Boundary_(ID_AFQ5iXu2nnSTW6o3B1KE4A)
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=text/html;charset=us-ascii http-equiv=content-type>
<META content='"MSHTML 4.72.3612.1706"' name=GENERATOR>
</HEAD>
<BODY>
<DIV><BR>As one who has lived and worked in Wash D.C., who has friends in that 
area, and who occasionally dances at the Glen Echo site, it's especially 
disturbing to hear the terrifying reports of the sniper attacks.&nbsp; </DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff">It was startling to hear the name 
of the latest victim, 'Linda Franklin', though it became apparent right 
away</FONT></DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff"></FONT><FONT 
style="BACKGROUND-COLOR: #ffffff">that it was a different Linda, not the one 
many of us know from Pinewoods Camp.&nbsp; What a horror.</FONT></DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff"></FONT>&nbsp;</DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff">Below is a message that Artie Shaw 
sent to the Camper's Week list.&nbsp; I assume it's OK to share it.</FONT></DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff">Love and best wishes to all my 
friends and acquaintances down there.&nbsp; Sol</FONT></DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff"></FONT>&nbsp;</DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff"></FONT>&nbsp;</DIV>
<DIV><FONT style="BACKGROUND-COLOR: #ffffff">(The message)&nbsp;</FONT></DIV>
<P>Dear All</P>
<P>We're alive and safe&nbsp; -so far.&nbsp; Tonight's shooting was very 
close.&nbsp; Alice was at that Home Depot this morning.&nbsp; The police have 
roadblocks out everywhere.&nbsp; I just got home from the Harvest Ale in 
Greenfield MA and Alice is at a birth.</P>
<P>This feeling of fear is unlike anything I've experienced.&nbsp; I grew up in 
New York City and, while I had my radar up frequently, it usually had to do with 
being in neighborhoods where there was reason to be afraid.&nbsp; Even after 
Septemebr 11th we didn't feel particularly fearful.&nbsp; But this is different- 
completely random, in ordinary places, at any time of day or night.&nbsp; I went 
to get money from an ATM this evening (before the latest shooting) and I was 
actually zigzagging erratically in front of the ATM to present less of a 
target.</P>
<P>One sad sidelight of this string of shootings is that people get shot in DC 
every week (if not every day) and it doesn't make the news.</P>
<P>One more sad note - tonight is the fifth anniversary of the night that Joan 
died.&nbsp; Time passes, life goes on.</P>
<P>Treasure each other.</P>
<P>Artie Shaw</P></BODY></HTML>

--Boundary_(ID_AFQ5iXu2nnSTW6o3B1KE4A)--
================================================================================
Archive-Date: Thu, 17 Oct 2002 06:22:24 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 09:16:56 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Requesting more people-finding assistance
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20021017.092306.-1538667.13.AllisonThompson-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7BIT

Once again I turn to the indefatigable resources of the list.  I need to
obtain e-mail or snail mail address for the following British
choreographers:

Ken Alexander
Charles Bolton
Carolyn and Maurice Dunnett
Alan Davies
Barry Moule

Thanks in advance for your assistance!


Allison Thompson



================================================================================
Archive-Date: Thu, 17 Oct 2002 06:22:30 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 09:16:56 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Requesting more people-finding assistance
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <20021017.092306.-1538667.13.AllisonThompson-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7BIT

Once again I turn to the indefatigable resources of the list.  I need to
obtain e-mail or snail mail address for the following British
choreographers:

Ken Alexander
Charles Bolton
Carolyn and Maurice Dunnett
Alan Davies
Barry Moule

Thanks in advance for your assistance!


Allison Thompson



================================================================================
Archive-Date: Thu, 17 Oct 2002 06:36:23 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 09:35:41 -0400
From: Carl Friedman <carlfriedman-AT-
alumni.williams.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Requesting more people-finding assistance
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <a05111b02b9d46d146310-AT-
[192.168.254.25]>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_VUr4F7gCo106EwY2EiZFVw)"
References: <20021017.092306.-1538667.13.AllisonThompson-AT-
juno.com>


--Boundary_(ID_VUr4F7gCo106EwY2EiZFVw)
Content-type: text/plain; charset=us-ascii; format=flowed
Content-transfer-encoding: 7BIT

>Once again I turn to the indefatigable resources of the list.  I need to
>obtain e-mail or snail mail address for the following British
>choreographers:
>
>Ken Alexander
>Charles Bolton
>Carolyn and Maurice Dunnett
>Alan Davies
>Barry Moule
>
>Thanks in advance for your assistance!
>
>
>Allison Thompson


Hi Allison,
I have CBoltBroom-AT-
aol.com for Charles Bolton.
Carl Friedman

--Boundary_(ID_VUr4F7gCo106EwY2EiZFVw)
Content-type: text/html; charset=us-ascii
Content-transfer-encoding: 7BIT

<!doctype html public "-//W3C//DTD W3 HTML//EN">
<html><head><style type="text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
 --></style><title>Re: Requesting more people-finding
assistance</title></head><body>
<blockquote type="cite" cite>Once again I turn to the indefatigable
resources of the list.&nbsp; I need to<br>
obtain e-mail or snail mail address for the following British<br>
choreographers:<br>
<br>
Ken Alexander<br>
Charles Bolton<br>
Carolyn and Maurice Dunnett<br>
Alan Davies<br>
Barry Moule<br>
<br>
Thanks in advance for your assistance!<br>
<br>
<br>
Allison Thompson</blockquote>
<div><br></div>
<div><br></div>
<div>Hi Allison,</div>
<div>I have<font face="Geneva" size="+2" color="#000000">
CBoltBroom-AT-
aol.com</font> for Charles Bolton.</div>
<div>Carl Friedman</div>
</body>
</html>

--Boundary_(ID_VUr4F7gCo106EwY2EiZFVw)--
================================================================================
Archive-Date: Thu, 17 Oct 2002 08:56:05 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 16:54:43 +0100
From: Trev <trevuk-AT-
hotpop.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Requesting more people-finding assistance
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <001901c275f5$8d075320$404579d5-AT-
trevormo>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT
References: <20021017.092306.-1538667.13.AllisonThompson-AT-
juno.com>



> Once again I turn to the indefatigable resources of the list.  I need
to
> obtain e-mail or snail mail address for the following British
> choreographers:
>
> Ken Alexander  - don't think he has email. Please
contact me privately if you still need his home address or phone
> Alan Davies      -  alan-g-davies-AT-
ntlworld.com


Trev


================================================================================
Archive-Date: Thu, 17 Oct 2002 09:53:40 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 17:53:14 +0100
From: John Meechan <john-AT-
jmtraining.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Requesting more people-finding assistance
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <009101c275fd$af1bb700$e2bc0550-AT-
default>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT
References: <20021017.092306.-1538667.13.AllisonThompson-AT-
juno.com>

I have Barry Moule's snail mail address (he is not on email as far as I
know) - If nobody has already sent it to you email me privately and I will
let you have the address.

John Meechan

John Meechan Training
024 76 744211
john-AT-
jmtraining.org
www.jmtraining.org

John Meechan

John Meechan Training
024 76 744211
john-AT-
jmtraining.org
www.jmtraining.org

----- Original Message ----- 
From: "Allison M Thompson" <allisonthompson-AT-
juno.com>
To: <ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU>
Cc: <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Sent: Thursday, October 17, 2002 2:16 PM
Subject: Re: Requesting more people-finding assistance


> Once again I turn to the indefatigable resources of the list.  I need to
> obtain e-mail or snail mail address for the following British
> choreographers:
> 
> Ken Alexander
> Charles Bolton
> Carolyn and Maurice Dunnett
> Alan Davies
> Barry Moule
> 
> Thanks in advance for your assistance!
> 
> 
> Allison Thompson
> 
> 
> 


================================================================================
Archive-Date: Thu, 17 Oct 2002 12:16:09 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 12:08:10 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: E-mail addresses
To: ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KNRRTRJV8YA16X8N-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; CHARSET=us-ascii
Content-Transfer-Encoding: 7BIT

ECDers --

As list-owner, I would prefer not to see the email addresses of third parties
go out on the list unless the people posting them have explicit knowledge that 
such posting is okay with the owner of the address.

It's fine for Allison to ask for addresses.   Rather than replying with the
addresses on-list, I think it might be a preferable response to either answer
her off-list or to forward her request to the people involved and let them
decide whether they want to respond.

(On the other hand, addresses published in the CDSS directory or a UK
equivalent have been voluntarily made public, so I don't have much of a problem
with those addresses appearing on the list.  But camp/workshop/tour rosters
typically aren't expected to be shared beyond the people attending the event,
so an address obtained that way shouldn't be published without permission.)

-- 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, 17 Oct 2002 13:16:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 16:17:19 -0400
From: Blank/DeVore <fandango-AT-
sprintmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: E-mail addresses
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <3DAF1ACF.214B5EAF-AT-
sprintmail.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KNRRTRJV8YA16X8N-AT-
SSRL.SLAC.STANFORD.EDU>

Alan:

e-mail addresses that appear on posts to the ECD list are also fair game
since a simple search finds them. Do you feel otherwise?

For nonpublic sources, I feel that the potential recipient should be
notified and act on personal discretion.

Ciao,
Albert


================================================================================
Archive-Date: Thu, 17 Oct 2002 13:25:00 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 13:22:41 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: E-mail addresses
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KNRU93PCN0A16X8N-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; CHARSET=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KNRRTRJV8YA16X8N-AT-
SSRL.SLAC.STANFORD.EDU>

Albert wrote:

> e-mail addresses that appear on posts to the ECD list are also fair game
> since a simple search finds them. Do you feel otherwise?

Do you mean, email addresses of posters to the list?  One would hope that those
posters would see the requests and respond themselves. 

Or do you mean addresses that have been published on the list before?  I'd say
the bloom is off that rose (as it is for any address you can find by plugging
the person's name into Google).

> For nonpublic sources, I feel that the potential recipient should be
> notified and act on personal discretion.

Indeed.

-- 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, 17 Oct 2002 13:35:04 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 16:35:43 -0400
From: Blank/DeVore <fandango-AT-
sprintmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: E-mail addresses
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <3DAF1F1E.EBB4003D-AT-
sprintmail.com>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_bQm1g8tD94rcHQ18QKnPwA)"
References: <01KNRRTRJV8YA16X8N-AT-
SSRL.SLAC.STANFORD.EDU> <01KNRU93PCN0A16X8N-AT-
SSRL.SLAC.STANFORD.EDU>


--Boundary_(ID_bQm1g8tD94rcHQ18QKnPwA)
Content-type: text/plain; charset=us-ascii
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Alan,

    That would be great if posters to the list always keep up with it.
That would be lovely but probably untrue.

All the best,
Albert

> Albert wrote:
>
> > e-mail addresses that appear on posts to the ECD list are also fair game
> > since a simple search finds them. Do you feel otherwise?
>
> Do you mean, email addresses of posters to the list?  One would hope that those
> posters would see the requests and respond themselves.
>



--Boundary_(ID_bQm1g8tD94rcHQ18QKnPwA)
Content-type: text/html; charset=us-ascii
Content-transfer-encoding: 7BIT

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Alan,
<p>&nbsp;&nbsp;&nbsp; That would be great if posters to the list always
keep up with it. That would be lovely but probably untrue.
<p>All the best,
<br>Albert
<blockquote TYPE=CITE>
<pre>Albert wrote:

> e-mail addresses that appear on posts to the ECD list are also fair game
> since a simple search finds them. Do you feel otherwise?

Do you mean, email addresses of posters to the list?&nbsp; One would hope that those
posters would see the requests and respond themselves.</pre>
</blockquote>

<br>&nbsp;</html>

--Boundary_(ID_bQm1g8tD94rcHQ18QKnPwA)--
================================================================================
Archive-Date: Thu, 17 Oct 2002 14:11:53 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 14:10:26 -0700
From: "Gary D. Shapiro" <garyecd1-AT-
primate.mailshell.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: slipping circles in contra?
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <p05111b01b9d4d66229b8-AT-
[192.168.0.2]>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT

In ECD we often circle using a slipping step. It can be exhilirating 
and it almost forces one to "give weight."

I'm wondering why I haven't seen any contemporary contra dances with 
slipping circles in them. I think contra dancers would enjoy it.
-- 
Gary
<http://www.garydance.com/>
================================================================================
Archive-Date: Thu, 17 Oct 2002 14:11:58 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 17 Oct 2002 14:03:46 -0700
From: "Gary D. Shapiro" <garyecd1-AT-
primate.mailshell.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: E-mail addresses
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <p05111b00b9d4d3a18475-AT-
[192.168.0.2]>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <01KNRRTRJV8YA16X8N-AT-
SSRL.SLAC.STANFORD.EDU> <01KNRU93PCN0A16X8N-AT-
SSRL.SLAC.STANFORD.EDU> <3DAF1F1E.EBB4003D-AT-
sprintmail.com>

If you post to this list, sooner or later the spammers will find your 
address (assuming they haven't already) because the archives are open 
to anyone. The spammers will also find any address contained within a 
message, such as what Alan was talking about.

So I now get spam to an address that has had no exposure except here 
and on the archives of a New Zealand folk dance list that one of my 
messages was forwarded to.

The address I use now for this list (only) is temporary.
-- 
Gary
<http://www.garydance.com/>
================================================================================
Archive-Date: Fri, 18 Oct 2002 01:45:36 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 18 Oct 2002 09:41:02 +0100
From: Colin Hume <colin-AT-
colinhume.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Requesting more people-finding assistance
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <E182Skw-000827-00.2002-10-18-09-45-18-AT-
mail17.svr.pol.co.uk>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
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Allison M Thompson wrote:
>Once again I turn to the indefatigable resources of the list.  I
need to
>obtain e-mail or snail mail address for the following British
>choreographers:
>
>Ken Alexander
Freshways
Etching Hill
41 Stonehouse Road
RUGELEY
Staffordshire
WS15 2LL

>Charles Bolton
CBoltBroom-AT-
aol.com
>Carolyn and Maurice Dunnett
I have not heard of them.
>Alan Davies
alan-g-davies-AT-
ntlworld.com
>Barry Moule
Via  roger-AT-
folkcamp.com

Colin Hume

Email colin-AT-
colinhume.com      Web site http://www.colinhume.com


================================================================================
Archive-Date: Tue, 22 Oct 2002 05:39:37 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 22 Oct 2002 09:34:44 -0300
From: John Wood <johnwood-AT-
accesscable.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <004101c279c7$6f3b3840$b4068a18-AT-
accesscable.net>
MIME-Version: 1.0
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Hi, Dancers:

I need help on the first 8 bars of "Winter Solstice."

I do not have Wendy Crouch's e-mail address [if she has
one] so intrude here to ask:

While the 1st, Centre, and 3rd Couples are dancing a
Grimstock hey the Sides are:

dancing Sharp siding, set and turn single [twice; over and
back again].

I find from these instructions too much material for 8 bars
of music, i.e. 4 steps siding, 4 steps setting and 4 steps
turn single x 2 = 24 steps -- not 16 for 8 bars.

How come? Where do I go wrong?

Thank you in advance for your help.

Regards, John

Bedford, Nova Scotia

--Boundary_(ID_cgmWfpHm50q8GfIw8urTfQ)
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<BODY bgColor=#ffffff>
<DIV><FONT face=Arial size=2>Hi, Dancers:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>I need help on the first 8 bars of "Winter 
Solstice."</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>I do not have Wendy Crouch's e-mail address [if she 
has</FONT></DIV>
<DIV><FONT face=Arial size=2>one] so intrude here to ask:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>While the 1st, Centre, and 3rd Couples are dancing 
a</FONT></DIV>
<DIV><FONT face=Arial size=2>Grimstock hey the Sides are:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>dancing Sharp siding, set and turn single [twice; 
over and</FONT></DIV>
<DIV><FONT face=Arial size=2>back again].</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>I find from these instructions too much material 
for 8 bars</FONT></DIV>
<DIV><FONT face=Arial size=2>of music, i.e. 4 steps siding, 4 steps setting and 
4 steps</FONT></DIV>
<DIV><FONT face=Arial size=2>turn single x 2 = 24 steps -- not 16 for 8 
bars.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>How come? Where do I go wrong?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Thank you in advance for your help.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Regards, John</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Bedford, Nova Scotia</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV></BODY></HTML>

--Boundary_(ID_cgmWfpHm50q8GfIw8urTfQ)--
================================================================================
Archive-Date: Tue, 22 Oct 2002 05:53:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 22 Oct 2002 05:53:28 -0700 (PDT)
From: Graham Christian <bray1699-AT-
yahoo.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021022125328.46514.qmail-AT-
web13101.mail.yahoo.com>
MIME-Version: 1.0
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Because...when siding (either flavor) it should take you four steps PLUS four steps.
Over: r-l-r-close. BACK: r-l-r-close. 8 steps.
Or: up by right shoulder: : r-l-r-close. BACK: r-l-r-close. 8 steps.
Think of it this way. Siding is one of the figures that has its origins in Renaissance dance, with its "doubles" (r-l-r-close). It takes *two* doubles to "side" once.  
 John Wood <johnwood-AT-
accesscable.net> wrote:Hi, Dancers: I need help on the first 8 bars of "Winter Solstice." I do not have Wendy Crouch's e-mail address [if she hasone] so intrude here to ask: While the 1st, Centre, and 3rd Couples are dancing aGrimstock hey the Sides are: dancing Sharp siding, set and turn single [twice; over andback again]. I find from these instructions too much material for 8 barsof music, i.e. 4 steps siding, 4 steps setting and 4 stepsturn single x 2 = 24 steps -- not 16 for 8 bars. How come? Where do I go wrong? Thank you in advance for your help. Regards, John Bedford, Nova Scotia 

Graham Christian
"Sphinx of black quartz, judge my vow."


---------------------------------
Do you Yahoo!?
Y! Web Hosting - Let the expert host your web site

--Boundary_(ID_Ge4DGEWbcbTFb400qVGQnw)
Content-type: text/html; charset=us-ascii
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<P>Because...when siding&nbsp;(either flavor) it should take you&nbsp;four steps PLUS four steps.
<P>Over: r-l-r-close. BACK: r-l-r-close. 8 steps.
<P>Or: up by right shoulder: : r-l-r-close. BACK: r-l-r-close. 8 steps.
<P>Think of it this way. Siding is one of the figures that has its origins in Renaissance dance, with its "doubles" (r-l-r-close). It takes *two* doubles to "side" once.&nbsp;&nbsp;
<P>&nbsp;<B><I>John Wood &lt;johnwood-AT-
accesscable.net&gt;</I></B> wrote:
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR>
<STYLE></STYLE>

<DIV><FONT face=Arial size=2>Hi, Dancers:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>I need help on the first 8 bars of "Winter Solstice."</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>I do not have Wendy Crouch's e-mail address [if she has</FONT></DIV>
<DIV><FONT face=Arial size=2>one] so intrude here to ask:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>While the 1st, Centre, and 3rd Couples are dancing a</FONT></DIV>
<DIV><FONT face=Arial size=2>Grimstock hey the Sides are:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>dancing Sharp siding, set and turn single [twice; over and</FONT></DIV>
<DIV><FONT face=Arial size=2>back again].</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>I find from these instructions too much material for 8 bars</FONT></DIV>
<DIV><FONT face=Arial size=2>of music, i.e. 4 steps siding, 4 steps setting and 4 steps</FONT></DIV>
<DIV><FONT face=Arial size=2>turn single x 2 = 24 steps -- not 16 for 8 bars.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>How come? Where do I go wrong?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Thank you in advance for your help.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Regards, John</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Bedford, Nova Scotia</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV></BLOCKQUOTE><BR><BR>Graham Christian<br>"Sphinx of black quartz, judge my vow."<p><br><hr size=1>Do you Yahoo!?<br>
<a href="http://webhosting.yahoo.com/ ">Y! Web Hosting</a> - Let the expert host your web site

--Boundary_(ID_Ge4DGEWbcbTFb400qVGQnw)--
================================================================================
Archive-Date: Tue, 22 Oct 2002 06:03:33 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 22 Oct 2002 09:03:18 -0400
From: "Emily L. Ferguson" <elf-AT-
cape.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <a05100300b9dafc0bbf80-AT-
[140.186.108.35]>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <004101c279c7$6f3b3840$b4068a18-AT-
accesscable.net>

At 9:34 AM -0300 10/22/02, John Wood wrote:
>Hi, Dancers:
>I find from these instructions too much material for 8 bars
>of music, i.e. 4 steps siding, 4 steps setting and 4 steps
>turn single x 2 = 24 steps -- not 16 for 8 bars.

Hmm.  Adds up to 16 to me.  4 steps over, 4 steps back (siding - 
1&2&, 3&4&), 2 steps to set R(5&), 2 more to set L(6&), ts with 4 
steps(7&8&):repeat.

>
>How come? Where do I go wrong?

Try it with a group of dancers with the music.  You'll see how it fits.

Snow up there yet?
-- 
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.vsu.cape.com/~elf
http://www.beetlecat.org/store.html#yrbook

================================================================================
Archive-Date: Tue, 22 Oct 2002 06:12:02 PST
Sender: owner-ecd-AT-
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Date: Tue, 22 Oct 2002 10:12:27 -0300
From: John Wood <johnwood-AT-
accesscable.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice [2]
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <001701c279cc$ab8f9c00$b4068a18-AT-
accesscable.net>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_ko6oZQdNSA3APi9mSbRP7w)"
References: <20021022125328.46514.qmail-AT-
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This is a multi-part message in MIME format.

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Hi, Graham:

Thank you. I now see my error in trying to do
the set and turn single twice!

Regards, John
  Because...when siding (either flavor) it should take you four steps PLUS four steps. 

  Over: r-l-r-close. BACK: r-l-r-close. 8 steps. 

  Or: up by right shoulder: : r-l-r-close. BACK: r-l-r-close. 8 steps. 

--Boundary_(ID_ko6oZQdNSA3APi9mSbRP7w)
Content-type: text/html; charset=iso-8859-1
Content-transfer-encoding: 7BIT

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; charset=iso-8859-1">
<META content="MSHTML 6.00.2800.1106" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT face=Arial size=2>Hi, Graham:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Thank you. I now see my error in trying to 
do</FONT></DIV>
<DIV><FONT face=Arial size=2>the set and turn single twice!</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Regards, John</FONT></DIV>
<BLOCKQUOTE 
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <P>Because...when siding&nbsp;(either flavor) it should take you&nbsp;four 
  steps PLUS four steps. 
  <P>Over: r-l-r-close. BACK: r-l-r-close. 8 steps. 
  <P>Or: up by right shoulder: : r-l-r-close. BACK: r-l-r-close. 8 steps. 
</P></BLOCKQUOTE></BODY></HTML>

--Boundary_(ID_ko6oZQdNSA3APi9mSbRP7w)--
================================================================================
Archive-Date: Tue, 22 Oct 2002 07:45:53 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 22 Oct 2002 09:42:38 -0500
From: "M.G. Mudrey, Jr." <mgmudrey-AT-
mhtc.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <5.1.1.5.2.20021022094218.00bc57d8-AT-
mail.mhtc.net>
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>
>
>While the 1st, Centre, and 3rd Couples are dancing a
>Grimstock hey the Sides are:
>

Try mirror hey rather than Grimstock.

next 8 bars
head side and set
active hey for three with sides, man passes right with man in side couple, 
women passes left with woman in other side couple

Grand square, sides face...center back toward side, back to base of set, 
come forward and join, then come as couple back to middle, ready for

Promenade changes...


================================================================================
Archive-Date: Tue, 22 Oct 2002 08:33:46 PST
Sender: owner-ecd-AT-
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Date: Tue, 22 Oct 2002 12:09:30 -0300
From: John Wood <johnwood-AT-
accesscable.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice [2]
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <004e01c279dd$057e6ce0$b4068a18-AT-
accesscable.net>
MIME-Version: 1.0
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Content-Transfer-Encoding: 7BIT
References: <5.1.1.5.2.20021022094218.00bc57d8-AT-
mail.mhtc.net>

Thank you, M.G. for your help.

Regards, John

> Subject: Re: Winter Solstice


================================================================================
Archive-Date: Tue, 22 Oct 2002 08:41:07 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Tue, 22 Oct 2002 12:05:07 -0300
From: John Wood <johnwood-AT-
accesscable.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Winter Solstice [2]
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <003e01c279dc$68d746a0$b4068a18-AT-
accesscable.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT
References: <004101c279c7$6f3b3840$b4068a18-AT-
accesscable.net> <a05100300b9dafc0bbf80-AT-
[140.186.108.35]>

Hi Emily:

> Hmm.  Adds up to 16 to me.  4 steps over, 4 steps
> back (siding - 1&2&, 3&4&), 2 steps to set R(5&), 2 > more to set L(6&),
ts with 4 steps(7&8&):repeat.

I do appreciate your help. My error was -- I admit! --
doing "half" a siding, set and turn single. Then repeating "half" a siding,
set and turn single! When "the penny dropped," everything fell into place!

We did do the dance and found everyone thoroughly
enjoyed it. But I was unhappy about that figure.

> Snow up there yet?

Not yet, thank goodness (:-)).

Regards, John

================================================================================
Archive-Date: Wed, 23 Oct 2002 15:28:01 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 23 Oct 2002 15:27:45 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Discounted admissions to dance performance for country dancers
To: ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KO0CA93Y7GA1CUX5-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: message/rfc822

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Dear Alan ,

Here's the offer and information about the performance: Thanks for
getting the word out.

BB



Half-price tickets!!
Sensational dance company!!


Stanford Lively Arts presents
Ronald K. Brown/EVIDENCE
Walking Out the Dark

Saturday, October 26, 8:00 PM
Memorial Auditorium, Stanford University

Šthe dancing springs from a deep well of spiritual urgencyŠ
-Washington Post

Stanford Lively Arts is making a special offer to BACDS
members-half-price tickets to the award-winning modern dance company,
Ronald K. Brown/EVIDENCE this Saturday, October 26 at 8:00 PM at
Memorial Auditorium on the Stanford University campus. To take
advantage of this special offer, please call the Stanford Ticket
Office at 650-725-ARTS (2787) and mention BACDS. Tickets will be held
for you at the will call window at the performance.

Considered one of today's hottest New York companies, Ronald K.
Brown/EVIDENCE will perform the Northern California premiere of
Walking Out the Dark, a persuasive and powerful modern-dance journey
of inner exploration. Artistic Director Brown and his dancers will
return to the stage for a post-performance discussion, which is free
and open to the public.

NOTE: Arrive early for ease of parking and to ensure that you are
inside the theater when the doors close promptly at 8:00 PM. For
parking/venue information, go online to
http://livelyarts.stanford.edu or ask the Ticket Office
(650-725-ARTS).


At the Forefront of Modern Dance
Ronald K. Brown is consistently lauded by the critics for his
brilliant approach to dance and movement and is considered among the
hottest choreographers working today. "Brown's choreography has
zoomed to the forefront of modern dance," raved the Chicago Tribune,
which praised the choreographer/dancer for his sculpted movement.
"EVIDENCE stirs up an audience to a fever pitch," wrote Allan Ulrich
in the San Francisco Chronicle. On the East Coast, Brown is a
sought-after choreographer for the movie industry, musical theater,
and other dance companies. Already he has created works for Alvin
Ailey and Phildanco.

Introspective. Innovative. Uplifting.
Walking Out the Dark (2001) is an intimate and charged modern-dance
ceremony that is as uplifting as it is thoughtful. On stage, Brown
leads his supple troupe in a physical exploration of the dimensions
of faith and truth, life and death. "In his hands, dance is ritual,
journey, transformation, and testimonial" (Globe Mail, Toronto).
Recorded text set to music by jazz artist Philip Hamilton and others
accompanies the piece. "We must speak the truth to each other or else
stay buried in the dark," intones Brown's voice during the opening
moments.

The approach is multicultural and Brown's themes, though drawing on
personal history, have a universal appeal. Starting with Martha
Graham technique, he applies layers of street performance dance,
ballet, and West African and Caribbean elements-even ballroom.
Intrigued by the call-and-response ceremonial dances of his
ancestors, Brown has made several trips to the Ivory Coast to observe
and exchange ideas with local dancers and choreographers.  "Even
those who do not believe that there is a promised land might agree
that Mr. Brown makes a journey in that direction look persuasive and
powerful," wrote the New York Times.

Telling His Grandmother's Stories
A native New Yorker, Ronald K. Brown started studying dance at age
six at a Police Athletic League summer camp. Inspired by the need to
document and tell his grandmother's stories, he founded Ronald K.
Brown/EVIDENCE in 1985 at the age of 19. Brown has used dance to
address racism, love and loss, and AIDS.  He has received numerous
awards and fellowships including a National Endowment for the Arts
Choreographer's Fellowship, a New York Foundation for the Arts
Fellowship in Choreography, a New York Dance and Performance Award
(Bessie), and a Black Theater Alliance Award. In 2000, he was named a
Guggenheim Foundation Fellow in Choreography and Def Dance Jam Mentor
of the Year.  Brown was featured on the cover of Dance magazine for
its millennium issue.

--



Barbara L. Bickerman
Public Relations Manager
Stanford Lively Arts
537 Lomita Mall,  MC 2250
Stanford, CA  94305-2250

Tel: 650-725-1960
Fax: 650-723-8231

http://livelyarts.stanford.edu
Content-type: text/html; charset=iso-8859-1

<!doctype html public "-//W3C//DTD W3 HTML//EN">
<html><head><style type="text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
 --></style><title>Discounted tickets to dance perf on
Saturday</title></head><body>
<div>Dear Alan ,</div>
<div><br></div>
<div>Here's the offer and information about the performance: Thanks
for getting the word out.</div>
<div><br></div>
<div>BB</div>
<div><br></div>
<div><br></div>
<div><br></div>
<div><font size="+3">Half-price tickets!!</font></div>
<div><font size="+2">Sensational dance company!!</font></div>
<div><br></div>
<div><br></div>
<div><font color="#000000"><b>Stanford Lively Arts
presents</b></font></div>
<div><font size="+2" color="#000000"><b>Ronald K.
Brown/EVIDENCE</b></font></div>
<div><font size="+2" color="#000000"><i><b>Walking Out the
Dark</b></i></font><br>
</div>
<div><font size="+1" color="#000000"><b>Saturday, October 26,
8:00</b></font><font color="#000000"><b> PM</b></font></div>
<div><font size="+1" color="#000000"><b>Memorial Auditorium, Stanford
University</b></font><br>
</div>
<div><font color="#000000"><i><b>Šthe dancing springs from a deep
well of spiritual urgencyŠ<br>
-</b></i><b>Washington Post</b></font><br>
</div>
<div><font color="#000000">Stanford Lively Arts is making a special
offer to BACDS members-<b>half-price tickets</b> to the
award-winning modern dance company,<b> Ronald K. Brown/EVIDENCE</b>
this<b> Saturday, October 26</b> at<b> 8:00<font size="-1">
PM</font></b></font><font color="#000000"> at Memorial Auditorium on
the Stanford University campus. To take advantage of this special
offer, please call the Stanford Ticket Office at<b> 650-725-ARTS
(2787)</b> and mention BACDS. Tickets will be held for you at the will
call window at the performance.</font></div>
<div><font color="#000000"><br></font></div>
<div><font color="#000000">Considered one of today's hottest New York
companies,<b> Ronald K. Brown/EVIDENCE</b> will perform the Northern
California premiere of<i><b> Walking Out the Dark</b>,</i> a
persuasive and powerful modern-dance journey of inner exploration.
Artistic Director Brown and his dancers will return to the stage for a
post-performance discussion, which is free and open to the
public.</font></div>
<div><font color="#000000"><br></font></div>
<div><font color="#000000"><b>NOTE:</b> Arrive early for ease of
parking and to ensure that you are inside the theater when the doors
close promptly at 8:00<font size="-1"> PM</font>. For parking/venue
information, go online to http://livelyarts.stanford.edu or ask the
Ticket Office (650-725-ARTS).</font></div>
<div><font color="#000000"><br></font></div>
<div><font color="#000000"><br></font></div>
<div><font color="#000000"><b>At the Forefront of Modern Dance<br>
</b>Ronald K. Brown is consistently lauded by the critics for his
brilliant approach to dance and movement and is considered among the
hottest choreographers working today. &quot;Brown's choreography has
zoomed to the forefront of modern dance,&quot; raved the<i> Chicago
Tribune,</i> which praised the choreographer/dancer for his sculpted
movement. &quot;EVIDENCE stirs up an audience to a fever pitch,&quot;
wrote Allan Ulrich in the<i> San Francisco Chronicle.</i> On the East
Coast, Brown is a sought-after choreographer for the movie industry,
musical theater, and other dance companies. Already he has created
works for Alvin Ailey and Phildanco.</font><br>
</div>
<div><font color="#000000"><b>Introspective. Innovative.
Uplifting.</b></font></div>
<div><font color="#000000"><i>Walking Out the Dark</i> (2001) is an
intimate and charged modern-dance ceremony that is as uplifting as it
is thoughtful. On stage, Brown leads his supple troupe in a physical
exploration of the dimensions of faith and truth, life and death.
&quot;In his hands, dance is ritual, journey, transformation, and
testimonial&quot; (<i>Globe Mail,</i> Toronto). Recorded text set to
music by jazz artist Philip Hamilton and others accompanies the piece.
&quot;We must speak the truth to each other or else stay buried in the
dark,&quot; intones Brown's voice during the opening
moments.</font><br>
</div>
<div><font color="#000000">The approach is multicultural and Brown's
themes, though drawing on personal history, have a universal appeal.
Starting with Martha Graham technique, he applies layers of street
performance dance, ballet, and West African and Caribbean
elements-even ballroom.</font></div>
<div><font color="#000000">Intrigued by the call-and-response
ceremonial dances of his ancestors, Brown has made several trips to
the Ivory Coast to observe and exchange ideas with local dancers and
choreographers.&nbsp; &quot;Even those who do not believe that there
is a promised land might agree that Mr. Brown makes a journey in that
direction look persuasive and powerful,&quot; wrote the<i> New York
Times</i>.<br>
<br>
<b>Telling His Grandmother's Stories</b></font></div>
<div><font color="#000000">A native New Yorker, Ronald K. Brown
started studying dance at age six at a Police Athletic League summer
camp. Inspired by the need to document and tell his grandmother's
stories, he founded Ronald K. Brown/EVIDENCE in 1985 at the age of 19.
Brown has used dance to address racism, love and loss, and AIDS.&nbsp;
He has received numerous awards and fellowships including a National
Endowment for the Arts Choreographer's Fellowship, a New York
Foundation for the Arts Fellowship in Choreography, a New York Dance
and Performance Award (Bessie), and a Black Theater Alliance Award. In
2000, he was named a Guggenheim Foundation Fellow in Choreography and
Def Dance Jam Mentor of the Year.&nbsp; Brown was featured on the
cover of<i> Dance</i> magazine for its millennium issue.</font></div>
<div><br></div>
<x-sigsep><pre>--
</pre></x-sigsep>
<div><br>
<br>
</div>
<div><br>
Barbara L. Bickerman<br>
Public Relations Manager<br>
Stanford Lively Arts<br>
537 Lomita Mall,&nbsp; MC 2250<br>
Stanford, CA&nbsp; 94305-2250<br>
<br>
Tel: 650-725-1960<br>
Fax: 650-723-8231<br>
<br>
http://livelyarts.stanford.edu</div>
</body>
</html>



===============================================================================
 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: Wed, 23 Oct 2002 19:00:05 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 23 Oct 2002 21:59:42 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: discounted admissions etc
To: English Dance <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <002001c27b01$0497b4b0$24c4c943-AT-
g9tfz>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Alan, this post from you contained no message, only an attachment.   The
Strathspey List recently had a virus problem seemingly circulated via a
message from its administrator, and so this blank post from you makes me
nervous -- I've not opened it.  Did you indeed send such a post?

Pat

================================================================================
Archive-Date: Wed, 23 Oct 2002 19:03:08 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 23 Oct 2002 19:00:39 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: RE: discounted admissions etc
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KO0JSDFUL8A15SXT-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Pat wrote:

> Alan, this post from you contained no message, only an attachment.   The
> Strathspey List recently had a virus problem seemingly circulated via a
> message from its administrator, and so this blank post from you makes me
> nervous -- I've not opened it.  Did you indeed send such a post?

I did indeed forward a message from Barbara Bickerman to the list.  I use a
command-line mail client on a VMS system, which is impervious to all
commonly-circulated viruses.  (That woudln't keep something like klez, which
forges the "From" address, from impersonating me, so it's a legitimate
question.)

So you can open it safely, although there's little point - this advertises
half-price admission for country-dancers to a modern-dance concert at Stanford
this Saturday, and will only be of interest to people in the SF Bay Area.

-- 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: Wed, 23 Oct 2002 19:17:25 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Wed, 23 Oct 2002 22:13:06 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: discounted admissions etc
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <002301c27b02$e3c05920$24c4c943-AT-
g9tfz>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Thanks!

Alan wrote: "So you can open it safely....."

================================================================================
Archive-Date: Thu, 24 Oct 2002 07:37:12 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 10:36:52 -0400
From: eba-AT-
umich.edu
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: discounted admissions etc
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <3674515.1035455812-AT-
OphthyElecGX260.med.umich.edu>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT
References: <002301c27b02$e3c05920$24c4c943-AT-
g9tfz>

Just for your information, Alan & Pat -- the notice about discounted 
tickets came through to me without apparent difficulty.

Eric Arnold

--On Wednesday, October 23, 2002 10:13 PM -0400 Patricia Ruggiero 
<ruggierop-AT-
earthlink.net> wrote:

> Thanks!
>
> Alan wrote: "So you can open it safely....."


================================================================================
Archive-Date: Thu, 24 Oct 2002 08:21:07 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 10:20:47 -0500 (CDT)
From: Jonathan Sivier <j-sivier-AT-
ux1.cso.uiuc.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210241520.g9OFKlY25095-AT-
staff2.cso.uiuc.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN
Content-Transfer-Encoding: 7BIT

   I was wondering if there was a reason for the cross-over mirror hey
in The Corporation to be different than most other dances.  According
to Keller and Shimer the 1s cross over and go outside the 2s to begin
the hey.  They then cross over again and go outside the 2s to continue
the hey when they reach the top again.  This is different from most
other dances where the 1s cross through the middle to begin and continue
the hey.  It seems like the dance would work a bit better using the
standard sort of cross over hey.  Is there a reason that this hey works
best with this dance that I'm not seeing?  The figure that follows the
hey is the 1s going down the center.  It seems it would be better to
use the usual hey so they are coming together at the top, rather than
this alternate hey where their natural movement would be to seperate
at the top.  However, as I say, perhaps there is some reason for this
that I'm not seeing.  If anyone has any insights on this or reasons I
shouldn't do the hey in the "normal" fashion (1s cross through middle),
let me know.

Jonathan

-------------------------------------------------------------------------
|  Jonathan Sivier               |Q: How many angels can dance on the   |
|  j-sivier-AT-
uiuc.edu             |   head of a pin?                     |
|  Flight Simulation Lab         |A: It depends on what dance you call. |
|  Beckman Institute             |                                      |
|  405 N. Mathews                |  SWMDG - Single White Male           |
|  Urbana, IL  61801             |          Dance Gypsy                 |
|  Work: 217/244-1923            |                                      |
|  Home: 217/359-8225            |  Have shoes, will dance.             |
-------------------------------------------------------------------------
|  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
-------------------------------------------------------------------------
================================================================================
Archive-Date: Thu, 24 Oct 2002 09:01:22 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 11:00:51 -0500
From: "M.G. Mudrey, Jr." <mgmudrey-AT-
mhtc.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <5.1.1.5.2.20021024105742.00b683e8-AT-
mail.mhtc.net>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT


>Jonathan...only a thought
Based on Keller and Shimer's repros of the Thompson and Walsh manuscripts.

Corporation...Hey on contrary sides would imply crossing THEN beginning the Hey

Prince William....1 man hey with 2d and 3d woman
Jacks Maggot 1m goes to hey with 2 women

implies beginning the hey in the middle??

Hey.. I enjoy crossing then heyings..

Mike



>-------------------------------------------------------------------------
>|  Jonathan Sivier               |Q: How many angels can dance on the   |
>|  j-sivier-AT-
uiuc.edu             |   head of a pin?                     |
>|  Flight Simulation Lab         |A: It depends on what dance you call. |
>|  Beckman Institute             |                                      |
>|  405 N. Mathews                |  SWMDG - Single White Male           |
>|  Urbana, IL  61801             |          Dance Gypsy                 |
>|  Work: 217/244-1923            |                                      |
>|  Home: 217/359-8225            |  Have shoes, will dance.             |
>-------------------------------------------------------------------------
>|  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
>-------------------------------------------------------------------------

================================================================================
Archive-Date: Thu, 24 Oct 2002 14:31:29 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 17:31:09 -0400 (EDT)
From: Terence Gaffney <gaff-AT-
neu.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Discounted admissions to dance performance for country dancers
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
CC: lwlu-AT-
MIT.EDU
Message-ID: <Pine.OSF.4.03.10210241726330.27335-100000-AT-
research.neu.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII
Content-Transfer-Encoding: 7BIT

Dear Friends,

 Some of you, from time to time, may find yourself in Boston on a weekend,
and you may be wondering if there is an English dance you can go to. Well,
now we have three!

On First Fridays we continue with our series for experienced dancers;
nights when Jacqueline Schwab plays solo piano in our small intimate hall
are not to be missed. Dance starts at 8:15 at the Church of Our Savior,
Brookline.

We also have a new Friday series that meets on second and fourth Fridays
in Cambridge. The dance this Friday is led by Barbara Finney, accompanied
by Roberta Sutter and Andrea Larson. Dance runs from 7:30 to 9:30, and is
located at the Harvard-Epworth Methodist Church 1555 Massachusetts Avenue,
Cambridge.  Our hope in starting this dance is that the location and hours
will be attractive to students in Cambridge and Boston, but dancers of all
ages are welcome.  (Id like to hear about experiences other list members
have had in running similar dances.)

If you can stay over to Saturday, we have a Second Saturday series
Saturday afternoon, 2-5, First Baptist Church, 5 Magazine Street, Central
Square, Cambridge.  This series provides opportunities for new callers to
work on their leading and teaching skills and choreographers to have their
dances tried out by a group of dancers. Debuts of new dances or dances new
to Boston, have provided some of the most exciting dancing of our last
season. Interested callers and choreographers from out of town should
contact me, and Ill put you in touch with the organizers. (Please let me
know at least two weeks in advance, though.)

For further information on directions, location, and price of any of the
above dances, please see our web site:
http://www.cds-boston.org/english.html
Best,
 Terry Gaffney


================================================================================
Archive-Date: Thu, 24 Oct 2002 15:09:26 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 23:09:09 +0100
From: Michael Barraclough <michael.barraclough-AT-
tgis.co.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210242209.XAA07768-AT-
galahad.tgis.co.uk>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

The reason for this hey is because Keller & Shimer (as with most if not all of their transcriptions) merely reprint what someone else (in this case, W.S. Porter, M. Heffer & A.B Heffer in the Apted Book of Country Dances, 1931) has produced.  The presentation of the book (beautiful woodcuts, engravings etc) lends an unfortunate air of authority.

It is almost certainly "wrong".  Hey contrary sides can either be a short (8 bars) or long (16 bars) figure.  It is started by the top couple crossing down BETWEEN the second couple and then every one else joining in a mirror image hey (a al Grimstock).  In the short version the top couple will cross back over as they come up the middle from the bottom.  In the long figure the top couple remains on the wrong side until they get back to the top when they crossover again as they repeat the hey.

Michael Barraclough
http://www.mab.tgis.co.uk


On Thursday, October 24, 2002 at 10:20:47 AM, ECD-AT-
ssrl04.SLAC.STANFORD.EDU wrote:

>    I was wondering if there was a reason for the cross-over mirror hey
> in The Corporation to be different than most other dances.  According
> to Keller and Shimer the 1s cross over and go outside the 2s to begin
> the hey.  They then cross over again and go outside the 2s to continue
> the hey when they reach the top again.  This is different from most
> other dances where the 1s cross through the middle to begin and continue
> the hey.  It seems like the dance would work a bit better using the
> standard sort of cross over hey.  Is there a reason that this hey works
> best with this dance that I'm not seeing?  The figure that follows the
> hey is the 1s going down the center.  It seems it would be better to
> use the usual hey so they are coming together at the top, rather than
> this alternate hey where their natural movement would be to seperate
> at the top.  However, as I say, perhaps there is some reason for this
> that I'm not seeing.  If anyone has any insights on this or reasons I
> shouldn't do the hey in the "normal" fashion (1s cross through middle),
> let me know.
> 
> Jonathan
> 
> -------------------------------------------------------------------------
> |  Jonathan Sivier               |Q: How many angels can dance on the   |
> |  j-sivier-AT-
uiuc.edu             |   head of a pin?                     |
> |  Flight Simulation Lab         |A: It depends on what dance you call. |
> |  Beckman Institute             |                                      |
> |  405 N. Mathews                |  SWMDG - Single White Male           |
> |  Urbana, IL  61801             |          Dance Gypsy                 |
> |  Work: 217/244-1923            |                                      |
> |  Home: 217/359-8225            |  Have shoes, will dance.             |
> -------------------------------------------------------------------------
> |  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
> -------------------------------------------------------------------------
> 
> 


--

================================================================================
Archive-Date: Thu, 24 Oct 2002 15:16:18 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 23:16:05 +0100
From: Michael Barraclough <michael.barraclough-AT-
tgis.co.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210242216.XAA08230-AT-
galahad.tgis.co.uk>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

On Thursday, October 24, 2002 at 11:00:51 AM, ECD-AT-
ssrl04.SLAC.STANFORD.EDU wrote:

> Prince William....1 man hey with 2d and 3d woman
> Jacks Maggot 1m goes to hey with 2 women
> 
> implies beginning the hey in the middle??

Not necessarily as far as Jacks Maggott is concerned.  The original actually says " 1st man go they hey with the 2nd wo(man) followed by 1st wo(man) go the hey with the 2nd man".  My favourite interpretation for this has the active people passing each other across the set on the diagonal, casting around their partner, then crossing across on the other diagonal and casting around the other person on their side (ie a figure of eight around the inactive people).  This has the advantage that it doesn't require 3 people to hey in the space occupied by 2 (uncomfortable in period clothing) and it actually does what the original says.

Michael Barraclough
http://www.mab.tgis.co.uk


--

================================================================================
Archive-Date: Thu, 24 Oct 2002 15:27:22 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 18:31:49 -0400
From: Loretta Holz <loretta-AT-
varisys.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Mr. Cosgill's Delight on  Flying Romanos CD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <020501c27bad$24d51c20$c902010a-AT-
loretta>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT
References: <5.1.1.5.2.20021024105742.00b683e8-AT-
mail.mhtc.net>

 The new Flying Romanos CD (The FRs Take Off) has some dances which I've
never done like Mr. Cosgill's Delight--it's a nice tune and it's in The
Playford Ball book.  Has anyone ever done the dance?  Any idea why it's not
done? Or is it done where you dance?

We bought the CD at the Whirligig Weekend (NY) a few weeks ago.  I've
listened to it over and over and it's great. The FRs did a fabulous job
playing familar dances like Trip to Tunbridge, Room for Ramblers, Bryon's
Boutard, Mister Isaac's Maggot, etc.  A tune called Susan is haunting and
lush.  After hearing the last one, the Shepherd's Delight, I just want to
push the button and start over.

Loretta Holz
Warren, NJ

================================================================================
Archive-Date: Thu, 24 Oct 2002 15:41:31 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 18:41:06 -0400
From: Campbell Kaynor <Campbell_Kaynor-AT-
biogen.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Discounted admissions to dance performance for country dancers
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <OF6B66C814.F5A2FEA5-ON85256C5C.007AE5F7-AT-
biogen.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT


I don't usually plug my events on this list, but since Terry opened the
gate - there is another Boston area English dance on the weekends:

On the 4th Friday of every month (that's tomorrow) in Watertown I hold a
Double Dance - 17th century dances from the Playford editions from 7-9
(followed by New England contras from 9-11). Newcomer dancers are welcomed
by my committee of "schmoozers" and sit-in musicians are invited to join
the band. While working our way through 50 of my favorite Playford dances,
we experiment with different interpretations of the choreography. Any
musicians wishing to get a head start on a tune may have it Emailed to them
in advance (abc format) or they may print out the abc generated sheet music
or listen to an audio file off my neophyte webpage.
http://home.earthlink.net/~manystrings/
From my dance page, click on Music to access my posting of the featured
tune, Childgrove.
Come check out when you are in town and respond off-list if you would like
to be added to my reminder Email list,
Cammy
PS. the featured contra this time is "Lamplighter's Hornpipe."


                                                                                                                                  
                      Terence Gaffney                                                                                             
                      <gaff-AT-
neu.edu>                   To:       ECD-AT-
SSRL04.SLAC.STANFORD.EDU                                     
                      Sent by:                         cc:       lwlu-AT-
MIT.EDU                                                     
                      owner-ecd-AT-
PLAYFORD.SLAC.S        Subject:  Re: Discounted admissions to dance performance for country       
                      TANFORD.EDU                       dancers                                                                   
                                                                                                                                  
                                                                                                                                  
                      24-Oct-2002 05:31 PM                                                                                        
                      Please respond to ECD                                                                                       
                                                                                                                                  
                                                                                                                                  




Dear Friends,

 Some of you, from time to time, may find yourself in Boston on a weekend,
and you may be wondering if there is an English dance you can go to. Well,
now we have three!

On First Fridays we continue with our series for experienced dancers;
nights when Jacqueline Schwab plays solo piano in our small intimate hall
are not to be missed. Dance starts at 8:15 at the Church of Our Savior,
Brookline.

We also have a new Friday series that meets on second and fourth Fridays
in Cambridge. The dance this Friday is led by Barbara Finney, accompanied
by Roberta Sutter and Andrea Larson. Dance runs from 7:30 to 9:30, and is
located at the Harvard-Epworth Methodist Church 1555 Massachusetts Avenue,
Cambridge.  Our hope in starting this dance is that the location and hours
will be attractive to students in Cambridge and Boston, but dancers of all
ages are welcome.  (Id like to hear about experiences other list members
have had in running similar dances.)

If you can stay over to Saturday, we have a Second Saturday series
Saturday afternoon, 2-5, First Baptist Church, 5 Magazine Street, Central
Square, Cambridge.  This series provides opportunities for new callers to
work on their leading and teaching skills and choreographers to have their
dances tried out by a group of dancers. Debuts of new dances or dances new
to Boston, have provided some of the most exciting dancing of our last
season. Interested callers and choreographers from out of town should
contact me, and Ill put you in touch with the organizers. (Please let me
know at least two weeks in advance, though.)

For further information on directions, location, and price of any of the
above dances, please see our web site:
http://www.cds-boston.org/english.html
Best,
 Terry Gaffney






================================================================================
Archive-Date: Thu, 24 Oct 2002 16:13:22 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 18:11:16 -0500
From: "M.G. Mudrey, Jr." <mgmudrey-AT-
mhtc.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <5.1.1.5.2.20021024181045.00bc7d90-AT-
mail.mhtc.net>
MIME-Version: 1.0
Content-Type: text/plain; format=flowed; charset=us-ascii
Content-Transfer-Encoding: 7BIT

Mike


I like the version you put forth here..
Will try it next time our group meets.

Mike

At 11:16 PM 10/24/2002 +0100, you wrote:
>On Thursday, October 24, 2002 at 11:00:51 AM, ECD-AT-
ssrl04.SLAC.STANFORD.EDU 
>wrote:
>
> > Prince William....1 man hey with 2d and 3d woman
> > Jacks Maggot 1m goes to hey with 2 women
> >
> > implies beginning the hey in the middle??
>
>Not necessarily as far as Jacks Maggott is concerned.  The original 
>actually says " 1st man go they hey with the 2nd wo(man) followed by 1st 
>wo(man) go the hey with the 2nd man".  My favourite interpretation for 
>this has the active people passing each other across the set on the 
>diagonal, casting around their partner, then crossing across on the other 
>diagonal and casting around the other person on their side (ie a figure of 
>eight around the inactive people).  This has the advantage that it doesn't 
>require 3 people to hey in the space occupied by 2 (uncomfortable in 
>period clothing) and it actually does what the original says.
>
>Michael Barraclough
>http://www.mab.tgis.co.uk
>
>
>--

================================================================================
Archive-Date: Thu, 24 Oct 2002 16:57:18 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 19:56:55 -0400
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Mr. Cosgill's Delight on  Flying Romanos CD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <004f01c27bb9$08184650$24c4c943-AT-
g9tfz>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Loretta wrote:

>The new Flying Romanos CD (The FRs Take Off)....

What's the instrumentation?

>... has some dances which I've never done like Mr. Cosgill's Delight--it's
a nice tune and it's in The
Playford Ball book.  Has anyone ever done the dance?  Any idea why it's not
done? Or is it done where you dance?

I remember doing it, once, back in 1988 or so.  No one much cared for tune
or dance.  Taken out of context of Corelli's Trio Sonata, those eight bars
are not very interesting, esp. with 6 of the 8 containing that dotted
rhythm....just not much variety in a short time.

Keller and Shimer make the comment about using a catch step "to maintain the
necessary drive and flow," a statement which recognizes the tendency of the
dance to bog down.  I suspect that a group of light-footed dancers could
make something of it, but heel-to-toe dancing is too plodding to move it
along.

Why not try it with your group and let us know how it goes?

Pat
Charlottesville, VA

================================================================================
Archive-Date: Thu, 24 Oct 2002 17:22:06 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 17:19:49 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: RE: Mr. Cosgill's Delight on  Flying Romanos CD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
Message-ID: <01KO1UKFWOWUA1DELS-AT-
SSRL.SLAC.STANFORD.EDU>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Pat quoted Loretta:

> >The new Flying Romanos CD (The FRs Take Off)....

> What's the instrumentation?

> >... has some dances which I've never done like Mr. Cosgill's Delight--it's
> a nice tune and it's in The
> Playford Ball book.  Has anyone ever done the dance?  Any idea why it's not
> done? Or is it done where you dance?

> I remember doing it, once, back in 1988 or so.  No one much cared for tune
> or dance.  Taken out of context of Corelli's Trio Sonata, those eight bars
> are not very interesting, esp. with 6 of the 8 containing that dotted
> rhythm....just not much variety in a short time.

> Keller and Shimer make the comment about using a catch step "to maintain the
> necessary drive and flow," a statement which recognizes the tendency of the
> dance to bog down.  I suspect that a group of light-footed dancers could
> make something of it, but heel-to-toe dancing is too plodding to move it
> along.

> Why not try it with your group and let us know how it goes?

Chris Sackett of Ashland taught the dance with "a light strathspey" step
(demonstrated very clearly) in my presence, and I found the dance pleasant
enough but it didn't enter my repertoire.  I don't know whether it's a regular
part of his.

-- 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, 24 Oct 2002 18:09:05 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 20:41:23 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  Performance of ECD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU, patt-AT-
cdss.org
Message-ID: <20021024.210855.-1706279.17.AllisonThompson-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7BIT

Dear Friends and Gentle Hearts,

In pursuit of a *possible* very short publication for CDSS, I'd like to
benefit from your experiences in *performing* English Country Dance. Your
thoughts and anecdotes on all the following will be appreciated &
recognized, as appropriate or as desired--see end of post.

For example:

1.  Choice of dances performed: does this depend on whether the
performance is 1) in the round, 2) on a main stage, 2) with or without
live music? and what about the calibre of your performers?  What are
really good dances to *perform*--as opposed to those that are fun to
dance or good to involve beginners in? For example, many of us like to
use Newcastle or Nonesuch as performance dances--but why? and are there
others equally visually or musically exciting? What makes for a DULL
performance dance? What are your "fail-safe" performance dances?  What
are the major choreographical or other boo-boos ( for example, letting
the dance go on for 15 rounds just because that's what the recording
does...) ?

2.  Choreography:  are there times and ways in which you modify
(specific--and, if so, how?) dances to make them better suited to
mass-viewing? Which dances and why? What figures really *resonate* from
auditorium-style seating? Do these modifications vary with recorded
versus live music, and, if so, how?

3. Training of performers:  how high a caliber or, if you live across the
Atlantic, calibre, of execution are you looking for in a performer? Do
you have auditions? or are you just looking for someone who can fit into
the given costume?  How many rehearsals do you have prior to a
performance? Does your group stick to a restricted group of dances in
order to permit performers to better remember the dances? Or do you do
different things at different events, and, if so, why? What if somebody
just doesn't shape up as a performer, or what if she misses 2 out of 3
rehearsals? Tricks, tips or recommendations? How does caliber of
performer fit with goal of performance (see below)?

4.  Costuming:  accurately- or semi-accurately historical, versus folk-y?
How do you keep clothing items on and OK'd? (line up for petticoat check?
enforcing or not enforcing the no-watch/no-athletic socks/no-nose rings
rule?....that is, how far into historical correctness does your group go?
wigs? corsets? historically corrrect footwear?) Does having "correct"
costuming affect the outcome of your performance, and, if so, how so? Do
you thus get more (paying) gigs from Historical Societies? Or schools?
Are these the gigs that eventually improve (paid) attendance at your
events? And is that what you are striving to achieve, anyway? And,
possibly the most important--who owns the costume, the dancer or the
group? or does this decision depend on the elaborateness/expensiveness of
the costume? Or possibly even the relative (perceived) value or
commitment of the performer to the group? --leading up to the $64,000
dollar question:  "How sweaty do you have to make the costume before it
is irrevocably yours?"

5.  Music:  live, dead (recorded) or employing musicians who may or may
not be familiar with the style & vernacular of  ECD? ("Hey, why, shucks,
let's just give this Psycho-Stud-Scotian-Ibernian Gypsy Band a few bars
of Newcastle and we'll dance!!! Oh, dear! Wow! Geez-o-man, where are we?
Who are we today?") How do these factors limit or enable you? How about
CD versus tape?  How do you cue the Sound Guy/Gal?

6.  And, relatedly, dealing with the Sound Guy/Gal...what do you tell
them? what do you want? Loudness, speaker quality, monitor amplication
for live musicians, number, placement and type of microphones,  speaker
for announcer...?....

7.  Props and Pageants:  Does your group provide elaborate performances
involving related folk traditions like 'Oss, Oss or other such ritual or
calendar events? If so, do you have recommendations pro or con such
activities and....

8.  Working with associated ritual performance groups:  strengths,
benefits & pitfalls (especially Money--see below).

9.  Checklist of items to consider about any general performance: 
technical details (lights, music, sound) as well as issues like, did
everybody bring everything? (directions to event, first aid, extra
stockings, bras, safety-pins, makeup, clothes-pins for sheet music,
snacks, water bottles, mobile phones, inhalers, etc.)  

10.  MONEY.  Who gets paid how much and why? How do individuals (who may
not even perform) who give so much time to organize and/or perform get
rewarded as opposed to the group that sponsors them and experiences more
of the glory?  What about paying the musicians (if any)? How about
providing payment to the choreographers of new dances or the writers of
new tunes? If you use recorded music, do you acknowledge the performers
in the program? Do you request their permission for use or send them a
payment? Money is a major issue that divides groups.   What are the major
sore spots & problems associated with money in yours--or any--group?

11.  Publicity.  Who is generating the publicity & how do they do it? 
Who, when and what do you give them? ("Them" being the faceless members
of the Fourth Estate--so all those issues of timing of press release,
format, content, etc.)

12.  Internal organization of the ECD group.  Can one person "do it all"
or is better to divide and conquer, and, if so, how & what are successful
recommendations for this aspect of organizational management?

13. Why does your group perform?  To raise money? To generate interest in
potential new members? To educate school-children? To...well, why,
exactly? Do you think that your efforts are successful in achieving these
goals? If not, why not & how so? Are things different in England versus
the US versus the continent versus the Antipodes?

14.  Major successes!  Major faux paus! Can we learn anything from them? 
Your recommendations for a successful (or not!) ECD performance
experience! 10 Things You Wished You'd Done Differently!!  10 Success
Stories!!  10 Ways In Which You Can Meet Britney Spears!  (oops! sorry,
wrong posting list!)

15. Finally, Peformance and Money are 2 areas in which groups often Have
Difficulties.  Both reward and ego are at stake.  Any suggestions or
recommendations for reducing or resolving these issues? How/what do you
pay your band? Your Sound Guy/Gal? Your fearless Leader, who has probably
done 99% of the work? The quiet, behind-the-scenes person who never
performs but who keeps everything together?

You are welcome to reply to me off-list, especially if you have any
conditions precedent to publication, or on-list, as you choose, depending
on whether the topics are elevating, educational, amusing or filled with
notable Aristotleian anecdotes of pity and terror. I hope that this will
be an interesting issue for the group to discuss, as well as (eventually)
a fruitful one for the non-list members of CDSS and EFDSS.  I will be
using the responses to compile recommendations for the possible--and I
want to stress possible--booklet, so don't send anything on or off-list
that you wouldn't want to see again (though I doubt if most group
attributions will survive into the final copy).  If you have questions or
reservations, please contact me below.

Thank you,

Allison Thompson
1623 Denniston Street
Pittsburgh PA  15217
p:  (412) 422-7265
e: allisonthompson-AT-
juno.com

 













On Wed, 27 Feb 2002 12:03:09 +0000 Michael Barraclough
<michael.barraclough-AT-
tgis.co.uk> writes:
> From my research, I believe the following to be the case.
> 
> Initially, amongst other forms, there were longways whole set dances
> using the following structure:
> 
> Up a double
> ===========
> Chorus 1
> ========
> Siding
> ======
> Chorus 2
> ========
> Arming
> ======
> Chorus 3
> 
> These choruses could either be the same for each figure, eg Upon a
> Summer's Day, or differ with each figure, eg Black Nag.  They 
> generally
> had no progression or at most a simple progression of top couple 
> going
> to the bottom.  Typically these dances were for 3 or 4 couples.
> 
> After some time there was innovation and the concept of a minor set
> progressive chorus was introduced (probably taken from other dances
> which had probably evolved from the Branle).  
> 
> Nonesuch is an example of this with the first chorus being duple 
> minor
> progressive and the second and 3rd choruses having whole set
> choreographies.  
> Other examples include A Health to Betty which has one single minor 
> and
> two duple minor choruses, and, The Countrey Coll which has three 
> duple
> minor choruses.
> 
> Each of the choruses would have been started by the top couple only, 
> the
> other couples joining in as they got to the top.  The next figure 
> would
> not start until everyone was back in their original place.  (I 
> believe
> that the practice of moving on to siding in Nonsuch before everyone 
> is
> home results from the fact that it was not possible to get the full
> number of times through on a 78rpm record.)  NB:  Although described 
> as
> "longways for as many as will" the sets were probably quite short 
> since
> doing a dance like Countrey Coll with a 10 couple longways set would
> take around 22 minutes at current dance speed and probably longer 
> then.
> 
> After a while there was further innovation whereby the siding and 
> arming
> parts were dropped so that the dance structure became:
> 
> Up a double
> ===========
> Chorus 1
> ========
> Chorus 2
> ========
> Chorus 3
> 
> Whilst I have no specific evidence, I believe that the remaining
> presence of the first figure suggests that the objective was to 
> allow
> the top couple to start the next chorus as soon as they and the 
> second
> couple were back home without having to wait for everyone to get 
> back in
> order to have the next figure.
> 
> In time, the loss of the second and 3rd figures led to the loss of 
> the
> third (eg Amarillis, mentioned below) chorus and then the second 
> chorus
> until we are left with
> 
> (Up a double)
> ============
> Chorus 1
> 
> I am showing the Up a double figure because I believe that it was
> probably the custom to do this anyway, even if it wasn't written 
> down
> specifically in the Dancing Master.
> 
> The Country Dance Book (Sharp) is not clear about how dances with
> multiple progressive parts should be done and The Playford Ball 
> (Keller
> & Shimer) looks "authentic" but for the most part merely repeats The
> Country Dance Book for its interpretations.  In England such dances 
> are
> rarely done, but when done are almost invariably done with each 
> couple
> dancing a figure made up of the first part followed by the second 
> part.
> 
> Michael Barraclough
> http://www.mab.tgis.co.uk
> 
> 
> -----Original Message-----
> From: owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU
> [mailto:owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU] On Behalf Of Hanny D.
> Budnick
> Sent: 20 February 2002 21:48
> To: Blind.Copy.Receiver-AT-
compuserve.com
> Subject: As many as will - REALLY?
> 
> I'm going through Cecil Sharp's Country Dance Book III. It contains 
> a
> number of dances labeled 'for as many as will', but consisting of
> several
> parts, of which several are duple minor progressive.
> 
> I suspect that some of our sets for four couples (like Nonesuch) 
> could
> easily fit into that pattern where the progressive parts are done 
> 'to
> the
> last' in those 'for as many as will' - as we do it in Dargason. 
> Convention and/or recordings have limited us to a specific number of
> couples per set, live music can treat the dances differently.
> 
> Keller/Shimer only contains one of these dances (Amarillis). The
> multi-part
> longways in CDB III I don't recall having danced at all, or at least 
> not
> in
> a loooooooong time.
> 
> So, I wonder about the other dancers on the ECD list and their
> experience
> and/or recollection. How DO you do these dances:
>  The Friar and the Nun
>  Amarillis
>  Bobbing Joe
>  Catching of Fleas
>  The Irish Lady
>  Irish Trot
> or do you do them at all?
> 
>   _-AT-
_      {)/'
>  /\ /\_._,<_/
> '  \      /_\
>    />    /<  Hanny
> 
>   
> 
> ---
> Incoming mail is certified Virus Free.
> Checked by AVG anti-virus system (http://www.grisoft.com).
> Version: 6.0.325 / Virus Database: 182 - Release Date: 19/02/02
>  
> 

================================================================================
Archive-Date: Thu, 24 Oct 2002 18:09:10 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 20:41:23 -0400
From: Allison M Thompson <allisonthompson-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  Performance of ECD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: ECD-AT-
SSRL04.SLAC.STANFORD.EDU, patt-AT-
cdss.org
Message-ID: <20021024.210855.-1706279.17.AllisonThompson-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7BIT

Dear Friends and Gentle Hearts,

In pursuit of a *possible* very short publication for CDSS, I'd like to
benefit from your experiences in *performing* English Country Dance. Your
thoughts and anecdotes on all the following will be appreciated &
recognized, as appropriate or as desired--see end of post.

For example:

1.  Choice of dances performed: does this depend on whether the
performance is 1) in the round, 2) on a main stage, 2) with or without
live music? and what about the calibre of your performers?  What are
really good dances to *perform*--as opposed to those that are fun to
dance or good to involve beginners in? For example, many of us like to
use Newcastle or Nonesuch as performance dances--but why? and are there
others equally visually or musically exciting? What makes for a DULL
performance dance? What are your "fail-safe" performance dances?  What
are the major choreographical or other boo-boos ( for example, letting
the dance go on for 15 rounds just because that's what the recording
does...) ?

2.  Choreography:  are there times and ways in which you modify
(specific--and, if so, how?) dances to make them better suited to
mass-viewing? Which dances and why? What figures really *resonate* from
auditorium-style seating? Do these modifications vary with recorded
versus live music, and, if so, how?

3. Training of performers:  how high a caliber or, if you live across the
Atlantic, calibre, of execution are you looking for in a performer? Do
you have auditions? or are you just looking for someone who can fit into
the given costume?  How many rehearsals do you have prior to a
performance? Does your group stick to a restricted group of dances in
order to permit performers to better remember the dances? Or do you do
different things at different events, and, if so, why? What if somebody
just doesn't shape up as a performer, or what if she misses 2 out of 3
rehearsals? Tricks, tips or recommendations? How does caliber of
performer fit with goal of performance (see below)?

4.  Costuming:  accurately- or semi-accurately historical, versus folk-y?
How do you keep clothing items on and OK'd? (line up for petticoat check?
enforcing or not enforcing the no-watch/no-athletic socks/no-nose rings
rule?....that is, how far into historical correctness does your group go?
wigs? corsets? historically corrrect footwear?) Does having "correct"
costuming affect the outcome of your performance, and, if so, how so? Do
you thus get more (paying) gigs from Historical Societies? Or schools?
Are these the gigs that eventually improve (paid) attendance at your
events? And is that what you are striving to achieve, anyway? And,
possibly the most important--who owns the costume, the dancer or the
group? or does this decision depend on the elaborateness/expensiveness of
the costume? Or possibly even the relative (perceived) value or
commitment of the performer to the group? --leading up to the $64,000
dollar question:  "How sweaty do you have to make the costume before it
is irrevocably yours?"

5.  Music:  live, dead (recorded) or employing musicians who may or may
not be familiar with the style & vernacular of  ECD? ("Hey, why, shucks,
let's just give this Psycho-Stud-Scotian-Ibernian Gypsy Band a few bars
of Newcastle and we'll dance!!! Oh, dear! Wow! Geez-o-man, where are we?
Who are we today?") How do these factors limit or enable you? How about
CD versus tape?  How do you cue the Sound Guy/Gal?

6.  And, relatedly, dealing with the Sound Guy/Gal...what do you tell
them? what do you want? Loudness, speaker quality, monitor amplication
for live musicians, number, placement and type of microphones,  speaker
for announcer...?....

7.  Props and Pageants:  Does your group provide elaborate performances
involving related folk traditions like 'Oss, Oss or other such ritual or
calendar events? If so, do you have recommendations pro or con such
activities and....

8.  Working with associated ritual performance groups:  strengths,
benefits & pitfalls (especially Money--see below).

9.  Checklist of items to consider about any general performance: 
technical details (lights, music, sound) as well as issues like, did
everybody bring everything? (directions to event, first aid, extra
stockings, bras, safety-pins, makeup, clothes-pins for sheet music,
snacks, water bottles, mobile phones, inhalers, etc.)  

10.  MONEY.  Who gets paid how much and why? How do individuals (who may
not even perform) who give so much time to organize and/or perform get
rewarded as opposed to the group that sponsors them and experiences more
of the glory?  What about paying the musicians (if any)? How about
providing payment to the choreographers of new dances or the writers of
new tunes? If you use recorded music, do you acknowledge the performers
in the program? Do you request their permission for use or send them a
payment? Money is a major issue that divides groups.   What are the major
sore spots & problems associated with money in yours--or any--group?

11.  Publicity.  Who is generating the publicity & how do they do it? 
Who, when and what do you give them? ("Them" being the faceless members
of the Fourth Estate--so all those issues of timing of press release,
format, content, etc.)

12.  Internal organization of the ECD group.  Can one person "do it all"
or is better to divide and conquer, and, if so, how & what are successful
recommendations for this aspect of organizational management?

13. Why does your group perform?  To raise money? To generate interest in
potential new members? To educate school-children? To...well, why,
exactly? Do you think that your efforts are successful in achieving these
goals? If not, why not & how so? Are things different in England versus
the US versus the continent versus the Antipodes?

14.  Major successes!  Major faux paus! Can we learn anything from them? 
Your recommendations for a successful (or not!) ECD performance
experience! 10 Things You Wished You'd Done Differently!!  10 Success
Stories!!  10 Ways In Which You Can Meet Britney Spears!  (oops! sorry,
wrong posting list!)

15. Finally, Peformance and Money are 2 areas in which groups often Have
Difficulties.  Both reward and ego are at stake.  Any suggestions or
recommendations for reducing or resolving these issues? How/what do you
pay your band? Your Sound Guy/Gal? Your fearless Leader, who has probably
done 99% of the work? The quiet, behind-the-scenes person who never
performs but who keeps everything together?

You are welcome to reply to me off-list, especially if you have any
conditions precedent to publication, or on-list, as you choose, depending
on whether the topics are elevating, educational, amusing or filled with
notable Aristotleian anecdotes of pity and terror. I hope that this will
be an interesting issue for the group to discuss, as well as (eventually)
a fruitful one for the non-list members of CDSS and EFDSS.  I will be
using the responses to compile recommendations for the possible--and I
want to stress possible--booklet, so don't send anything on or off-list
that you wouldn't want to see again (though I doubt if most group
attributions will survive into the final copy).  If you have questions or
reservations, please contact me below.

Thank you,

Allison Thompson
1623 Denniston Street
Pittsburgh PA  15217
p:  (412) 422-7265
e: allisonthompson-AT-
juno.com

 













On Wed, 27 Feb 2002 12:03:09 +0000 Michael Barraclough
<michael.barraclough-AT-
tgis.co.uk> writes:
> From my research, I believe the following to be the case.
> 
> Initially, amongst other forms, there were longways whole set dances
> using the following structure:
> 
> Up a double
> ===========
> Chorus 1
> ========
> Siding
> ======
> Chorus 2
> ========
> Arming
> ======
> Chorus 3
> 
> These choruses could either be the same for each figure, eg Upon a
> Summer's Day, or differ with each figure, eg Black Nag.  They 
> generally
> had no progression or at most a simple progression of top couple 
> going
> to the bottom.  Typically these dances were for 3 or 4 couples.
> 
> After some time there was innovation and the concept of a minor set
> progressive chorus was introduced (probably taken from other dances
> which had probably evolved from the Branle).  
> 
> Nonesuch is an example of this with the first chorus being duple 
> minor
> progressive and the second and 3rd choruses having whole set
> choreographies.  
> Other examples include A Health to Betty which has one single minor 
> and
> two duple minor choruses, and, The Countrey Coll which has three 
> duple
> minor choruses.
> 
> Each of the choruses would have been started by the top couple only, 
> the
> other couples joining in as they got to the top.  The next figure 
> would
> not start until everyone was back in their original place.  (I 
> believe
> that the practice of moving on to siding in Nonsuch before everyone 
> is
> home results from the fact that it was not possible to get the full
> number of times through on a 78rpm record.)  NB:  Although described 
> as
> "longways for as many as will" the sets were probably quite short 
> since
> doing a dance like Countrey Coll with a 10 couple longways set would
> take around 22 minutes at current dance speed and probably longer 
> then.
> 
> After a while there was further innovation whereby the siding and 
> arming
> parts were dropped so that the dance structure became:
> 
> Up a double
> ===========
> Chorus 1
> ========
> Chorus 2
> ========
> Chorus 3
> 
> Whilst I have no specific evidence, I believe that the remaining
> presence of the first figure suggests that the objective was to 
> allow
> the top couple to start the next chorus as soon as they and the 
> second
> couple were back home without having to wait for everyone to get 
> back in
> order to have the next figure.
> 
> In time, the loss of the second and 3rd figures led to the loss of 
> the
> third (eg Amarillis, mentioned below) chorus and then the second 
> chorus
> until we are left with
> 
> (Up a double)
> ============
> Chorus 1
> 
> I am showing the Up a double figure because I believe that it was
> probably the custom to do this anyway, even if it wasn't written 
> down
> specifically in the Dancing Master.
> 
> The Country Dance Book (Sharp) is not clear about how dances with
> multiple progressive parts should be done and The Playford Ball 
> (Keller
> & Shimer) looks "authentic" but for the most part merely repeats The
> Country Dance Book for its interpretations.  In England such dances 
> are
> rarely done, but when done are almost invariably done with each 
> couple
> dancing a figure made up of the first part followed by the second 
> part.
> 
> Michael Barraclough
> http://www.mab.tgis.co.uk
> 
> 
> -----Original Message-----
> From: owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU
> [mailto:owner-ecd-AT-
SSRL04.SLAC.STANFORD.EDU] On Behalf Of Hanny D.
> Budnick
> Sent: 20 February 2002 21:48
> To: Blind.Copy.Receiver-AT-
compuserve.com
> Subject: As many as will - REALLY?
> 
> I'm going through Cecil Sharp's Country Dance Book III. It contains 
> a
> number of dances labeled 'for as many as will', but consisting of
> several
> parts, of which several are duple minor progressive.
> 
> I suspect that some of our sets for four couples (like Nonesuch) 
> could
> easily fit into that pattern where the progressive parts are done 
> 'to
> the
> last' in those 'for as many as will' - as we do it in Dargason. 
> Convention and/or recordings have limited us to a specific number of
> couples per set, live music can treat the dances differently.
> 
> Keller/Shimer only contains one of these dances (Amarillis). The
> multi-part
> longways in CDB III I don't recall having danced at all, or at least 
> not
> in
> a loooooooong time.
> 
> So, I wonder about the other dancers on the ECD list and their
> experience
> and/or recollection. How DO you do these dances:
>  The Friar and the Nun
>  Amarillis
>  Bobbing Joe
>  Catching of Fleas
>  The Irish Lady
>  Irish Trot
> or do you do them at all?
> 
>   _-AT-
_      {)/'
>  /\ /\_._,<_/
> '  \      /_\
>    />    /<  Hanny
> 
>   
> 
> ---
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> 

================================================================================
Archive-Date: Thu, 24 Oct 2002 19:15:44 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Thu, 24 Oct 2002 19:15:19 -0700
From: Chris Sackett & Brooke Friendly <friendsack-AT-
opendoor.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Mr. Cosgill's Delight on  Flying Romanos CD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <3DB8A936.1AF2A96B-AT-
opendoor.com>
MIME-Version: 1.0
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References: <004f01c27bb9$08184650$24c4c943-AT-
g9tfz>

We do it and enjoy it using a light 'strathspey' sort of step

Brooke
Ashland OR

Patricia Ruggiero wrote:

> Loretta wrote:
>
> >The new Flying Romanos CD (The FRs Take Off)....
>
> What's the instrumentation?
>
> >... has some dances which I've never done like Mr. Cosgill's Delight--it's
> a nice tune and it's in The
> Playford Ball book.  Has anyone ever done the dance?  Any idea why it's not
> done? Or is it done where you dance?
>
> I remember doing it, once, back in 1988 or so.  No one much cared for tune
> or dance.  Taken out of context of Corelli's Trio Sonata, those eight bars
> are not very interesting, esp. with 6 of the 8 containing that dotted
> rhythm....just not much variety in a short time.
>
> Keller and Shimer make the comment about using a catch step "to maintain the
> necessary drive and flow," a statement which recognizes the tendency of the
> dance to bog down.  I suspect that a group of light-footed dancers could
> make something of it, but heel-to-toe dancing is too plodding to move it
> along.
>
> Why not try it with your group and let us know how it goes?
>
> Pat
> Charlottesville, VA

================================================================================
Archive-Date: Fri, 25 Oct 2002 07:06:53 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 25 Oct 2002 15:00:59 +0100
From: Michael Barraclough <michael.barraclough-AT-
tgis.co.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <000c01c27c2e$f2a16b00$0200a8c0-AT-
ntworld.com>
MIME-Version: 1.0
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Mike

You are welcome.  Please let me (and the list) know how it goes. I will
add it to my list of dance interpretations to upload to my web site.

Michael Barraclough
http://www.mab.tgis.co.uk


-----Original Message-----
From: owner-ecd-AT-
ssrl04.SLAC.STANFORD.EDU
[mailto:owner-ecd-AT-
ssrl04.SLAC.STANFORD.EDU] On Behalf Of M.G. Mudrey,
Jr.
Sent: 25 October 2002 00:11
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Subject: Re: hey in The Corporation

Mike


I like the version you put forth here..
Will try it next time our group meets.

Mike

At 11:16 PM 10/24/2002 +0100, you wrote:
>On Thursday, October 24, 2002 at 11:00:51 AM,
ECD-AT-
ssrl04.SLAC.STANFORD.EDU 
>wrote:
>
> > Prince William....1 man hey with 2d and 3d woman
> > Jacks Maggot 1m goes to hey with 2 women
> >
> > implies beginning the hey in the middle??
>
>Not necessarily as far as Jacks Maggott is concerned.  The original 
>actually says " 1st man go they hey with the 2nd wo(man) followed by
1st 
>wo(man) go the hey with the 2nd man".  My favourite interpretation for 
>this has the active people passing each other across the set on the 
>diagonal, casting around their partner, then crossing across on the
other 
>diagonal and casting around the other person on their side (ie a figure
of 
>eight around the inactive people).  This has the advantage that it
doesn't 
>require 3 people to hey in the space occupied by 2 (uncomfortable in 
>period clothing) and it actually does what the original says.
>
>Michael Barraclough
>http://www.mab.tgis.co.uk
>
>
>--

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================================================================================
Archive-Date: Fri, 25 Oct 2002 07:45:38 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 25 Oct 2002 10:45:22 -0400
From: Campbell Kaynor <Campbell_Kaynor-AT-
biogen.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re:  Performance of ECD
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <OFFE0FADAC.A4096D3A-ON85256C5D.004DEB5A-AT-
biogen.com>
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Dear Allison,
It has been years since I have done much with a formal performing group. My
interest in ECD stems from my parent's involvement in one such group in
preparation for USA bicentennial celebrations. I more often solo or put
together groups to perform for specific jobs so the makeup and details are
custom-suited to the goals.
Here are my answers to a few of your questions that are not very changeable
because they strike at the core of my philosophy on such things and I would
not accept a "gig" that required me to alter these aspects:

3. Training of performers:  how high a caliber or, ... I view social dance
as primarily a participatory thing. I consider it is important for the
onlookers to recognize and expect that there are relative novices doing
these dances. I avoid having a performance look too polished. One way is to
relax the requirements for performers of only high quality. I try NOT to
demonstrate what I would consider inappropriate moves and style (e.g., I
would like all the performers to have "good" posture). However, as an
example of how I dampen the polish is that I may actually teach the dance
(even though the performers all know it) so that the audience grasps the
idea that they too could learn to follow instructions and move to the
music.

(4.  Costuming:  accurately- or semi-accurately historical, versus folk-y?
...
Depends entirely on the gig and the purpose).

5.  Music:  live, dead (recorded) or employing musicians who may or may
Always live and nearly always "mine" - i.e., they are familiar with my
repertoire and my philosophy that the musicians are the real "callers" of
the dance and not just the "accompaniment."

10.  MONEY.  Who gets paid how much and why? How do individuals (who may
not e...
My rule of thumb is to pay all performers equal shares with the
understanding that this is done to increase the incentive for those who are
doing less to think of ways that they can do more. (For example, if they
can't get there early to help set-up, maybe they can bring refreshments or
post notices to gather a larger audience or ...).


13. Why does your group perform?  To raise money? To generate interest in
potential new members? To educate school-children? ...
I perform to generate interest not for new members of my group, but in
dancing in a general sense as a healthy, social, community activity that
anyone can adopt for their block party or Harvest Festival, but also I plug
all the local dances that are open to the public. I do try to educate
(children and adults) and I point out that this medium gives insight into
history, ethnomusicology/dancology, music, art, sociology, exercise, etc...
The multidisciplinary nature of the beast is its best selling point. Over
the short term, my efforts seem not very successful. Over the long term, I
am delighted with the achievements. The frequency with which people
approach me in the oddest places and say "are you Cammy Kaynor? You taught
me the Hambo in that workshop in Binghamton NY in 1978 and I have been
dancing ever since!" This is testament to the long-term success. Although
they are not very likely to actually get to a local dance, I think the
school children where I perform are no longer frightened of it and they
love to participate when I bring it to them. As they grow older, they will
know what it is and remember the joy it brings.

Hoping my very biased perspective helps,
Cammy

================================================================================
Archive-Date: Fri, 25 Oct 2002 07:53:34 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 25 Oct 2002 09:53:16 -0500 (CDT)
From: Jonathan Sivier <j-sivier-AT-
ux1.cso.uiuc.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: hey in The Corporation
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210251453.g9PErG522706-AT-
staff2.cso.uiuc.edu>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

Michael Barraclough writes:
> 
> The reason for this hey is because Keller & Shimer (as with most if not all of their transcriptions) merely reprint what someone else (in this case, W.S. Porter, M. Heffer & A.B Heffer in the Apted Book of Country Dances, 1931) has produced.  The presentation of the book (beautiful woodcuts, engravings etc) lends an unfortunate air of authority.

   That is sort of what I suspected.  This (cross at the top and go outside
the 2s) hey would work fine if the figure following was something like
"1s cast down, 2s move up".  Then everyone would be in the correct place
going the correct direction, but it seemed awkward in this dance.  I just
wanted to be sure I wasn't missing some element of the dance which made
this form of the hey the better choice.  I'll go ahead and do the dance
with the "normal" form of the cross over hey.

   Thanks.

Jonathan

-------------------------------------------------------------------------
|  Jonathan Sivier               |Q: How many angels can dance on the   |
|  j-sivier-AT-
uiuc.edu             |   head of a pin?                     |
|  Flight Simulation Lab         |A: It depends on what dance you call. |
|  Beckman Institute             |                                      |
|  405 N. Mathews                |  SWMDG - Single White Male           |
|  Urbana, IL  61801             |          Dance Gypsy                 |
|  Work: 217/244-1923            |                                      |
|  Home: 217/359-8225            |  Have shoes, will dance.             |
-------------------------------------------------------------------------
|  Home page URL: http://www.uiuc.edu/ph/www/j-sivier                   |
-------------------------------------------------------------------------
================================================================================
Archive-Date: Fri, 25 Oct 2002 08:42:38 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 25 Oct 2002 11:42:10 -0400 (EDT)
From: RbnRussell-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: The Flying Romanos - New CD!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <1bc.121844ef.2aeac052-AT-
aol.com>
MIME-Version: 1.0
Content-Type: multipart/alternative; boundary="Boundary_(ID_r3NgObSf3x+mmxbwLIuLBA)"


--Boundary_(ID_r3NgObSf3x+mmxbwLIuLBA)
Content-type: text/plain; charset=ISO-8859-1
Content-transfer-encoding: 8BIT

Hello all,

Our cd is finally out and available!  

"The Flying Romanos Take Off!"

We are:
Norma Caste, flute and percussion
Marnen Laibow-Koser, violin, viola, recorders
Robin Russell, piano

We played all the tunes at dance length, and in the liner notes we included 
sources for the steps.  

The dances are:

Halfe Hannikin   7 x (AAB version)
Mister Cosgill's Delight    5 x
Trip to Tunbridge   3x
Sion House   7 x
Eileen's A Dear  (Tom Cook)   5x
Whimbleton House   7 x
Cottey House   7 x
Susan (Tom Amesse)   3 x
Fine Companion   6 x
Bryon's Boutade (Fried Herman)   4 x
Mister Isaac's Maggot   7 x
Since First I Saw Your Face (F. Herman)  4 x
Winter Waltz (F. Herman)   6 x
Room for Ramblers   7 x
Shepherd's Delight  (Hilary Herbert)  3 x

We hope that many of you will be able to join us at our CD release 
celebration party in Ridgewood, NJ, Sunday Dec 1st, 2-5, with a potluck 
after.  (See NJECD website: http://www.maxellute.net/njecd.html)

To order the cd:
If you don't expect to catch us live at upcoming events, where you will be 
able to buy one for $15, please reply to me __off list ! __ for order 
information by mail.  There will be a $3 shipping charge for the first cd, 
and a little more for shipping 2 or more, or for shipping overseas. 

We are so very thankful to our producers, Susan and Tom Amesse, who provided 
the impetus and means for us to bring this cd to life.

Robin 

--Boundary_(ID_r3NgObSf3x+mmxbwLIuLBA)
Content-type: text/html; charset=ISO-8859-1
Content-transfer-encoding: 8BIT

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Hello all,
<BR>
<BR>Our cd is finally out and available!  
<BR>
<BR>"The Flying Romanos Take Off!"
<BR>
<BR>We are:
<BR>Norma Caste, flute and percussion
<BR>Marnen Laibow-Koser, violin, viola, recorders
<BR>Robin Russell, piano
<BR>
<BR>We played all the tunes at dance length, and in the liner notes we included sources for the </FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">steps. &nbsp;</FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>
<BR>The dances are:
<BR>
<BR>Halfe Hannikin &nbsp;&nbsp;7 x (AAB version)
<BR>Mister Cosgill's Delight &nbsp;&nbsp;&nbsp;5 x
<BR>Trip to Tunbridge &nbsp;&nbsp;3x
<BR>Sion House &nbsp;&nbsp;7 x
<BR>Eileen's A Dear &nbsp;(Tom Cook) &nbsp;&nbsp;5x
<BR>Whimbleton House &nbsp;&nbsp;7 x
<BR>Cottey House &nbsp;&nbsp;7 x
<BR>Susan (Tom Amesse) &nbsp;&nbsp;3 x
<BR>Fine Companion &nbsp;&nbsp;6 x
<BR>Bryon's Boutade (Fried Herman) &nbsp;&nbsp;4 x
<BR>Mister Isaac's Maggot &nbsp;&nbsp;7 x
<BR>Since First I Saw Your Face (F. Herman) &nbsp;4 x
<BR>Winter Waltz (F. Herman) &nbsp;&nbsp;6 x
<BR>Room for Ramblers &nbsp;&nbsp;7 x
<BR>Shepherd's Delight &nbsp;(Hilary Herbert) &nbsp;3 x
<BR>
<BR>We hope that many of you will be able to join us at our CD release celebration party in Ridgewood, NJ, Sunday Dec 1st, 2-5, with a potluck after.  (See NJECD website: http://www.maxellute.net/njecd.html)
<BR>
<BR>To order the cd:
<BR>If you don't expect to catch us live at upcoming events, where you will be able to buy one for $15, please reply to me __off list ! __ for order information by mail.  There will be a $3 shipping charge for the first cd, and a little more for shipping 2 or more, or for shipping overseas. 
<BR>
<BR>We are so very thankful to our producers, Susan and Tom Amesse, who provided the impetus and means for us to bring this cd to life.
<BR>
<BR>Robin </FONT></HTML>

--Boundary_(ID_r3NgObSf3x+mmxbwLIuLBA)--
================================================================================
Archive-Date: Fri, 25 Oct 2002 12:03:45 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Fri, 25 Oct 2002 15:04:14 -0400
From: Ellen Tepper <etepper-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: The Flying Romanos - New CD!
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021025.150415.-515293.0.etepper-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Hi Robin!
See you at NOMAD tomorrow?
love
Ellen
================================================================================
Archive-Date: Sat, 26 Oct 2002 17:52:42 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 26 Oct 2002 20:46:13 -0400
From: "Dawn C. Culbertson" <dcculb-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Bouzer Castle
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021026.205307.-97057.2.dcculb-AT-
juno.com>
MIME-Version: 1.0
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I recently dug out a Broadside Band LP I hadn't listened to for a while,
and was particularly captivated by one tune on it: Bouzer Castle, which
the liner notes said came from the 1679 edition of Playford's English
Dancing Master. Has anyone on this list ever done the dance, and if so
where can you find instructions for it? I'd also be curious to know what
you think of the dance--is it good, dull, whatever?

Dawn Culbertson


________________________________________________________________

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Archive-Date: Sat, 26 Oct 2002 17:52:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sat, 26 Oct 2002 20:47:19 -0400
From: "Dawn C. Culbertson" <dcculb-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Baltimore Playford Ball
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021026.205307.-97057.3.dcculb-AT-
juno.com>
MIME-Version: 1.0
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It was nice to meet those of you who attended the Baltimore Playford
Ball--email discussion lists are fine, but it's always better to meet
face-to-face, especially when you're always looking for people to dance
with! Hope our paths cross again.

Dawn Culbertson


________________________________________________________________

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================================================================================
Archive-Date: Sat, 26 Oct 2002 22:58:58 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 27 Oct 2002 01:57:06 -0400
From: "Green, David" <Green-AT-
gts.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Bouzer Castle
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <7348C1502B13F344843330794758CFD105677A-AT-
mail.GTS.EDU>
MIME-Version: 1.0
Content-Type: multipart/mixed; boundary="Boundary_(ID_3bKmAJqLfUbVaD93Q0Wy3Q)"

This is a multi-part message in MIME format.

--Boundary_(ID_3bKmAJqLfUbVaD93Q0Wy3Q)
Content-type: text/plain; charset=utf-8
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Fried has taught the dance several times at Country Dancers of Westchester (an possibly elsewhere).  It's fun. 
-- David Green

	-----Original Message----- 
	From: Dawn C. Culbertson [mailto:dcculb-AT-
juno.com] 
	Sent: Sat 10/26/2002 8:46 PM 
	To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU 
	Cc: 
	Subject: Re: Bouzer Castle
	
	
	 


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--Boundary_(ID_3bKmAJqLfUbVaD93Q0Wy3Q)--
================================================================================
Archive-Date: Sun, 27 Oct 2002 14:39:27 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 27 Oct 2002 16:39:07 -0600
From: Keith Elmo Eldridge <Elmo-AT-
aphelia.co.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Bouzer Castle
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <005801c27e09$b9ac08a0$fd02a8c0-AT-
houstengland>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Dawn Culbertson < dcculb-AT-
juno.com > wrote:

> I recently dug out a Broadside Band LP I hadn't listened to
> for a while,
> and was particularly captivated by one tune on it: Bouzer
> Castle, which
> the liner notes said came from the 1679 edition of Playford's English
> Dancing Master. Has anyone on this list ever done the dance, and if so
> where can you find instructions for it? I'd also be curious
> to know what
> you think of the dance--is it good, dull, whatever?

The instructions (as transcribed by Bernard Bentley) are in the Fallibroom
Collection Volume 6 (Dance #12.)   If I recall correctly the dance flows
quite well and is totally even with the second couple getting to dance as
much as the first couple.

Regards
	Elmo
--
--Keith Elmo Eldridge
--Buxworth, Derbyshire, England (9 miles from Fallibroom, Prestbury,
Cheshire)
--Elmo-AT-
aphelia.co.uk
--Flying Clouds Contra -  American Contra Dancing in north-west England
--http://www.aphelia.co.uk/contra
--I am, therefore I dance. I dance therefore I am.



================================================================================
Archive-Date: Sun, 27 Oct 2002 16:18:44 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 27 Oct 2002 23:32:57 +0000
From: Colin Hume <colin-AT-
colinhume.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Wednesday Workshops
To: ECD Mailing List <ECD-AT-
SSRL04.SLAC.STANFORD.EDU>
Message-ID: <E185xDQ-0003b8-00.2002-10-27-23-53-10-AT-
mail17.svr.pol.co.uk>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

The Wednesday Workshops at Cecil Sharp House in London started on
October 23rd with 25 dancers, which was very encouraging, and the
music from The Whirligigs was excellent.  Wednesday Workshops are
aimed at good dancers who like to tackle some more complicated
material and would welcome the chance to improve their Dance
Technique.  If you think that sounds like you, why not come along.
The next one is on 13th November, from 7.30 to 10pm.

Colin Hume

Email colin-AT-
colinhume.com      Web site http://www.colinhume.com


================================================================================
Archive-Date: Sun, 27 Oct 2002 19:37:27 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 27 Oct 2002 22:37:09 -0500
From: Patricia Ruggiero <ruggierop-AT-
earthlink.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Bouzer Castle
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <000f01c27e33$4b548f60$09c4c943-AT-
g9tfz>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Fallibroome, Book 6, #12.  If I ever did it, it must have been quite some
time ago because it doesn't look familiar.

Pat

-----Original Message-----
From: owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
[mailto:owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU]On Behalf Of Dawn C.
Culbertson
Sent: Saturday, October 26, 2002 8:46 PM
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Subject: Re: Bouzer Castle


I recently dug out a Broadside Band LP I hadn't listened to for a while,
and was particularly captivated by one tune on it: Bouzer Castle, which
the liner notes said came from the 1679 edition of Playford's English
Dancing Master. Has anyone on this list ever done the dance, and if so
where can you find instructions for it? I'd also be curious to know what
you think of the dance--is it good, dull, whatever?

Dawn Culbertson


________________________________________________________________

Sign Up for Juno Platinum Internet Access Today

Only $9.95 per month!

Visit www.juno.com

================================================================================
Archive-Date: Sun, 27 Oct 2002 19:42:08 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Sun, 27 Oct 2002 22:41:07 -0500
From: Susan <susan-AT-
generalist.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: NYC 1860's dance - Sunday 11/3
To: ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
CC: susan-AT-
generalist.org
Message-ID: <E1860m3-0003gh-00-AT-
black.generalist.org>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN
Content-Transfer-Encoding: 7BIT



(Regular monthly posting)


For the NYC-accessible and historically curious:

EAS Historical Dance Workshops
Sunday, November 3, 2002

My regular monthly dance workshop this month will be split between
Regency (intermediate group, always this era) and 1860's (beginner
group).  The Regency section will be doing French country dances,
circa 1804, with footwork, as well as the jette waltz.  The main
workshop (1860's) will cover the basic mid-19th century and some of
its variations as well as the occasional period country dance (Spanish
Dance, Gothic Dance, Soldier's Joy, etc.)


To be specific:

1:00-2:00 - Intermediate; Regency set dances with all the nifty steps
added in.  This is open to anyone, but I only review the basic steps
and step combinations before moving on to slightly more difficult
ones, so if you aren't quick at picking up steps you may get a bit lost.
This is bouncy and mildly strenuous - more akin to modern Scottish
Country Dance than ECD.

2:00-4:00 - Basic; mid-19thc waltz, waltz variations, some country
dance

Cost is $15 in general; $10 if this is your first time at one of our
workshops.  This is second of a three-workshop series on mid-19thc
dance, but you need not have attended the first - each workshop stands
completely on its own.  The third workshop will be Sunday, December
8th.

There are numerous Victorian balls this fall at which one may dance
these dances - see our calendar at
http://www.elegantarts.org/vintageevents.html

PLEASE RSVP to: meredith-AT-
elegantarts.org - the number of people we
are expecting affects how I prepare for the class!

Time (once again):
1:00-2:00pm - Intermediate (steps)
2:00-4:00pm - Basic (no steps)

Location:
Hop, Swing, and a Jump, 132 Crosby Street #2
for directions, see our webpage, http://www.elegantarts.org/classprac.html/

EAS offers monthly historical social dance classes of the 15th through
early 20th centuries - Renaissance, 17th century country dance,
Regency/Jane Austen/1810's, American Civil War/1860's, Belle
Epoque/1890's, and Ragtime/1910's.  See our website for more
information.  http://www.elegantarts.org

To receive these announcements consistently, please email
info-AT-
elegantarts.org to be added to our mailing list - I only announce
on the ECD list the workshops a) that include something that resembles
country or set dance, and b) that I remember to post.

Susan




================================================================================
Archive-Date: Mon, 28 Oct 2002 13:16:31 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 28 Oct 2002 10:19:23 -0500 (EST)
From: SallenNic-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Long Live London
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <145.1635843.2aeeaf7b-AT-
aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7BIT

    Saturday saw the launch of the first of The Assembly Players' two new Pat 
Shaw CDs, comprising twenty tracks of Pat Shaw material. The occasion was the 
annual Pat Shaw Ball at C# House, with music by Light Fantastic and MCs 
Brenda Godrich and yours truly.
    Our second CD will burst upon the world in Eindhoven, Netherlands, on 
November 16th, (the 25th anniversary of Pat's death) at the Pat Shaw day 
being organized by Antony Heywood. There are still a few tickets available 
for that day, I believe.
For details or tickets of the Pat Shaw day, contact Antony Heywood at:

<A HREF="http://">antony-AT-
heywood.nl</A>

For full track listings and other details of The Assembly Players' two Pat 
Shaw CDs see:

<A HREF="http://www.nicolasbroadbridge.com">http://www.nicolasbroadbridge.com
</A>

Nicolas B., Lanark, Scotland.
================================================================================
Archive-Date: Mon, 28 Oct 2002 13:16:41 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 28 Oct 2002 10:19:21 -0500 (EST)
From: SallenNic-AT-
aol.com
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Corporation Heys
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <69.2f956f4f.2aeeaf79-AT-
aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7BIT


In a message dated 26/10/2002 3:00:35 pm, system-AT-
PLAYFORD.SLAC.STANFORD.EDU 
writes:

<< The reason for this hey is because Keller & Shimer (as with most if not 
all of their transcriptions) merely reprint what
someone else (in this case, W.S. Porter, M. Heffer & A.B Heffer in the Apted 
Book of Country Dances, 1931) has produced.  The
presentation of the book (beautiful woodcuts, engravings etc) lends an 
unfortunate air of authority. >>

I seem to detect a note of disapproval from Mike in the above, so thought I 
should point out the aim of "Playford Ball" by Kitty Keller and Genny Shimer.
    It was felt that a wind of change was beginning to blow through the ECD 
world in the USA, and some of that world thought that a record should be made 
of how things were (and had been for a long time) in ECD practice there 
before it all changed - not in any way to prevent change, but simply to 
record what had been before it might disappear.
    The phenominally useful corpus of notes, both social and historical, 
which appeared with the dance tunes and notations must make this one of the 
most useful publications the ECD world, on both sides of the Atlantic, had 
seen since the publication of the CDB by Cecil Sharp, Maud Karpeles et al..
    I suppose that very plethora of surrounding information inevitably leads 
to a certain degree of "Bible" acceptance, rather than a document recording a 
way of life before that way disappeared beyond recall; but it was not 
intended as a "Bible", rather a historical record. 

Nicolas B., Lanark, Scotland.
================================================================================
Archive-Date: Mon, 28 Oct 2002 13:16:47 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 28 Oct 2002 10:48:59 +0000 (GMT)
From: Michael Barraclough <michael.barraclough-AT-
tgis.co.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Bouzer Castle
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <200210281048.KAA16150-AT-
galahad.tgis.co.uk>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

English Country Dances Fallibroome Collection is a series of publications of interpretations of seventeenth and eighteenth century English Country dances by Bernard Bentley.  There are seven books in all, details of the first six are as follows

Book 1    1962    17 dances
Book 2    1965    17 dances
Book 3    1968    16 dances
Book 4    1971    17 dances
Book 5    1977    18 dances
Book 6    1980    17 Dances

Michael Barraclough
http://www.mab.tgis.co.uk

These were (re)published by the EFDSS in 1980.On Sunday, October 27, 2002 at 10:37:09 PM, ECD-AT-
ssrl04.SLAC.STANFORD.EDU wrote:

> Fallibroome, Book 6, #12.  If I ever did it, it must have been quite some
> time ago because it doesn't look familiar.
> 
> Pat
> 
> -----Original Message-----
> From: owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU
> [mailto:owner-ecd-AT-
PLAYFORD.SLAC.STANFORD.EDU]On Behalf Of Dawn C.
> Culbertson
> Sent: Saturday, October 26, 2002 8:46 PM
> To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
> Subject: Re: Bouzer Castle
> 
> 
> I recently dug out a Broadside Band LP I hadn't listened to for a while,
> and was particularly captivated by one tune on it: Bouzer Castle, which
> the liner notes said came from the 1679 edition of Playford's English
> Dancing Master. Has anyone on this list ever done the dance, and if so
> where can you find instructions for it? I'd also be curious to know what
> you think of the dance--is it good, dull, whatever?
> 
> Dawn Culbertson
> 
> 
> ________________________________________________________________
> 
> Sign Up for Juno Platinum Internet Access Today
> 
> Only $9.95 per month!
> 
> Visit www.juno.com
> 
> 


--

================================================================================
Archive-Date: Mon, 28 Oct 2002 13:57:16 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 28 Oct 2002 21:50:58 +0000
From: Michael Barraclough <michael.barraclough-AT-
tgis.co.uk>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: The Playford Ball (was Corporation Heys)
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <000001c27ecc$216fd300$0200a8c0-AT-
ntworld.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7BIT

Nicolas Broadbridge writes

>I seem to detect a note of disapproval from Mike in the above, so
thought I 
>should point out the aim of "Playford Ball" by Kitty Keller and Genny
>Shimer.

I am not sure that I am disapproving of Kitty Keller and Genny Shimer's
"Playford Ball".  I am, however, disappointed in two senses.  

First of all, whatever the intention of Keller and Shimer, the book is
by the very nature of its presentation and its content, "authorative".
Most importantly, it provides the first known interpretation and the
original source for the dances.  What it does not say is that these
first interpretations are known, in many cases, to be suspicious to say
the least.  I am also not sure that the argument that "a record should
be made of how things were (and had been for a long time) in ECD
practice there [in the USA] before it all changed" is valid.  The book
documents interpretations as originally published and that were
available elsewhere.  The book, therefore does not, to my mind, document
or serve as a record of the "as is".  

The second point is about who is using the book and how it is being
used, for which Keller and Shimer cannot be held responsible.  I cannot
speak for the USA, but I do see it being used here in the UK by both the
folk dance and early dance worlds as an authorative source of
interpretations.  As anyone who performs in public in period costume
probably knows, the general public will believe that what they are
seeing is genuine, even if you tell them that it isn't.  The pretty
costumes somehow lend an air of authenticity.  The same is true for the
presentation of this book - its excellent wealth of information and
pretty pictures seems to lure those who do not know (many of our dance
leaders sadly have very little knowledge of the history of what they are
presenting) into believing that it is a "bible".

More in sorrow than in anger ...

Michael Barraclough
http://www.mab.tgis.co.uk
 

---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.394 / Virus Database: 224 - Release Date: 03/10/02
 

================================================================================
Archive-Date: Mon, 28 Oct 2002 16:16:19 PST
Sender: owner-ecd-AT-
playford.slac.stanford.edu
Date: Mon, 28 Oct 2002 19:06:00 -0500
From: Gene Murrow <gmurrow-AT-
juno.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: The Playford Ball (was Corporation Heys)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <20021028.190608.-333029.7.gmurrow-AT-
juno.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7BIT

IMHO, Michael's "sorrow" is misplaced...

On Mon, 28 Oct 2002 21:50:58 +0000 Michael Barraclough
<michael.barraclough-AT-
tgis.co.uk> writes:

> I am not sure that I am disapproving of Kitty Keller and Genny 
> Shimer's "Playford Ball".  I am, however, disappointed in two senses.  
> First of all, whatever the intention of Keller and Shimer, the book 
> is by the very nature of its presentation and its content, 
> "authorities".  Most importantly, it provides the first known
interpretation and 
> the original source for the dances.  What it does not say is that these
> first interpretations are known, in many cases, to be suspicious to 
> say the least...

The difficulties of interpretation and reconstruction, and the
conjectures and opinions inherent in any published reconstruction
including those reproduced in "The Playford Ball," are noted at length in
the introductory material.  Indeed, there is an entire section titled
"Problems of Interpretation."   If my own experience is any guide, dance
leaders should read, and re-read, all such material, including Sharp's
introductions to his Country Dance Books, regularly.  I never cease to be
amazed how each re-reading brings new revelations, as points previously
skimmed or ignored suddenly resonate.  In re-reading Keller & Shimer
before writing this email, I was impressed by how carefully and
decisively they disabuse the reader of any notion of the historical
"authority" of the reconstructions and style guides presented.  I hope
Michael's and Nic's dialogue will inspire leaders to examine this
material, or read it once again.

>  I am also not sure that the argument that "a record 
> should be made of how things were (and had been for a long time) in ECD
> practice there [in the USA] before it all changed" is valid.  The 
> book documents interpretations as originally published and that were
> available elsewhere.  The book, therefore does not, to my mind, 
> document or serve as a record of the "as is".  

The aim was to collect all those interpretations "available elsewhere"
into a single volume incorporating the dances "... in widest use among
the Country Dance and Song Society community today."  Again, they clearly
indicate that this is not the definitive word on these dances, and that
continuing research and changing times will affect how the dances are
done.  
> 
> The second point is about who is using the book and how it is being
used, for which Keller and Shimer cannot be held responsible.  I cannot
speak for the USA, but I do see it being used here in the UK by both 
> the folk dance and early dance worlds as an authorative source of
interpretations.  As anyone who performs in public in period costume
probably knows, the general public will believe that what they are
> seeing is genuine, even if you tell them that it isn't.  The pretty
costumes somehow lend an air of authenticity.  The same is true for the
presentation of this book - its excellent wealth of information and
> pretty pictures seems to lure those who do not know (many of our dance
leaders sadly have very little knowledge of the history of what they are
presenting) into believing that it is a "bible".

I'm in the camp that says there never can be an "authentic" performance,
pretty costumes or not.  We simply cannot escape our 21st century
sensibilities and milieu, and so everything "reads" differently (we've
been around this block recently), even if there exists 100%
authoritative, understandable, coherent, and accurate historical
documentation for whatever it is we're being asked to watch and hear
(which is rarely, if ever, the case).  But there can be entertainment,
enrichment, and insight into earlier times, for an audience watching a
performance, or for all of us ECD-ers who love to do these dances.  And
that, I think, is what the "Playford Ball" is about.  I know of no one
more knowledgeable about the history of these dances than Kitty Keller,
and no one who understood their value to contemporary audiences more than
Genny Shimer.  Their collaboration produced what they intended-- a
practical manual to help promote the researching, reconstructing,
dancing, performing, and inventing of English country dances.  It is a
significant achievement for what it is, and they took considerable pains
to make no claims for anything else.

Gene

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Archive-Date: Mon, 28 Oct 2002 16:29:42 PST
Sender: owner-ecd-AT-
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Date: Mon, 28 Oct 2002 16:30:01 -0800
From: Norman Bradley <normanb-AT-
pryanksters.org>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: RE: Corporation Heys
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <LPBBJKDHEJJOKCJNHOAEAEIMDPAA.normanb-AT-
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Nicolas,

I haven't seen the book, but, I must ask; Did the authors state that
this is a record of how things were? Or did they, as many authors do,
write the book and ASSUME that the audience would know?

Norman Bradley

> -----Original Message-----
> From: owner-ecd-AT-
ssrl04.SLAC.STANFORD.EDU
> [mailto:owner-ecd-AT-
ssrl04.SLAC.STANFORD.EDU]On Behalf Of
> SallenNic-AT-
aol.com
> Sent: Monday, October 28, 2002 7:19 AM
> To: ECD-AT-
ssrl04.SLAC.STANFORD.EDU
> Subject: Re: Corporation Heys
>
>
>
> In a message dated 26/10/2002 3:00:35 pm,
> system-AT-
PLAYFORD.SLAC.STANFORD.EDU
> writes:
>
> << The reason for this hey is because Keller & Shimer
> (as with most if not all of their transcriptions)
> merely reprint what someone else (in this case, W.S.
> Porter, M. Heffer & A.B Heffer in the Apted  Book of
> Country Dances, 1931) has produced.  The presentation
> of the book (beautiful woodcuts, engravings etc) lends
> an unfortunate air of authority. >>
>
> I seem to detect a note of disapproval from Mike in the
> above, so thought I
> should point out the aim of "Playford Ball" by Kitty Keller
> and Genny Shimer.
>     It was felt that a wind of change was beginning to blow
> through the ECD
> world in the USA, and some of that world thought that a
> record should be made
> of how things were (and had been for a long time) in ECD
> practice there
> before it all changed - not in any way to prevent change, but
> simply to
> record what had been before it might disappear.
>     The phenominally useful corpus of notes, both social and
> historical,
> which appeared with the dance tunes and notations must make
> this one of the
> most useful publications the ECD world, on both sides of the
> Atlantic, had
> seen since the publication of the CDB by Cecil Sharp, Maud
> Karpeles et al..
>     I suppose that very plethora of surrounding information
> inevitably leads
> to a certain degree of "Bible" acceptance, rather than a
> document recording a
> way of life before that way disappeared beyond recall; but it was not
> intended as a "Bible", rather a historical record.
>
> Nicolas B., Lanark, Scotland.
>
>

================================================================================
Archive-Date: Mon, 28 Oct 2002 17:48:03 PST
Sender: owner-ecd-AT-
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Date: Mon, 28 Oct 2002 20:47:46 -0500 (EST)
From: Terence Gaffney <gaff-AT-
neu.edu>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Halloween party
To: ECD-AT-
SSRL04.SLAC.STANFORD.EDU
Message-ID: <Pine.OSF.4.03.10210282045560.26167-100000-AT-
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Dear Friends,

Those of you within driving distance of Boston might be interested in our
first party dance this coming week in Arlington.  Halloween returns this
Wednesday, bringing dances with a spooky feel.  The atmosphere was
enlivened last year by a number of dancers in costume.  (It's not every
Wednesday you can dance with an Emperor.) So again, we are encouraging,
but not requiring costumes--come as you are, or come as you would be! 

Best,
 Terry
(Details and directions can be found at
http://www.cds-boston.org/english.html#wed)



================================================================================
Archive-Date: Mon, 28 Oct 2002 19:35:20 PST
Sender: owner-ecd-AT-
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Date: Mon, 28 Oct 2002 19:40:56 -0800
From: Lydee Scudder <Lydee-AT-
Lydee.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: The Playford Ball (was Corporation Heys)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <B9E34348.24A8%Lydee-AT-
Lydee.com>
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> I know of no one
> more knowledgeable about the history of these dances than Kitty Keller,
> and no one who understood their value to contemporary audiences more than
> Genny Shimer.  Their collaboration produced what they intended-- a
> practical manual to help promote the researching, reconstructing,
> dancing, performing, and inventing of English country dances.  It is a
> significant achievement for what it is, and they took considerable pains
> to make no claims for anything else.
> 
> Gene
> 
> -------------------------------------------------------------------------
> --
> Permanent address: <gmurrow-AT-
post.harvard.edu> - for your Address book
> ISP of the moment: <gmurrow-AT-
juno.com>         - "Reply" button
> destination


Well put, lydee
-----

BE in balance with Jin Shin Jyutsu

Lydee Scudder
Jin Shin Jyutsu practitioner and self-help instructor
P.O. Box 1015
Occidental, CA 95465
http://www.Lydee.com
(707) 874-1335

================================================================================
Archive-Date: Mon, 28 Oct 2002 20:38:21 PST
Sender: owner-ecd-AT-
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Date: Mon, 28 Oct 2002 20:25:49 -0700 (PDT)
From: Alan Winston - SSRL Central Computing <winston-AT-
SLAC.Stanford.EDU>
Subject: Re: The Playford Ball (was Corporation Heys)
To: Gene Murrow <gmurrow-AT-
juno.com>
CC: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Reply-To: ECD-AT-
playford.slac.stanford.edu
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Gene wrote:

> I'm in the camp that says there never can be an "authentic" performance,
> pretty costumes or not.  We simply cannot escape our 21st century
> sensibilities and milieu, and so everything "reads" differently (we've
> been around this block recently), even if there exists 100%
> authoritative, understandable, coherent, and accurate historical
> documentation for whatever it is we're being asked to watch and hear
> (which is rarely, if ever, the case).  

Those playing along at home may wonder why I don't jump all over Gene for
saying this when I jumped all over a previous poster for saying (as I read it)
that endeavors to produce authentic performances were pointless.

The reason isn't that I like Gene better, but rather that he isn't saying that
those efforts are pointless; he's only saying that they're doomed, that is,
that they cannot succeed 100% - and I agree with that. 

(But they don't have to be 100% to be worthwhile.  I think I got something by
attending, as part of a historically-costumed group, a candlelight concert of
1700s music played on 1700s instruments by HIP musicians dressed in period
clothes in the (modern but as close as they can get) Governor's Palace at
Williamsburg, something that I would get no other way.  I didn't stop breathing
20th-century air during that concert, or stop being a VMS system manager, but I
got a visceral idea of what one piece of life was like over 200 years ago that
I wouldn't have gotten another way.)

> But there can be entertainment,
> enrichment, and insight into earlier times, 

And _that_ was my point in the earlier discussion.

-- Alan

===============================================================================
 Alan Winston --- WINSTON-AT-
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 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: Tue, 29 Oct 2002 04:47:51 PST
Sender: owner-ecd-AT-
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Date: Tue, 29 Oct 2002 07:48:43 -0500
From: Blank/DeVore <fandango-AT-
sprintmail.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: The Playford Ball (was Corporation Heys)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <3DBE83AB.5A8978BA-AT-
sprintmail.com>
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Amen, Mr. Barraclough,

You wrote, in part:

>  The same is true for the
> presentation of this book - its excellent wealth of information and
> pretty pictures seems to lure those who do not know (many of our dance
> leaders sadly have very little knowledge of the history of what they are
> presenting) into believing that it is a "bible".
>

Even obvious errors and ambiguities, both as concerns current practice
at the time  The Playford Ball was written and as opposed to unambiguous
descriptions in Playford, have been asserted as gospel truth. For
example, in Hey Boys, Part III, B1 and B2, the poussettes are both
clockwise. In Cuckolds (DM 1651, etc.) the men put the women back, then
put them back again and that is how it was danced until The Playford
Ball appeared. As Kitty Keller told me, this and some other minor
departures were oversights, probably due to the enormous stress Genny
Shimer suffered as the book was  nearing completion. A life in
scholarship has convinced me and, I infer, you that no major work can be
taken as "authoritative" in all its aspects.


--
Albert Blank & Nancy DeVore
102 Loring Avenue
Pelham, NY 10803

Tel. 914 738-7678
Fax: 718 405-8037


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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Amen, Mr. Barraclough,
<p>You wrote, in part:
<blockquote TYPE=CITE>
<pre>&nbsp;The same is true for the
presentation of this book - its excellent wealth of information and
pretty pictures seems to lure those who do not know (many of our dance
leaders sadly have very little knowledge of the history of what they are
presenting) into believing that it is a "bible".</pre>
</blockquote>

<p><br>Even obvious errors and ambiguities, both as concerns current practice
at the time&nbsp; The Playford Ball was written and as opposed to unambiguous
descriptions in Playford, have been asserted as gospel truth. For example,
in Hey Boys, Part III, B1 and B2, the poussettes are both clockwise. In
Cuckolds (DM 1651, etc.) the men put the women back, then put them back
again and that is how it was danced until The Playford Ball appeared. As
Kitty Keller told me, this and some other minor departures were oversights,
probably due to the enormous stress Genny Shimer suffered as the book was&nbsp;
nearing completion. A life in scholarship has convinced me and, I infer,
you that no major work can be taken as "authoritative" in all its aspects.
<br>&nbsp;
<p>--
<br>Albert Blank &amp; Nancy DeVore
<br>102 Loring Avenue
<br>Pelham, NY 10803
<p>Tel. 914 738-7678
<br>Fax: 718 405-8037
<br>&nbsp;</html>

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Archive-Date: Tue, 29 Oct 2002 06:42:50 PST
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Date: Tue, 29 Oct 2002 09:42:32 -0500
From: Campbell Kaynor <Campbell_Kaynor-AT-
biogen.com>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: The Playford Ball (was Corporation Heys)
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
Message-ID: <OF6206EA07.6627F7FB-ON85256C61.004A874B-AT-
biogen.com>
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I love Gene's response - couldn't have said it better myself! That these
works carry greater weight than the authors intended is due in part to the
quality of the works. We forget that we have been warned and should expect
inaccuracies and conjectures that are at variance with our own knowledge.
To mention another example, every time I get steamed about Barnes book of
ECD tunes, I reread the intro and realize that it in no way pretends to be
the Bible that many musicians pretend.  After rereading the author's
intent, I am no longer upset but rather I am suffused with a feeling of
gratitude for what they have contributed. I hope and believe that it is the
intent of any author, not to present the final word, but rather to supply a
jumping off place and hopefully stimulate others to strive to do better.

Cammy

PS.  My great uncle was hired by the Rockefellers to restore the Governor's
Palace in Colonial Williamsburg (along with many other buildings there)
that Alan mentions. I never thought of this until Alan mentioned his
experience, but as a restoration architect, Tom Waterman was doing
something very similar to what we do with the old ECD. He would attempt to
reconstruct buildings based on as little information as a broken, buried
foundation, bits of glass shards, an angle of molding, written accounts,
drawings of similar buildings in Europe, a knowledge of the architects
involved and their artistic tastes, and the decayed remains of hedge roots
and garden paths. Even the holly maze in back of the Palace was
reconstructed from decayed roots in the pasture. My mother used to tell me
of going as a little girl on a picnic with "Uncle Tom" to some old
foundation hidden in the weeds somewhere (the remaining aged lilac bush
would identify the foundation spot), and he would entertain them over lunch
by resurrecting in everyone's minds, the facade and ambience of the home
that once stood there.

Often his conclusions have been challenged over the years and occasionally
tangible evidence to the contrary has come to light, but even more often
his speculation based on as little as a hunch that "this is what Jefferson
would have wanted" (for example) has been shown to be correct in spite of
50-70 years of other authorities saying it was wrong. There are also some
examples where the historical consensus has first said he was wrong and
then later decided his was the best interpretation. I am sure all of these
things are going on with the various resources we have for ECD.

================================================================================
Archive-Date: Tue, 29 Oct 2002 06:56:50 PST
Sender: owner-ecd-AT-
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Date: Tue, 29 Oct 2002 10:50:06 -0400
From: John Wood <johnwood-AT-
accesscable.net>
Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Re: Long Live London
To: ECD-AT-
PLAYFORD.SLAC.STANFORD.EDU
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References: <145.1635843.2aeeaf7b-AT-
aol.com>

Hi, Nicolas:

Wish I could be there for both occasions! Congratulations
on two more successful recordings.

When you can get around to it [they sell "round tuits" in Halifax, by the
way!] please send me a copy of each CD and let me know the costs.

Will be looking forward to using your music and dancing
Pat's dances. 25 years is a long time, but in many ways it seems only a
short while ago that I was receiving his always generous help!

Trust you are well. "Come, Sweet Lass" has proven to be a popular dance.

Regards, John

Subject: Re: Long Live London


================================================================================
Archive-Date: Wed, 30 Oct 2002 06:02:42 PST
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Date: Wed, 30 Oct 2002 06:02:34 -0800 (PST)
From: Carl Andersen <cdw_ecd-AT-
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Reply-To: ECD-AT-
playford.slac.stanford.edu
Subject: Angels & Others
To: ECD List <ECD-AT-
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Prizes for dressup categories traditionally decided at the event are being readied for the after-Halloween Halloween party, "Angels & Others."  Country Dancers of Westchester sponsors the unique event to be held this Saturday, November 2, at Church in the Highlands, Bryant Ave., White Plains, NY. Dancing begins at 8pm.

Mary Jones is emcee for the event with music by The Flying Romanos - Robin Russell, Marnen Laibow-Koser, and Norma Castle.

Admission is $12.00. CDW members pay $10.00. Directions to the church and other information about CDW are available at its website: 
 http://www.geocities.com/Heartland/Plains/2225/

For more information, call Susan at 914/762-8619 or Leah at 914/693-5577.



---------------------------------
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<P>Prizes for dressup categories traditionally decided at the event&nbsp;are being readied for the after-Halloween Halloween party,&nbsp;"Angels &amp; Others."&nbsp; Country Dancers of Westchester sponsors the unique event to be held&nbsp;this Saturday, November 2, at Church in the Highlands, Bryant Ave., White Plains, NY. Dancing begins at 8pm.<BR><BR>Mary Jones is emcee for the event with music by The Flying Romanos - Robin Russell, Marnen Laibow-Koser, and Norma Castle.<BR><BR>Admission is $12.00. CDW members pay $10.00.&nbsp;Directions to the church and other information about CDW are available at its website: <BR>&nbsp;<A href="http://www.geocities.com/Heartland/Plains/2225/">http://www.geocities.com/Heartland/Plains/2225/</A><BR><BR>For more information, call Susan at 914/762-8619 or Leah at 914/693-5577.</P><p><br><hr size=1>Do you Yahoo!?<br>
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