Contents. Other Cameo appearances Scot and Erin Byers (no notes provided) Lee Otterholt (no notes provided) Johnny Pappas (no notes provided)

Transcription

1 CAMEOS 2017

2 Contents George and Irina Arabagi Ada and Jas Dziewanowski Jennifer Kelly Yves Moreau Richard Powers Susan Lind-Sinanian Marilyn Smith Other Cameo appearances Scot and Erin Byers (no notes provided) Lee Otterholt (no notes provided) Johnny Pappas (no notes provided)

3 Donetskii Kozachok Донецький Козачок (Eastern Urkaine) Dontskii Kozachok is a folk dance from the Eastern part of the Ukraine. The dance is characterized by moderate tempo and improvised movements. This version of the dance was choreographed by George and Irina Arabagi. Pronunciation: doh-neht-skii koh-zah-chok Music: 4/4 Meter Ukrainian & Moldavian Dance Workshop, Track 6 Formation: Steps and Styling: Couples in a circle facing CCW. Hands are in a promenade type position with arms crossed. The M s R is under the W s L arm. Toe-Heel: Touch R toe to R side turning heel up and outward (ct 1); touch R heel in the same place (ct 2); run in place R (ct 3), L (ct &), R (ct 4), yelling KOH ZAH - CHOK. Repeat with opp ftwk. Pas de Basque: Leap R on R (ct 1); step L in front of R (ct &); step R in place (ct 2). Repeat with opp ftwk. Leaps and Triplet:Very light running step fwd: leap onto R ft (ct 1), leap onto L (ct 2); leap onto R (ct 3); run fwd L, R (cts &, 4). Repeat with opp ftwk. Meas 4/4 Meter Pattern 2 meas INTRODUCTION. No action I RUNNING FWD 1-2 Two Leaps and Triplets starting with R. 3-4 Two Toe-Heels starting with R. 5-8 Repeat meas 1-4. II CHANGING PARTNERS 1 M and W take two heavy steps R in place without wt (cts 1, 3). 2 Two Pas de Basques starting with R. 3-4 M does two Leaps and Triplets in place; W does two Leaps and Triplets going in front of M to the other side of M. 5-6 Repeat Meas M repeats Meas 3-4; W does two Leaps and Triplets going in front of M to another partner behind. Sequence: Fig I and Fig II 5 times, Fig 1. Each dancer changes a partner six times. Presented by George and Irina Arabagi Cameo Appearances - Stockton Folk Dance Camp 2017 Page 1

4 Hangul (Moldova) Hangul is an original dance from the central part of Moldova. The dance is choreographed by George and Irina Arabagi. Pronunciation: HAHN gool Music: 2/4 meter Ukrainian and Moldavian Dance Workshop, Track 3 Formation: Couple faces CCW. Arms are in W-position. Steps & Styling: All steps are done with arms moving slightly up and down in W- pos. Meas. 2/4 Pattern 8 INTRODUCTION. No action. I MOVING IN PAIRS 1 M: step L slightly to L, turning body away from his ptr (ct.1); step R next to L (ct &); step R slightly to R, turning body to his ptr (ct. 2); step L next to R (ct &). W does the same with opp ftwk and body position. 2 M : four steps fwd L, R, L, R (cts. 1, &, 2, &). W does the same with opp ftwk. 3-8 Repeat meas 1-2 three times. The last M s step is done with no weight. II FACING CENTER/ WRAPPING 1 Step R to R (ct 1); raise L ft in front of R ft bending L knee at 45 (ct &); step L in front of R (ct 2); step R to R (ct &). 2 Step L behind R (ct 1); step R next to L (ct &); step L to L swinging body to L (ct 2); step R in place (ct &). 3-4 Repeat meas 1-2 with opp ftwk.. 5 M does four steps in place R, L, R, L (cts 1, &, 2, &). W does the same four steps turning CCW, holding inside joined hands. 6-7 Couple does eight steps starting with R, making 3/4 of CCW turn. 8 M does four steps in place R, L, R, L without wt (cts 1, &, 2, &). W does four steps R, L, R, L (cts 1, &, 2, &) turning away from her ptr to original place. Sequence: Fig I, Fig II, a total of three times. Presented by George & Irina Arabagi Cameo Appearances - Stockton Folk Dance Camp 2017 Page 2

5 Hutsuleata Гуцулята (Western Ukraine) Hutsulka is a popular Ukrainian folk dance from southwestern Ukraine. The name of the dance refers to children from the province (oblact) of Hutsulshina. This dance was choreographed by George and Irina Arabagi. Pronunciation: hoo-tsoo -LEAH- tah Music: 4/4 meter Ukrainian & Moldavian Dance Workshop, Track 1 Formation: All dancers in a mixed circle facing ctr. M s hands are clasped behind his back. W s thumbs are in an imaginary vest. Meas 4/4 meter Pattern 2 meas INTRODUCTION. No action. I. SIDE STEPS 1 Step R to R (ct 1), head tips slightly to R; step L next to R (ct 2), head is straight; step R to R (ct 3), head tips slightly to R; step L next to R (ct 4), head is straight. 2 Repeat meas 1. 3 Bend knees, turning body slightly to R (ct 1); straighten knees (ct 2); bend knees, turning body to L (ct3); straighten knees (ct 4). 4 Repeat meas Repeat meas 1-4 with opp ftwk and head movements. II. HEEL/RUNS 1 Step fwd on R heel (ct 1); step L next to R (ct 2); step R in place (ct 3); step L in place (ct 4). 2-3 Repeat meas 1 two times. 4 Seven runs starting with R, making a half-turn CW. 5-8 Repeat meas. 1-4 with opp ftwk, making a half-turn CCW. ENDING (slow tempo) 1 Step R fwd (ct 1); step L fwd (ct 2); step R next to L (ct 3); bow (ct 4). Sequence: Fig I, Fig II total four times, Fig I, Ending. Presented by George & Irina Arabagi Cameo Appearances - Stockton Folk Dance Camp 2017 Page 3

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11 BAVNATA Бавната (Bulgaria Pirin-Macedonia) Meaning, the «slow one», a variation on mahny of the Macedonian crossing-step or krsteno dances. This is a version done by Roma people in the Pirin region. Dance learned from Belčo Stanev. Pronunciation: BAHV-nah-tah Music: France Bourque-Moreau, FBM-17, Track #13 Meter: 7/8, 1-2-3, 1-2, 1-2, or Sqq Formation: Open circle. Face ctr, wt on L. Hands joined up in W pos. Style: Proud and strong Measure 7/8 Description No special intro. Start at beg of any musical phrase. 1. Basic 1 Facing ctr, step on R to R (1) step on L crossing behind R (2) step on R to R (3) 2 Turning to face LOD, step on L fwd (1) step on R fwd (2) step pn L fwd, ending to face ctr (3) 3 Step on R slightly R (1) shift wt back onto L in place (2) step on R fwd, crossing in front of L (3) 4 Strong step back on L and hold slightly (1) lift R ft up and «čukče» (lift and lower L heel) (2) step on R besides L (3) 5 Touch L ft slightly fwd (1) lift L ft and «čukče» on R ft (2) step on L besides R (3) Dance repeats from beginning Presented by Yves Moreau Cameo Session, Stockton Folk Dance Camp 2017 Cameo Appearances - Stockton Folk Dance Camp 2017 Page 9

12 ČUKANOTO Чуканото (Bulgaria-Rhodopes) A variation on the popular Tropanka type of stamping dance which has many "cousins" in neighbouring Balkan countries (Alunelul, Podoraki, etc.) Other names in Bulgaria include Kukuvička and Baldâzka. Learned from Sašo Zankin. Pronunciation: TCHOO-kah-noh-toh Music: France Bourque-Moreau, FBM-17, Track #12 Rhythm: 2/4 Formation: Open circle or line. Dancers are fairly close together, hands joined in specific pos. as follows : dancers place L hand behind their own lower back with bent elbow and hold L hand of person in front with their R hand. All face LOD, wt on L. Style: Earthy and proud. Meter: 2/4 Pattern Short slow intro on the kaba gajda (Rhodope bagpipe). Start with main melody Basic Dance 1 Step on R in LOD (1) lift L knee up and slowly extend L leg fwd (2) 2 Repeat pattern of meas 1, but starting with a step on L 3-6 Repeat pattern of meas 1-2, two more times 7 Turning body to face ctr, step fwd on R, extending both arms diag fwd (1) pause (2) 8 Step slightly back on L (1) pause (2) 9 Facing ctr, step on R in place (1) low stamp with L next to R, no wt (2) 10 Reverse action of meas 9 11 Repeat action of meas 9 12 Stamp with L next to R (1) pause (2) Repeat action of meas 9-12, one more time Dance repeats from the start, moving LOD and with original hand hold. Presented by Yves Moreau Cameo Session, Stockton Folk Dance Camp 2017 Cameo Appearances - Stockton Folk Dance Camp 2017 Page 10

13 DRAGANINATA Драганината (Bulgaria-West Trakia) A simple form of the Krivo Horo (or Kopanica) dance type found in West Trakia. It is danced here to the famous song Dragana i Slavej, sung by the Filip Kutev State Folk Ensemble. Dance introduced by Belčo Stanev. Pronunciation: Drah-GAH-neeh-nah-tah Music: France Bourque-Moreau, FBM-17, Track #11 Meter: 11/8. 1-2, 1-2, 1-2-3, 1-2, 1-2, or qqsqq or Formation: Open circle. Face LOD, wt on L. Hands joined down at sides. It can also be danced using a front-basket arm hold or belt hold (L over R). Style: Earthy and solemn Measure 11/8 Description 1-4 Introduction. No action 1. Basic 1 Facing LOD, step fwd on R (1) step fwd on L (2) step fwd on R (3) step fwd on L (4) pause (5) 2 Repeat pattern of meas. 1 3 Turning to face ctr, step back on R (1) step back on L (2) step fwd on R (3) close L to R (4) pause (5) 4 Still facing ctr, step sdwd L on L (1) close R to L (2) step on L to L (3) close R to L (4) pause (5) Dance repeats from beginning Note : On the fifth repeat of the dance, the song slows down nd comes to a stop. Dancers must follow this change and stop when necessary before re-starting the travelling pattern On the final verse, the music slows down and ends. Presented by Yves Moreau Cameo Session, Stockton Folk Dance Camp 2017 Cameo Appearances - Stockton Folk Dance Camp 2017 Page 11

14 Draganinata (Dragna i slavejat) Bulgaria West Trakia Dragana sedi v gradina, mome Dragano, Dragano, gradina pod bjal trendafil, mome Dragano, Dragano. Gergef šie, pesen pee, mome Dragano, Dragano. Nad neja slavej govori, mome Dragano, Dragano. "Ja pej, da se nadpjavame, mome Dragano, Dragano. Ako li me ti nadpeeš, mome Dragano, Dragano, krilcata mi šte otrežeš, mome Dragano, Dragano. Ako li te az nadpeja, mome Dragano, Dragano, kosata ti šte otreža, mome Dragano, Dragano." Dragana nadpja slaveja, mome Dragano, Dragano. Slavej si ja žalno moli, mome Dragano, Dragano. "Kračkata mi da otrežeš, mome Dragano, Dragano. Krilcata mi ne otrjazvaj, mome Dragano, Dragano. Drebni pilci sâm izmatil, mome Dragano, Dragano. Slavej če le, pilence le, mome Dragano, Dragano. Nešta ništo da ti reža, mome Dragano, Dragano. Mene mi stiga hvalbata, mome Dragano, Dragano, če sâm slaveja nadpjala, mome Dragano, Dragano. Dragana was sitting in the garden in the garden unter a white rose. She embroidered on her frame, sang a song, from above a nightingale spoke: Let s have a singing competition. If you ll outsing me, you will cut my wings. If I ll outsing you, I will cut your hair. Dragana outsang the nightingale, the nightingale, sadly, pleaded with her: Cut my legs, but do not cut my wings, for I have hatched little birds. Little nightingale, dear little bird, I will not cut anything at all. For me the reputation is enough to have outsung a nightingale. Cameo Appearances - Stockton Folk Dance Camp 2017 Page 12

15 ŽENSKO GRAOVSKO HORO Женско Граовско хоро (Šopluk - Bulgaria) A variation of the well-known dance Graosko from the Šopluk region, Southwest of Sofia. This version was traditionally danced by women, has a 12-meas structure and is danced to the tune Kemene mi drânka [the fiddle is playing). Music: France Bourque-Moreau, FBM-17, Track #10 Rhythm: 2/4 (or 7/8) Formation: Mixed lines. Belt hold. L over R. Face RLOD. Wt on L. Style: Light, bouncy, energetic steps. Meter 2/4 Pattern 12-meas instrumental introduction - Start dance with singing Basic pattern 1 Facing RLOD, light hop on L (1) step bkwd on R (&) step bkwd on L (2) 2 Repeat pattern of meas 1 3 Facing LOD, small step fwd on R (1) small step fwd on L (&) small step fwd on R (2) 4 Repeat pattern of meas 3, starting with L 5 Turning to face ctr, step on R (1) hop on R picking up L slightly across R (2) 6 Step on L to L (1) step on R in front of L, with marked knee bend (2) 7 Step on L to L (&) step on R behind L (2) 8 Step in place onto L (1) hop on L, picking up R slightly across L (2) straight knee 9 Step on R to R (1) step on L across R (&) step on R in place (2) 10 Repeat pattern of meas 9, with opp footwrk 11 Point R ft to R, straight knee (1) step fwd on R crossing slightly in front of L and with marked knee bend (2) 12 Repeat pattern of meas 11, with opp footwrk and take pos to repeat dance Dance repeats from beginning Presented by Yves Moreau Cameo Session, Stockton Folk Dance Camp 2017 Cameo Appearances - Stockton Folk Dance Camp 2017 Page 13

16 Žensko Graovsko (Kemene mi drânka) Bulgaria - Šopluk Kemene mi drânka, mamo, kemene mi drânka Kemene mi drânka, mamo, mene mi se ženi Kemene mi drânka, mamo, mene mi se ženi Mene mi se ženi, mamo, mene mi se ženi Mene mi se ženi, mamo, ako sam malečka Mene mi se ženi, mamo, ako sam malečka Kemene mi drânka, mamo, kemene mi drânka Kemene mi drânka, mamo, mene mi se ženi Kemene mi drânka, mamo, mene mi se ženi Ako ti se ženi, čerko, ako ti se ženi Ako ti se ženi, čerko, zemi se oženi Ako ti se ženi, čerko, zemi se oženi I ti li se nadaš, babo, i ti li se nadaš I ti li se nadaš, babo, goste da prečekaš I ti li se nadaš, babo, goste da prečekaš Goste da prečekaš, babo, goste da prečekaš S kameni panici, babo, s râdzave lâžici S kameni panici babo, s râdzave lâžici Kemene mi drânka, mamo, kemene mi drânka Kemene mi drânka, mamo, mene mi se ženi Kemene mi drânka, mamo, mene mi se ženi Mene mi se ženi, mamo, mene mi se ženi Mene mi se ženi, mamo, ako sam malečka Mene mi se ženi, mamo, ako sam malečka Rough translation : Mother, the fiddle is playing and I want to get married, even though I m so small. OK, my daughter, go ahead and get married if you so wish. And you, mother, do you really want me to get married and have to host guests with plates made of stone and rusty spoons? Cameo Appearances - Stockton Folk Dance Camp 2017 Page 14

17 Romany Polka by Richard Powers Historical background Long polka choreographies existed in the 19th century, choreographed for dance academy balls. In the 1840s, Henri Cellarius, Charles D'Albert and Charles Durang were the three most famous French / English / American dance masters. All three of them choreographed long polka sequences. A polka sequence by Henri Cellarius, c It's 128 bars long, exactly the same length as my Bohemian National Polka (Feuerfest Polka) choreography. Charles Durang's Grand Baden Polka, one of three long polka sequences in Durang's Terpsichore, Both this and his Monsieur Hazard's Polka are 240-bar choreographies, which are five minutes long. A third example of a long polka choreography is shown on the next page. It's a 152-bar sequence by Charles D'Albert, You will recognize all of the elements of the Romany Polka sequence (galops, allemandes, stamps, heel and toe, moulinet, coup de talon, tour sur place) in these original examples. Cameo Appearances - Stockton Folk Dance Camp 2017 Page 15

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19 Romany Polka by Richard Powers 3 This polka is choreographed to the music Romany Life by Victor Herbert, from his 19th century opera The Fortune Teller. The elements in this choreography are from 19th century dance descriptions. These variations continued into the late 19th century, so this polka sequence could have happened anytime between 1844 and the 1890s. Free downloads of the music: Slower: Faster: Videos: (Just copy these URLs and paste them into your browser.) Julien Tiberghien and Marie-émilie Capl dancing Romany Polka in Moscow Introduction Phrase 1 Take partner's R hand in R hand. Phrase 2 Honor partner. Phrase 3 Lady turns CW under gent's R arm, then both face LOD on the final note. meas 4 Walk LOD 8 slow steps in shoulder promenade position, gent beginning L, lady beginning R foot. R hands are held extended forward; lady places her L hand on the gent's R shoulder. 1 Rock forward acknowledging partner and replace back. You may bob forward as in La Polkinade. 3 Cast away 6 walking steps to take open 2 hands. 4 Face-to-face polka, back-to-back swinging held hands forward, face-to-face, back-to-back. 2 Holding 2 open hands, do La Polkinade (by Henri Boizot, 1858): Gent glissé side L, chassé (close) R to L, Jeté L LOD while lifting straightened rear leg RLOD, close R to L. Accent count 3. Lady steps opposite. 2 Gent does a small L Pas de Basque in place then step R and lightly stamp L without weight, as lady does a CW Allemande turn under the gent's L arm, with a two-step, then step L and close R. Chorus 4 4 turning polka steps traveling LOD. 19th century style is to lean toward the direction of travel. 2 Heel & Toe toward LOD, then half-turn polka. (This is D'Albert's Figure 7 in the above example.) 2 Heel & Toe on opposite feet, toward LOD, then second half-turn of the polka. Charles D'Albert's polka choreography said that dancers "may adopt the figures in the order here laid down" or they may dance the figures "as the fancy may suggest." So continue with 4 polkas, or do this: 2 Optional variation: 2 turning polka steps, then releasing waltz position handhold. 2 Non-turning Polka step sideways toward LOD, releasing waltz position handhold. Gents half-turn left (CCW) as ladies half turn right (CW) and do a back-to-back turning polka toward LOD. 2 La Polkinade, taking open 2-hand position. Or keep waltz position if you are doing 4 polkas. 2 Ladies CW Allemande underarm turn, as above. The gent lightly stamps L at the end, as the lady closes R without weight (although some of the more spirited women would have stamped). Cameo Appearances - Stockton Folk Dance Camp 2017 Page 17

20 4 Part 1 Galop 2 Zig: Galop 4 slides diagonally LOD toward the center. (All three of Durang's polka sequences included a gallopade.) 2 Zag: Turn halfway CCW and Galop 4 slides diagonally out beginning with opposite feet. 4 Polka in a Square. This is Charles D'Albert's Figure 10 from the above examples. Polka step toward LOD (gent facing out) and quarter-turn CW*. Polka step "over the elbows" toward the center and quarter-turn CW. Polka step RLOD and quarter-turn CW. Polka step toward the outside and quarter-turn CW. Keep the original style of leaning toward the direction of travel on each polka step. Then to fit the accent of the music, replace the first polka step with a schottische step-hop, leaning toward LOD. Charles Durang's "Butler Trot" style of polka (jeté polka) works best with this variation. Clearly mark the timing of the fourth polka step, to accent the music. * D'Albert wrote "half a turn" but he clearly meant a quarter-turn, to form a square pattern. 8 Repeat the Zig-Zag Galop and Polka in a Square. Chorus As before. On the last measure ladies take 2 steps L-R instead of a step-close. Ladies only half-turn under this time, to end facing RLOD. Part 2 Separate from Partner, Tour sur Place 2 Beginning L foot, Galop Chassé 4 slides away from partner, gents separating toward the center, ladies outward. 2 Double heel-toe R toward partner, folding arms crossed low in front. 2 Return to partner with 1 polka, R-L-R, and 2 walks, R-L. 4 Coup de Talon Tour sur Place: both partners place lowered extended R arms around partner's waist and raise L arms, as shown in the photo on the previous page. 1) Click heels to the left, 2) step side L, 3) close R (or cross R slightly over L), in QQS timing, four times, turning in place. 4 Slip away to take R hands and Moulinet circle around partner CW 8 pas marché walking steps. Try to walk faster (i.e. farther) with the walking steps than you did with the Coup de Talon steps. Take waltz position on the last 2 walking steps for a polka, gaining your first foot free. Chorus As before but faster. Note in Durang's Grand Baden Polka that the polka music was "played very quick" at the end. Coda 2 Galop 4 slides as a couple LOD. 2 Double Heel & Toe toward RLOD. 2 Galop 4 slides as a couple to RLOD. (D'Albert's Figure 9 also retraces a step in reverse LOD.) 2 Double Heel & Toe toward LOD. 4 4 turning polkas traveling LOD. 3 5 Pivots in place then Assemblé on ct. 6, keeping held hands, releasing and raising rear arms. Ll 2016 Richard Powers Cameo Appearances - Stockton Folk Dance Camp 2017 Page 18

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37 BOURRÉE BOURBONNAISE (Bourbonnais, France) A bourrée in 2/4 from Bourbonnais, central France. Formation: Rhythm: 2/4 CD: Steps and Styling: MEASURE Partners facing each other in two long contra lines: men in one line, women facing them in the other line. Dances from the French Countryside, Track #19 Bourrée Bourbonnaise The basic styling is very flat, with steps taken on the full ft. Knees are slightly bent throughout, arms are relaxed at sides. There is a gliding quality to the movements. PART A: Avance-Recule PATTERN 1. Step fwd on L ft (ct 1); step on R ft next to L (ct &); step on L ft in place (ct 2); OR step fwd on L ft (ct 1), hold R ft slightly off floor next to L ft (ct 2) 2. Step on R ft in place (ct 1); step on L ft next to R (ct &); step on R ft in place (ct 2) 3. Step bkwd on L ft (ct 1); step on R ft next to L (ct &); step on L ft in place (ct 2); OR step bkwd on L ft (ct 1), hold R ft slightly off floor next to L ft (ct 2) 4. Repeat meas Repeat meas 1-4 three more times PART B: Croisement 1. Traveling fwd and passing L shldrs with partner, step fwd on L ft (ct 1); step slightly fwd on R ft, turning upper body slightly towards partner (ct &); step slightly fwd on L ft (ct 2) OR step fwd on L ft, passing L shldrs with partner and turning slightly towards partner (ct 1); hold R ft slightly off floor next to L ft (ct 2) 2. Passing partner, step fwd on R ft (traveling only slightly) (ct 1); take small step fwd on L ft (ct &); step small step fwd on R ft (ct 2) 3. Step around on L ft turning ½ turn CW (ct 1); step on R ft next to L (ct &); step on L ft In place (ct 2) 4. Step on R ft in place (ct 1); step on L ft next to R (ct &); step on R ft in place (ct 2) OPTION I: Man s Solo Turn During Part A of the dance, the men may do a solo turn on measure one, while women do the basic Avance-Recule: Cameo Appearances - Stockton Folk Dance Camp 2017 Page 35

38 MAZURKA DE STE. MARIE (Gascogne, France) A mazurka from Gascogne in southwest France. Learned from Pierre Corbefin summer Formation: Couples in closed ballroom position at random about the room. Rhythm: 3/4 CD: Dances from the French Countryside, Track #16 Mazurka de Samatan MEASURE INTRODUCTION: PATTERN NONE. Begin at beginning of musical phrase Steps are described for the man. Woman does same as man but with opp ftwk and direction BASIC STEP: 1. Small step sdwd L on L (ct 1); step on R in place (ct 2); lift L slightly off the floor and bring it twd R ankle while lifting slightly on R ft) ct 3) 2. Repeat Meas 1 4. Beginning with L ft, dance 2 waltz steps with smooth, flat styling, turning CW Repeat dance from beginning. VARIATIONS: Variation #1: Bring the Woman Around 2. Repeat meas. 1-2 of Basic Step 3. Man: Turn ½ turn CCW in place, stepping L, R, L (cts 1-3) while leading W around in front and to man s other side until man and woman have changed places on floor. Arm position stays the same. Woman: Walk fwd and around man to end up changing places with him, stepping R, L, R (cts 1-3) 4. Both man and woman dance mazurka step in place, man starting with R ft and woman starting with L ft. (cts 1-3) 8. Repeat meas. 1-4 of Variation #1 with opp ft for both man and woman, ending up in original starting position on the floor. Variation #2: Pivots 2. Repeat meas 1-2 of Basic Step 3 Repeat meas 3 of Basic Step 4 Do 3 pivot steps turning CW (cts 1-3)(Men pivot stepping R,L,R; women pivot with opp ftwk) Dance description by Marilyn Smith Cameo Appearances - Stockton Folk Dance Camp 2017 Page 36

39 Bourrée Bourbonnaise Page 2 1. Traveling fwd and turning one complete turn CCW to end facing partner, men step fwd on L ft (ct 1), step on R ft next to L (ct &), step on L ft in place (ct 2). The turn is very flat and smooth. PART B : Croisement is the same as PART B above OPTION II: The Chase During PART A of the dance, the men may initiate a chase step while women do the basic Avance-Recule step. 4. Repeat meas 2-4 of Part A 2. Repeat meas 1-2 of PART A, basic Avance-Recule step 3. Step fwd on L ft (ct 1), dancing just slightly to the right rather than face-to-face with the woman; step on R ft next to left (ct &); step on L ft in place (ct 2) 4. Repeat meas 2 of PART A, Avance-Recule step 14. Repeat meas 3-14 of PART A, Avance-Recule step 16. Turning one complete turn to the L while traveling back to place (starting position of dance), step on L ft (ct 1); step on R ft next to L (ct &); step on L ft in place (ct 2) PART B: Croisement is the same as PART B above. OPTION III: Épingle à cheveux (hair-pin turn). Both men and women can do this variation during PART A of dance. 1 Step twd ctr on L ft, turning 1/4 turn CCW to end facing with R shldr twd ptr (ct 1); step on R beside L (ct &) step on L beside R (ct 2). 2 Décalage: Step on R beside L, bending R knee more than usual and starting to reach to L side with L (ct 1); step sdwd L on L (ct &); step on R beside L (ct 2) 3 Step away from ptr on L ft, turning 1/2 turn CCW to end facing with L shldr twd ptr (ct 1); step on R ft beside L (ct &); step on L ft beside R (ct 2) 4 PART B : Croisement is the same as PART B above. *Can also do R shoulder/lshoulder during PART A. Dance description by Marilyn Smith Cameo Appearances - Stockton Folk Dance Camp 2017 Page 37