Folk Dances For A Language Class

Folk Dances for
Language Classes
! Dona Hyll
! Lorraine Fortner

September 21, 2001
Louisville, Kentucky
Folk Dances for Language Classes, September 21, 2001 Page i
Table of Contents

About the Instructors...................................................................................................................ii
Dances from German speaking regions:
GROSSER ATLANTIK .......................................... .......................... Germany....................1
D'HAMMERSCHMIEDSG'SELLN........................ .......................... Germany....................2
LA SALAMANDRE................................................ Alsace............... France......................15
Dances from Spanish speaking regions:
CARNAVALITO..................................................... .......................... Bolivia.......................3
ESPUNYOLET........................................................ Catalonia .......... France / Spain..........16
MEXICAN POLKA................................................. .......................... Mexico ......................4
Dances from French speaking regions:
AN DRO RETOURN............................................ Brittany............. France........................ 5
AVANT-DEUX DE TRAVERS.............................. Brittany............. France...................... 14
LE BAL DE JUGON............................................... Brittany............. France........................9
BANNIELOU LAMBAOL...................................... Brittany............. France........................7
BRANLE NORMAND............................................ Normandy......... France......................11
CHIMES OF DUNKIRK......................................... .......................... France / Belgium.....12
ESPUNYOLET........................................................ Catalonia .......... France / Spain..........16
HANTER DRO........................................................ Brittany............. France........................8
LE LARIDE............................................................. Brittany............. France........................6
LE ROND ARGENTONNAIS ................................ Berry................. France......................10
LA SALAMANDRE................................................ Alsace............... France......................15
LES SALUTS .......................................................... Quebec ............. Canada.....................13
Just for fun:
OPSA! ...................................................................... .......................... Yugoslavia ..............17
ZEMER ATIK.......................................................... .......................... Israel........................18
History of Oktoberfest ..............................................................................................................19
Folk Dancing in Switzerland.....................................................................................................19
History of the Mariachi .............................................................................................................21
What is Flamenco?....................................................................................................................23
Traditional Dances and Instruments of the Gascogne ..............................................................24
French Bourre..........................................................................................................................25
Bibliography..............................................................................................................................27
Internet Resources.....................................................................................................................29
Page ii Folk Dances for Language Classes, September 21, 2001
About the Instructors

From a dancing family, Dona Hyll, has been dancing for as long as she can remember. She is
a member of several folk dance groups. With the Miami Valley Folk Dancers (MVFD), a
recreational international folk dance club in Dayton, Ohio, she has been immersed in a
diverse universe of folk dancing of many countries since she was a youngster. She enjoys
participating with MVFD on a weekly basis. She is a lead dancer with Bagatelle, an amateur
group that performs the folk dances of France. Dona also performs with Zivio!, a group that
specializes in preserving the folk dances of the former Yugoslavia. In her spare time, Dona is
a member of the band Vatra Ziva, which plays the music of the Balkans.

Lorraine Fortner has been an avid Israeli folk dancer for many years. In Dayton she became
very active with the Miami Valley Folk Dancers. This broadened her knowledge of dance to
many other countries. Although Lorraines family heritage is of German origin, she was
drafted to help create the core group of dancers known as Bagatelle (French folk dancers).
Lorraine enjoys traveling all over the world for business and pleasure. Recent business trips
have taken her to France, Austria, Poland, Australia, and England.

Folk Dances for Language Classes, September 21, 2001 Page 1
GROSSER ATLANTIK
(Atlantic Mixer)

Type: German couple mixer.
Formation: Circle of couples in varsouvienne position.
Music: Rhythm: 2/4
Record: Tanz SP 23050

Measures PART I (Music A)
1 - 8 Sixteen walking steps forward.

PART II (Music A)
9 -16 Releasing hands (hold right hands just long enough to assist woman as
she turns right half around to face reverse line-of-dance), sixteen
walking steps forward (man in line-of-dance, woman reverse).

PART III (Music B)
17-20 RIGHT-HAND TURN a new partner - the nearest one at this time, and
if you do not find one immediately go to the center of the circle
someone will meet you there.
21-24 LEFT-HAND TURN the same person.

PART IV (Music B)
25-32 SWING new partner.
NOTE: Skipping steps may be used.

RIGHT-HAND TURN: Join right hands - palm to palm or hands clasped (thumb grip also
possible), forearms touching to the elbows - and turn counter-clockwise with walking steps.
Left-Hand Turn: same, except with left hand, turning clockwise.

Note: This recreation mixer was introduced in 1948 by A. J. Hildenbrand of Hamburg; it has
since become very popular.

Page 2 Folk Dances for Language Classes, September 21, 2001
D'HAMMERSCHMIEDSG'SELLN

RECORD: Folkcraft 1485 x 45B
FORMATION: Dance for men only; little circles of 4 men; Man 1 and Man 3 facing,
Man 2 and Man 4 facing.
CLAPPATTERN: Two measures. Clap both hands on own thighs, on own chest, in own
hands, clap in each others RIGHT hands, in each others LEFT hands, in
each others both hands.

MUSIC MEASURES:
A 1-16 Opposite Men (1 & 3) do clappattern, beginning on first beat of meas 1.
Opposite Men (2 & 4) do clappattern, beginning on first beat of meas 2.

CIRCLE LEFT AND RIGHT
B 1-8 The four Men join hands to form circles of four, clockwise around with
step-hops.
9-16 Circle counterclockwise around.

CLAPPATTERN
A 1-16 Man 1 and Man 3 beginning.

RIGHT AND LEFT HAND STARS
B 1 -8 Sets make Right hand star and turn clockwise with step-hops.
9-16 Sets make Left hand star and turn counterclockwise, with step-hops.

CLAPPATTERN
A 1-16 Man 1 and Man 3 beginning.

BIG CIRCLE - All dancers form one big circle.
A 1-8 Clockwise around with step-hops.
9-16 Counterclockwise around.

Notes:
This dance is what is called an occupational dance. It represents the motions of a
blacksmith.
It may be done with any four people.
The Big Circle at the end may be replaced with a small circle.
When done by two couples, each couple may face each other across the set (man facing
woman) or man faces man and woman faces woman. The Big Circle is usually replaced with
the two couples waltzing around each other.
CARNAVALITO
(Bolivia)

The Carnavalito together with the Takirari and the Cueca, are the most popular of the dances
of the Bolivian folklore. It is danced at every festivity and especially, as its name suggests,
during the carnaval celebration.
Formation: Dancers are in a long line (or broken circle); leader makes a serpentine figure
during the first step, leads line into a circle (broken) during the second step.
Introduction: There are 18 measures of music using one or two instruments, then 14 counts
(7 heavy beats) of full instrumentation. Then the dance starts.
Step 1: A schottische step-step, step, step, hop (R,L,R) then (L,R,L). On first
schottische, step, bend forward, on second straighten body. Continue on
alternating feet, moving in counterclockwise direction.
Step 2: Do eight step-hops, CCW and eight clockwise (step, hop, step, hop). These
should be big, lively steps. Keep body straight.

MEXICAN POLKA

Researched in Mexico by Albert S. Pill
Record: Discos Dominante (45 rpm) DDM 525, "Me Traes En Una Ala."
Formation: Partners facing in line; M thumbs hooked in belt. W holds skirt.
Footwork: Same except in figure III

Measures
1-4 INTRODUCTION: 4 measures; no movement.

I. HEEL AND TOE POLKA
1 Extended R heel to R side (cts and 1), touch R toe to R side (cts and 2).
2 Stamp R ft to R side (ct 1), stamp L ft across R ft (ct and), stamp R ft to R side
(ct 2). Travel to the R with the step of this meas.
3 Extend L heel to L side (cts and,1), touch L toe to L side (cts and,2).
4 Stamp L ft to L side (ct 1), stamp R ft across L ft (ct and), stamp L ft to L side
(ct 2). Travel to the L.
5-16 Repeat actions of measures 1-4 of FIGURE I.

II. STAMPS
1 Stamp R ft to R side (cts l, and), lift R ft (ct 2).
2 Stamp R ft to R side (cts l, and), lift R ft (ct 2) .
3 Stamp R ft to R side (ct 1) , stamp L ft across R ft (ct 2).
4 Stamp R ft to R side (ct 1), hold (ct 2). On measures 3 and 4 travel to the right.
5 Stamp L ft to L side (cts l, and), lift L ft (ct 2).
6 Stamp L ft to L side (cts 1, and), lift L ft (ct 2).
7 Stamp L ft to L side (ct l), stamp R ft across L ft (ct 2).
8 Stamp L ft to L side (ct 1), hold (ct 2). On measures 7 and 8 travel to the left.
9-16 Repeat actions of measures 1-8, FIGURE II

III. ONE STEP
A short shuffling step in sets of 4, feet close to the ground, heels close to the
ground (R,L,R,L or L,R,L,R). Partners join both hands across and extend
joined hands out to the side. Hands pump in rhythm to the music.
1- 2 Beg M fwd on L and W bwd on R, do 4 One steps.
3- 4 Beg M bwd on R and W fwd on L, do 4 One steps.
5-16 Continue the One Steps as couples repeat actions of measures 1-4, of FIGURE
III.

INTERLUDE: (4 measures): Partners drop hands and take beginning position
as in Formation, to start the dance from the beginning.

AN DRO RETOURN
(Brittany - France)

A variation on the popular An Dro dance done throughout Brittany. It is usually done to the
song "Changeras-tu Madeleine?". Learned from members of Bagad Lan Bihou in France,
summer of 1980 and from members of Breizh Hor Bro Group, at the Heritage International
workshop, Lachine, Qubec, summer 1997. Introduced by Yves and France Moreau at 1997
Stockton Folk Dance Camp Lawn Party.

Pronunciation: Ahn-droh Ruh-tour-ney
Translation: Reversing An Dro
Music: Yves Moreau cassette
Rhythm: 2/4
Formation: Open circle or line. Dancers hold each other by small finger. Face ctr, wt
on R ft. Leader is at L end of line.
Style: Somewhat flat-footed and bouncy steps.
Steps: Basic An Dro: Footwork: Meas. 1: Step on L to L (ct 1) step on R next
to L (ct and) step on L to L (ct 2). Meas. 2: Step on R slightly bkwd (ct 1)
step on L next to R (ct and) step on R slightly bkwd (ct 2). Arm motions:
For meas. 1, arms describe a "loop" motion fwd and out and on meas. 2, a
"loop" motion inward and in.
Measure Pattern
1-8 Intro music. Just get the arms going.

Basic Pattern
1-8 Do four basic An Dro steps as described above
9 Another An Dro step fwd (meas. 1) but emphasize the loop motion upward
when singing " Dans mon mnage en haut"
10 Do an An Dro step bkwd (meas. 2)
11 Do an An Dro step fwd (meas. 1) but clap hands on ct 2 ("tu") and
simultaneously pivot onto L ft to face out
12 Do an An Dro step bkwd (meas. 2) still facing out (dancers should try to
reconnect small fingers...)
13-14 Repeat pattern of meas. 11-12
15-18 Repeat pattern of meas. 11-14
19-26 Just do basic An Dro step

Repeat dance from beginning

J'ai neuf a dix moutons, dans mon mnage en haut
J'ai neuf a dix moutons, dans mon mnage en bas 2X

Dans mon mnage en HAUT, dans mon mnage en bas
Changeras-tu, Madeline, Madeleine, Changeras-tu, Madeline dors-tu? 2X

J'ai sept a huit moutons...J'ai cinq six ...J'ai trois a quatre ...J'ai un a deux
Description by Yves Moreau
LE LARIDE

(Brittany France)

Formation: Little fingers joined down at sides, circle or line.

Music: 2/4 meter, Arion Farn 91053

Count Pattern feet Pattern arms
1 Left Step L with Left foot Up swing arms forward to
approximately 45 degrees
2 Right Close R to L Down swing arm down to sides
3 Left Step L to Left Up swing arms forward to
approximately 45 degrees
4 Right Close R to L In bending elbows, bring
arms into shoulders
5 Up With feet together, rise
on balls of feet
Out push arms out away from
body
6 Down lower to heels In bending elbows, bring
arms into shoulders
7 Back step slightly back on R
foot
Out push arms out away from
body
8 Hold maintain weight on R
foot, lift L foot in front
of R
Down bring arms down to sides

Instructions by Leslie Hyll
As presented by Benoit Bourque
BANNIELOU LAMBAOL
(BAHN-yellou LAHMB-aohl)
(Brittany - France)
This dance is popular in upper-Brittany and is a variant of the Larid dance type. Presented
by Yves Moreau at the 1977 Mendocino Folklore Camp.
Record: Worldtone WT 10014 4/4 meter
Vogue 7.711
Formation: Closed or open circle, leader at L. Hands held at shldr height "pinky" hold.
Weight on R ft.
MEASURE DESCRIPTION
Part I - Side Step to L - Close R to L
1 Step on L to L, flexing knees slightly before step (ct 1). Close R to L (2).
Hand action for cts 1 and 2: make complete CW circle with hands, bringing
hands up, fwd, around, down, and back to beginning posn. Action for cts 1, 2
constitute side close step. Repeat side close step action meas 1, cts 1, 2 (3, 4)
2 Repeat meas 1, cts 1-4. Two side close steps
Part II - Point Action, Side Close Step
3 Extend R fwd, touch R toe, pushing hands straight fwd from shldrs (1). Pull R
back to L, touch action, no weight. At same time, pull hands back to shldrs
(&). Extend R fwd again, touching toe, extending hands (2). Close R to L,
stepping on R, bringing hands back to shldrs (&). Repeat action of step close
step, meas 1, cts 1, 2 (3, 4)
4 Repeat action of meas 3, cts 1-4
Slight retard in music, dance begins again

Yves Moreau Weekend, March 15-16, 1980
Miami Valley Folk Dancers
HANTER DRO
(Awn-terr Droh)
(Brittany - France)
Dance from Basse-Bretagne (Lower Brittany) near town of Vannes and Lorient. Observed by
a group of Montreal folk dancers in Brittany, 1975. It is sort of a Breton version of the
"Hora" or Pravo Horo in reverse direction!
Rhythm: 2/4
Record: Dances of Brittany No. 2 (45 rpm)
Formation: Open circle, mixed, strong arm hold (Turkish style) R ft free.
Face slightly L of ctr.
MEASURE DESCRIPTION
1 Small step on L to L (1) small step on R across L (2)
2 Small step on L to L (2) Pause (2) Sometimes instead of a pause, the R ft
"points" or touches floor briskly
3 Small step on R slightly bkwd (1) Pause (2)
Dance repeats from beg.
Song:
Quand j'tais jeune dix-huit ans
J'tais beau et gallant au gai !
Les amoureuses venaient me voir
le soir dedans ma chambre au gai !
La plus jeune des amoureuses
m'apporta une orange au gai !
L'orange a tomb sur mon pied
elle a cass ma jambe au gai !
On fit venir un mdecin
de Paris ou de Nantes au gai !
Le mdecin qui me soignait
voulu couper ma jambe au gai !
Non, ma jambe ne sera pas coupe
car je vis de mes rentes au gai !
la...la...la...la !

LE BAL DE JUGON

(Brittany France)

This dance is from Upper-Brittany, but it is also very popular in other areas of France.
Presented by Louise and Germain Hbert, August 14, 1966, Oakland, CA.

Music: Record: Uni-Disc EX 33-147, Side B, band 4. 4/4 meter
Vogue 7.711

Formation: Circle of couples in Varsouvienne pos, facing CCW.

Meas Pattern

No introduction.

PART I - HEEL TOE, HALF TURN. SAME FTWORK FOR M & W.

1 Extend L heel fwd (1). Touch L toe next to R (2).
With 3 steps, LRL, pivot on spot to face CW, making one half CW rotation.
Do not change places with partner. Do not release hands. End facing CW,
with M still on inside of circle. (3,&,4).

2 Facing CW, extend R heel (1). Touch R toe next to L (2).
With 3 steps RLR, pivot on spot to face CCW. Do not change places. Do not
release hands. End facing CCW, with M still on inside of circle (3,&,4).

3-8 Repeat action of meas 1, 2, making total of 8 heel toe half turn steps.

PART II - PROMENADE

1-7 Dance 14 two-steps around circle, moving in LOD-CCW. Start with LRL.
End with RLR.

MUSIC HAS TWO NOTE INTERLUDE, TAKE TWO STEPS ON SPOT, L, R.

WORDS
Monsieur Le Cur me veut pas,
Que lea gars embrassent lea filles
Mais il ne defend pas,
que lea filles embrassent lea gars.

LE ROND ARGENTONNAIS

(Berry France)

Origin: Old circle dance from Argenton-sur-Creuse, in Lower Berry. Many stories
were written about this dance. At certain times, this dance was forbidden
because each section of town had its own rond and competition was too
strong.
Learned from Roger Dubois, formerly from Ballet National, Pont-Chrtien,
France, August 1967.
Music: Record BAM. Ex 613, Side A, band 2
Uni-Disc 45-280, Side A, band 2, 2/4 meter.
Formation: Close circle of dancers, no partner needed. Joined hands are held shoulder
height.
MEAS: 2/4 PATTERN
6 meas. INTRODUCTION
FIGURE 1
1 All starting with L, leap and fall on this foot diagonally forward (1)
bringing joined hands down, step back on R foot (2) raising joined hands.
2 Step back on L foot (1) step sideward L on R foot (2)
Note: There is no crossing of the R foot over or behind L foot. A light
progression CW is observed.
3-8 Repeat meas 1-2, three more times.
9 Step sideward L on L foot (1) close R foot near L foot (2) lowering joined
hands.
FIGURE 2
B 1-2-3 All move toward center with 3 walking steps raising slowly the joined
hands. Move out the same way, lowering slowly the joined hands.
4-6 Repeat meas 1-3, figure 2
Repeat from the beginning.
Presented by Louise & Germain Hbert
BRANLE NORMAND

(Normandy France)

Music: Folkraft 337-002B
Formation: Single circle, no partners. Hands joined at shoulder height, elbows bent.
Measures: Pattern
1-2 Circle Left with 4 walking steps
3-4 2 Branle steps in place
(Hop twice on LEFT foot; swinging RIGHT leg backward.
Hop twice on RIGHT foot; swinging LEFT leg forward.)
When RIGHT leg goes back, bend the body forward; when LEFT goes
forward, lean the body backward.
5-6 Circle LEFT with 4 walking steps
7-8 Repeat the action of measures 3-4
9 In place, hop sideward on LEFT foot, bring RIGHT foot below calf of
LEFT leg and extend LEFT ARM to LEFT (all hands still joined).
Hop on RIGHT FOOT, bring LEFT FOOT below calf of RIGHT LEG and
extend RIGHT ARM.
10-12 Repeat the action of measure 9 three times.
Repeat entire dance from beginning.

CHIMES OF DUNKIRK
(French Belgian Peasant Dance)
Formation:
Double circle of partners, facing, men with their backs to the center of the circle.
Action:
1. All clap hands, 3 times, in time to the music, then pause 1 beat.
2. All stamp feet 3 times, in time to the music, then pause.
3. Join both hands with partner and turn in place clockwise.
4. Facing as in basic formation, partners join right hands shoulder high. Standing on left
foot, extend right foot in front of left foot and tap right toe 3 time lightly. Step in
place.
5. Reverse 4, tapping with left toe.
6. Join both hands with partners and turn in place clockwise.
(To make progressive couple turns as in action 6, the man then moves to his left to the
next lady who becomes his new partner.)
Summary:
1. Clap-2-3-pause.
2. Stamp-2-3-pause.
3. Join hands, turn in place.
4. Tap right and pause.
5. Tap left and pause.
6. Join hands and turn in place.
Variation:
In action 4 and 5, instead of tapping toe, couples balance forward and back, forward and
back (step forward on right foot and put weight there, step backward on left foot; repeat).

World of Fun Manual of Instructions, R. Harold Hipps, Wallace E. Chappell, Board of
Education of the United Methodist Church, Nashville, Tennessee, 1970
LES SALUTS

(French - Canada)

Rhythm: 6/8

Record: Laridaine 7902: Side A, Band 5: Les Saluts

Formation: Four couples in square formation or four to six couples in circle

Counts Description

8 Ladies forward, form small circle, circle R
While men form circle outside ladies, Circle L

8 Reverse circling to partner, form basket with lady on man's right.

16 Basket circles L then R

4 Forward to center, drop basket, join hands in single circle

4 Back out to full circle

4 Forward, bow, hold thru pause

4 Reform ladies' circle and men's circle

Presented by Yves Moreau

French-Canadian Weekend, March 15-16, 1980

AVANT-DEUX DE TRAVERS
(Brittany France)
Popular form of dance throughout Brittany. This one is done in mixed lines and comes from
L'Orient rgion on the Coast. Source: Simone Msonro.
Rhythm: 2/4
Record: LARIDAINE ML-1 (45 rpm)
Formation: Short mixed lines 4-6 people. Tight hold. Arms held upwards (under shldr
height). Elbows bent. Very close. Looks somewhat like Turkish-type hold.
MEASURE DESCRIPTION
Basic travel step
1 "Two-step": Step fwd onto R (1) close L to R (&) step fwd on R (2) small hop
onto R (&)
2 Same as above but reversing direction & ftwork (moving bkwd and at the same
time tilting entire line clockwise, freely in room)
3-8 Repeat pattern of meas 1-4
"Chorus Step"
1 Small step fwd onto R (1) small hop onto R (&) small step bkwd onto L (2)
small hop on L (&)
2 Small step to R on R (1) small hop on R (&) small step to L on L (2) small hop
on L (&)
3-8 Repeat pattern of meas 1-2. Do not move around room on this step. Stay in
place facing ctr of room.
Dance repeats from beg. alternating patterns.


LA SALAMANDRE
France - Alsace

On the Rhine plain and throughout the Alemanic area people used to dance the Salamander,
the name of which is probably derived from "Alamander" or "Alaman". Learned from
Solange Denni, Heritage '88 International, Cornwall, Canada.

MUSIC: Tape "Danses populaires d'Alsace" OMC 67067, Side A, band 5 or
Heritage '88 International.
2/4 meter.
FORMATION: Closed circle of couples, all facing center. Hands joined in 'V' position.

MEAS PATTERN

4 meas. INTRODUCTION

I. Circle Left and Right
A 1-8 All starting on L, 16 walking steps moving in RLOD (CW). Stamp on last
count.
A1 1-8 Repeat meas 1-8, Figure I, moving in LOD (CCW).

II. Men In and Out; Women Wave
B 1-2 All drop hands. M move toward center with 4 walking steps (L, R, L, R),
dropping weight on last count. W pass behind corner M and move in LOD
with 4 walking steps.
3-4 M move back to place with 4 walking steps as W, moving in LOD, pass in
front of the next M. M stamp on last count.
5-12 Repeat meas 1-4, Figure II, 2 more times.
13-14 Join hands in cross back position (with the 6th M for W). [Behind corner
M, in front of second, behind third, in front of fourth, behind fifth, in front
of sixth.]

III. Turning
A 1-4 Couples turn CCW (M backing up) 8 walking steps.
5-8 Repeat meas 1-4, Figure III, turning CW (M moving forward).

IV. Chass
B 1-4 Assume ballroom position (M turning their back to center). 8 chass or
sliding steps in LOD.
5-6 Couples turn halfway around with 4 walking steps.
B1 1-6 Repeat meas 1-6, Figure IV, breaking ballroom position on the last counts
of the music and joining hands to form a circle.

Repeat from beginning.
Presented by Germain Hbert
ESPUNYOLET
(Ess-poo-nyo-let)
Catalon Wedding Dance.
This is a type of dance which the Catalons classify as the Ball De Ceremonia. It is a
ritualistic dance with a solemn sequence and a rapid repeat. This particular dance seems to be
much more popular among the Catalons on the French side where it is spelled Espougnolette
and pronounced just

as above.
MUSIC: Folkraft F1120A
STARTING POSITION: Partners face. Girls hand on skirt (or hip. The first preferred).
Mans hands raised head high. Right foot free.
FIGURE 1
Meas. 1 Step on R foot across in front of L, turning body slightly to L (ct.1), step on L
in place (2), step on R returning it to place next to L (3). Step on L foot across
in front of R, turning body slightly to R (4), step on R in place (5), step on L
foot returning next to R (6).
Meas. 2-3 Repeat pattern of Meas. 1 (R, L, R, L).
Meas. 4 REVERENCE. Bow and curtsy to each other (six counts). During the
reverence the man joins his hands behind his back like in the manner of
Mexican dances.
Meas. 5-8 Repeat entire pattern of Meas. 1-4.
FIGURE 2
Meas. 9 Partners with right shoulders adjacent, fold right hands over each others
forearm. Step forward on R foot, rocking forward and transferring weight onto
right foot (1), step on ball of L foot next to heel of R (2), step on R foot in place
(3). Step forward on L foot, rocking forward and transferring weight onto L
foot (4), step on ball of R foot next to heel of L (5), step on L foot in place (6).
Meas. 10-11 Repeat pattern of Meas 1 (R,L,R,L), taking small steps, making one-half circle.
Finish in partners place.
Meas. 12 REVERENCE. Bow and curtsy to each other (six counts).
Meas. 13-16 Repeat entire pattern of Meas. 9-12 with L hands folded over each others
forearm, returning to original places.
FIGURE 3
Meas. 17 Partners join both hands. Girl kneels on R knee, bows head, then rises.
Meas. 18 Boy kneels, bows and rises. (The music in these measures retards).
Meas. 19-20 Four waltz steps turning under joined hands and exchanging places with partner
(Dishrag figure). The raised hands in this case are the boys R and girls L.
Finish with a reverence at end of last measure.
Meas. 21-24 Repeat entire figure of "Dishrag," returning to original places, continuing to
rotate in a clockwise direction.
Repeat entire dance at a faster tempo. During measures 1-3 and 6-7, the man
only snaps his fingers.
OPSA!
(Yugoslavia)

Moving LOD - Hold hands, arms in "W"

Measure
1 Facing slightly to right, step Right, step Left
2 Step Right turning to face center, touch Left
3 Step Left, touch Right
4 Step Right, touch Left
5 Step Left - slightly back and left, bring arms down
6 Step back on Right leaving Left foot in place
7 Step Left

The last 3 steps (5-7) should be "slow quick slow". Bring arms up as you start at 1 moving
right with the right foot.

Words:
1. Nek' se igra ovo kolo. Ko ga ne bi vol'o? Kolo ide Tako lako da za igra moe svako.
2. Nek' se igra ovo kolo. Ko ga ne bi vol'o? Momci, cure, svi u kolo. Nek' se vije naokolo.
3. Nek' se igra ovo kolo. Ko ga ne bi vol'o? Zurle je!e, bubanj bije, vesele se meraklije.
Chorus
Devojke se "uju opsa sko!i! Ne daju se momci 'o"e . bre. Slonije i bolje igraj do zore opsa!

Translation:
Let's dance the kolo, everyone loves it. It moves so freely and easily, everyone can do it! You
can hear the girls shouting, "Opsa!" The boys won't be out-done, they want to dance faster,
more together, and better, until dawn. Boys, girls everyone dance the kolo, wind it around.
The instruments are playing and everyone is happy.

Balkan Bridges Songbook, companion to the recording, Traditional Music of the Former
Yugoslavia and Bulgaria, Mary Cay Brass. Mary Cay Brass, 399 Westminster West Road,
Putney, Vermont 05346, (802) 869-2438, mcbrass@sover.net

ZEMER ATIK

Formation: Open circle, facing line of dance; left hand on own left shoulder with palm
facing up, right hand on left hand of person in front, with palm facing down

Part I
Four steps in LOD (RLRL); step R, leaning to right and clapping hands twice; step left,
leaning left and clapping hands once.

Repeat three more times.

Part II
Face center. Step R; click fingers; step left; click fingers; four steps backward (RLRL), body
and arms come down.

Repeat three more times.

Instructions by Harry Khamis
History of Oktoberfest
Compiled by Miles Hamby

On October 12, 1810, Crown Prince Ludwig, later to become King Ludwig I, was married to Princess Therese
of Saxony-Hildburghausen. The citizens of Munich were invited to attend the festivities held on the fields in
front of the city gates to celebrate the happy royal event. The fields have since taken the name Theresienwiese,
or Theresa's fields, in honor of the Crown Princess, although the locals abbreviate the name to simply the Wiesn.
Horse races in the presence of the Royal Family marked the close of the event that was celebrated as a festival
for the whole of Bavaria. The decision to repeat the horse races in the subsequent year gave rise to the tradition
of the Oktoberfest.

The festival was continued in 1811 with an added feature of the first Agricultural Show, designed to boost
Bavarian agriculture. Thus started the tradition which was to become known universally as Oktoberfest. The
horse races, which were the oldest and the most popular event of the festival, are no longer held today, but the
Agricultural Show is still held every three years during the Oktoberfest on the southern part of the festival
grounds.

A carousel and two swings were introduced to the Oktoberfest in 1818. Visitors were also able to quench their
thirst at small beer stands which grew rapidly in number. The remainder of the festival site was taken up by a
fun-fair. By the 1870s, the range of carousels and other amusements was increasing rapidly and the fairground
trade continued to grow and develop in Germany. In 1896, the beer stands were replaced by the first beer tents
and halls set up by enterprising landlords with the backing of the breweries.

Folk Dancing in Switzerland
By Karin Gottier

The dances of eastern Switzerland are very similar to those of Alpine Germany and Austria, while the dances of
the western cantons are related to those of France and in the south, to those of Italy.

Most Swiss dances are couple or group dances using the steps of the popular ballroom dances of the 19th
century: Mazurka, Waltz, Polka, Schottische and Gallop. Perhaps, because of the austerity of the Calvinist
period, few traditional dances survived and many of the contemporary Swiss folk dances are reconstructions
based on traditional dance figures that were collected and set either to traditional tunes or to melodies especially
composed for them.

Very few ritual dances have remained and those are usually danced at 'driving out winter' ceremonies, Carnival,
spring and harvest celebrations and at the time of the ascent and descent of the cattle to and from the high
pastures. There is literary evidence that Switzerland still knew 'dances of death' until the middle of the last
century. One such source is Gottfried Keller. In his 'Der grne Heinrich' he describes a funeral dance:

'. ...... we immediately hurried outside to where, on the corridor and stairs, the crowd began to
pair off and form a procession, for without a partner no one was allowed to go up. I took Anna by the
hand and fell into line which began to move, led by the musicians. They struck up a lugubrious
mourning march, to the rhythm of which we marched three times around the attic, which had been
converted into a ballroom, and formed a large circle. Here upon seven couples stepped into the center
and executed a lumbering old dance with seven figures and difficult jumps, kneefalls and
intertwinings, accompanied by resounding clapping. After the spectacle had gone on for some time,
the host appeared and went through the rows thanking the guests for their sympathy; here and there
whispering into the ear of a young man- in such a way that all could hear-that he should not take the
mourning too much to heart and to leave him (the host) now alone with his grief. Moreover, the host
recommended that the youth should rejoice again in Life. Whereupon he walked away and with
lowered head climbed down the stairs as if they led directly to Tartarus. The musicians suddenly
switched to a gay 'hopser', the older people withdrew and the young swept shouting and stamping
across the groaning floor ....'

In character, Swiss dances are more sedate and earth bound than their German counterparts. Among folk dance
groups, great emphasis is placed on precision of detail in the placement of hands and arms and in the holds
between partners.

The Swiss folk dance movement has from its inception been a branch of the Swiss Costume association
(Schweizerische Trachtenvereinigung) which fosters and encourages the practice of all aspects of folk art.

One of the pioneers in the field of Swiss folk dance was Louise Witzig. After having come into contact with the
German and English folk dance movement, she recognized the importance of folk dance research and its
significance to the work of the Costume Association. She began to conduct dance workshops in which she
transmitted the results of her research work. This in turn encouraged others to collect and notate existing
material within their immediate areas. The Swiss Costume Association then made it its task to systematically
collect old tunes and dance figures which were still to be found, especially in the Alpine areas.

Already in 1935 it was possible to publish the first collection of dance notations assembled by Louise Witzig
together with Klara Stem. Since then the Swiss Costume Association has released records as well as books and
pamphlets on the dances of all cantons and numerous dances have been created. The organization also conducts
annual folk dance leader training courses and folk dance workshops, always insisting on high standards of
accuracy and precision.

Along side the folk dance movement of the Swiss Costume Association, there exists the Association of Folk
Dance Groups (Arbeitsgemeinschaft Schweizer Volkstanzkreise) which is a collective member in the Swiss
Costume Association. This organization was formed in 1956 and consists of independent dance groups who
practice all forms of European folk dancing and sponsor specialized workshops in the dances of a given country,
conducted by an ethnic specialist. The objectives and practices of the Folk Dance Association are very similar
to the recreational folk dance movement in the United States.

The Swiss Costume Association has recently changed the format and title of its membership publication from
the black and white 'Heimatleben' to the larger and colorful 'Tracht und Brauch-Costumes et coutumes'. It
features articles on folklore-dance, music, singing, costumes- as well as reports on national festivals and a
calendar of events of interest to costume wearers and dancers. It also prints announcements from the regional
organizations, reviews new books and CD's and prints ads of businesses that provide resources for costume
wearers. This latter feature is new to the magazine; its earlier policy having been to remain very strictly non-
commercial. 'Tracht und Brauch' is published by:

Schweizerische Trachtenvereinigung
Postfach 813
3401 Burgdorf
Switzerland

The magazine appears quarterly and costs 27.- Swiss Frank for foreign delivery.
History of the Mariachi
Excerpts from --- Mexico, The Meeting of Two Cultures, 1991 Higgins and Associates, New
York, NY, for The 7-Eleven Hispanic Arts Festival (Arts for Business).

The Wedding of Musical Traditions

Prior to the arrival of Cortes the music of Mexico, played with rattles, drums, reed and clay flutes, and conch-
shell horns, was an integral part of religious celebrations. Quickly, however, as Christianity spread, in many
areas these instruments gave way to instruments imported by the Spanish: violins, guitars and harps, brass
horns, and woodwinds. The Indian and mestizo musicians not only learned to play European instruments, but
also to build their own, sometimes giving them shapes and tunings of their own invention.

Music and dance were important elements of Spanish theatrical productions, enormously popular throughout the
Spanish speaking world during the colonial period. The typical Spanish theatrical orchestra of the sixteenth,
seventeenth, and eighteenth centuries was comprised of violins (usually two), harp and guitars (or guitar
variants). It was from this group that several of the most distinctive regional ensembles of Mexico developed,
including the Mariachi.

Mariachi - What Does It Mean?

Musicologists and folklorists have argued for years over the origin of the word - Mariachi.

The explanation that appears most frequently - especially on record jackets and in travel brochures - is that it is a
variation of the French word mariage, meaning wedding or marriage, and comes from the time in the nineteenth
century when Maximillian, a Frenchman, was Emperor of Mexico. According to this myth the Mariachi was
named by the French after the celebration with which it was most commonly associated. But this explanation,
always regarded as highly doubtful by linguists, was totally discredited recently when a use of the word was
found that predated the time when the French arrived in Mexico.

Currently, however, the best scholarly opinion is that the word mariachi has native roots. One theory is that it
comes from the name of the wood used to make the platform on which the performers danced to the music of the
village musicians. But whatever its true source - and the truth may never be discovered with absolute certainty -
the word today has one meaning that is crystal clear: Mariachi means on of the most exciting and enchanting
musical ensembles found anywhere in the world.

The Unique Make-Up of the Mariachi Ensemble

In the complete Mariachi group today there are as many as six to eight violins, two trumpets, and a guitar - all
standard European instruments. Then there is a high-itched, round-backed guitar called the vihuela, which when
strummed in the traditional manner gives the Mariachi its typical rhythmic vitality; a deep-voiced guitar called
the guitarr n which serves as the bass of the ensemble; and a Mexican folk harp, which usually doubles the
base line, but also ornaments the melody. While these three instruments have European origins, in their present
form they are strictly Mexican.

The sound that these instruments combine to make is unique. Like the sarape, which often used widely
contrasting colors side by side - green and orange, yellow and blue - the Mariachi used sharply contrasting
sounds: the sweet sounds of the violins against the brilliance of the trumpets, and the deep sound of the guitarr
n against the crisp, high voice of the vihuela; and the frequent shifting between syncopation and on-beat rhythm.
The resulting sound is the heart and soul of Mexico.

The Beginning of the Mariachi We Know Today

Although the origins of Mariachi music go back hundreds of years, in the form we know it the Mariachi began
in the nineteenth century in the Mexican state of Jalisco - according to popular legend, in the town of Cocula.
The Mariachi was the distinctive version of the Spanish theatrical orchestra of violins, harp and guitars which
developed in and around Jalisco. In other areas such as Veracruz and the Huasteca region in the northeast, the
ensemble evolved differently. By the end of the nineteenth century, in Cocula the vihuela, two violins, and the
guitarr n (which had replaced the harp) were the instruments of the Mariachi.

The principal music played by these early Mariachis was the SON, the popular music of the day. A mixture of
folk traditions from Spain, Mexico, and Africa, the son was found in many regions of the country. The son from
Jalisco is called the son jalisciense. La Negra is the best-known example.

Sones from other regions include the son jarocho or veracruzano, from the region around the Gulf port of
Veracruz; and the son huasteco, from northeastern Mexico. The most famous example of the son jarocho is La
Bamba . A typical son huasteco, also known as the huapango, is La Malague a. It is interesting to note that
there are some sones, such as El Gusto, which are common in all three regions and clearly date back to a
common ancestor.

Mariachi and Dance

It is important to remember the son-and other types of Mariachi music- is not just music to be played and sung.
From the very start it was music to be danced.

The traditional dance technique associated with both the son jalisciense and son jarocho is the zapateado, a
distinctive type of footwork that originated in Spain. When dancing the zapateado the performers skillfully drive
the heels of their boots or shoes into the dance-floor, pounding out swift, often syncopated rhythms which
complement the different rhythm of the musical instruments. The zapateado can literally reduce even the most
resistant dance floor to splinters because of the force with which it is danced.

Each of the regional variations of the son has its traditional style of dance. The huapango or son huasteco, for
instance, like the son jalisciense and son jarocho, was originally danced on wooden platforms, in some areas
mounted on earthen jugs. To dance the huapango the couples line up in opposing columns. The upper part of the
body is held perfectly erect as the feet perform rapid, intricate, shuffling maneuvers. Today it is sometimes
performed with a glass of water on the head to show off the dancer's incredible muscular control.

The lyrics of the sones frequently describe country life: in particular, the plants, animals and people of the
region. These lyrics are highly suggestive, often using imagery of the courtship of farm animals to describe the
relations of men and women. In the dance the movements of the performers often represent the farm-yard
courtship described in the verses of the sones.

Another kind of music related to the son and intimately connected with a particular dance is the jarabe. The
jarabe, which has many regional variations, is really a medley of dance pieces, including sones, danzas, jotas,
and polkas. No discussion of Mariachi dance would be complete without mentioning the famous Jarabe Tapatio
- the Mexican Hat Dance. Associated with Guadalajara in the state of Jalisco, it has become the national dance
of Mexico. It is highly stylized, with prescribed movements and costumes. The male wears the classic outfit the
Jalisco horsemen or charro, while the female the China, wears a hand-woven shawl and a bright sequined skirt.

By the 1930's Mariachi musicians had begun wearing the same traje de charro, consisting of a waist-length
jacket and tightly fitted wool pants which open slightly at the ankle to fit over a short riding boot. Both pants
and jacket are often ornamented with embroidery, intricately cut leather designs, or silver buttons in a variety of
shapes. Prior to the 1930's, photographs show early Mariachis dressed in calzones de manta, and huaraches,
homespun white cotton pants and shirts and leather sandals, the clothes worn by most peasants in Jalisco.

The Mariachi at Special Occasions

Mariachis often help celebrate the great moments in the lives of the Mexican people. With the serenata
(serenade), the Mariachi participates in the rite of courtship. In a society where the young members of opposite
sexes were kept apart, the serenata was a means of communication by which a young man could send a message
of love to the woman of his heart. In many areas of Mexico, it is not unusual to be awakened by the sound of
Las Ma anitas, the traditional song for saints days, or birthdays. The Mariachi is usually positioned strategically
on the street beneath the window of the festejada, but the sound of its music echoes through the whole
neighborhood. Mariachis are also commonly hired for baptisms, weddings, patriotic holidays, and even funerals.
It is not unusual for the deceased to leave a list of favorite songs to be sung beside the grave at burial.

Mariachi music has been incorporated into the Roman Catholic Church's most sacred ritual: the Mass. The Misa
Panamericana is a Mariachi folk mass, sung in Spanish, that uses traditional instruments to create vivid new
interpretations of the traditional elements of the service: Angelus, Kyrie eleison, Gloria, Alleluia, Offertory,
Credo, Sanctus, and Agnus Dei.

The first Mariachi Mass was the concept of a Canadian priest, Father Juan Marco Leclerc, and has been
celebrated in Cuernavaca since 1966. It originally took place in a small chapel, but news of it spread so rapidly,
and the crowds grew so large, that the regular Sunday Mariachi Mass had be moved to the Cathedral of
Cuernavaca. It is now frequently performed throughout Mexico, and In many areas in the United States where
people of Mexican origin live.

What is Flamenco?
by Simn el Rubio

Flamenco today is made up of the song (cante), the dance (baile), the guitar (toque) and extra elements of
rhythmic accompaniment, such as handclapping (palmas), finger snapping (pitos), tongue clicking and even
knuckle bashing on a tabletop. Castanets - a Spanish-classical influence - are also played in some dances and
performers often shout words of encouragement known as jaleo. During quieter moments and with a bottle of
sherry on the table, there may be recitation of poetry with or without guitar accompaniment. The modern
influence is to add still more instruments, such as flute, bass guitar and a percussive boxlike drum called a cajn.

The important thing to bear in mind is that, at its source, flamenco for the Andalusians is a way of life, rather
than simply a folk art. It does not have to be staged. It can just happen. With his friends at the bar, an
Andalusian might break into song perhaps singing, a verse of his favourite fandango, and immediately an
atmosphere is created which, if a guitarist is present, would turn into a little party or juerga. There are of course
sizeable flamenco festivals with invited professional artists, flamenco in the theatre and the tourist orientated
group. These are more recent historical developments.

Arguably the song is the most important element in flamenco. The guitar is used to accompany and the dance,
although related to the song in its historical development, was subject to different influences. Yet there are many
elements to take into account when discussing the history and origin of flamenco. Indeed both Andalusians and
the gypsies who live in Andalusia ( and it is important to note this, distinction) will argue as to who has the
better claim to origin. There is for example a marked distinction within flamenco (whether song, dance or guitar)
between those rhythms that are gypsy based and those that are folklore based.

Take for example the popular dance called Sevillanas, which is danced by couples with or without castanets. It is
not of gypsy origin, but seems to derive from an old Castillian folk dance called a Seguidilla (and did not
originate from Seville as its name misleadingly suggests). It can be said that Sevillanas has become incorporated
into flamenco through amalgamation over a period of time and indeed gypsies do sing Sevillanas. This is where
the arguments will begin about what is purity in flamenco? Ask any aficionado (enthusiast) and you will be
guaranteed a night of discussion. In fact the flamenco debate goes beyond purist versus modernist, since
questions of musical, geographical, cultural and political heritage will be relevant.

I started this article with a definition of flamenco, but upon reflection it is too simplistic. On a deeper level, a
definition of flamenco will ultimately depend upon what the Andalusians, the gypsies, the performers and
flamencologists, not to mention the public, generally agree to be flamenco. Since it is an artform that
incorporates improvisation and spontaneity, it will constantly change. Indeed it has to evolve to survive. Those
flamenco songs and dances performed fifty years ago have now acquired the characteristics of tradition.

Consequently, aficionados will test new compositions of the song, dance and guitar against a background of
what is or is not "traditional" to determine whether it is pure flamenco or simply something merely flamenco
based. Nowadays it is fashionable for the new generation of flamenco guitarists to incorporate jazz harmonies
and jazz chord progressions which were never used 50 years ago. They still follow the same rhythmic structure
of flamenco, but it begs the question: is it no longer flamenco? Well, it is all a question of degree and how
quickly people are willing to accept the new influences into the broad scope of their art. The definition will
therefore fluctuate as much from one decade to the next, as it will from town to town.
Traditional Dances and Instruments of the Gascogne
by Marilyn Smith

When we think of Gascon dances from the southwest of France, it is the rondeau which comes to mind as the
quintessential Gascon dance popular in the region even until the first third of the 20th century. A dance in 6/8 or
2/4, the rondeau varies from town to town and region to region. Most often it was done in short lines of four
people, a man leading the line followed by two women and ending with another man. The form of the dance is
simple, allowing for improvisations. Usually the dance was done to singing without any instrumental
accompaniment. The words to the songs usually told a story or anecdote about everyday life often comical or
mocking. There are also couple forms of the rondeau with couples traveling clockwise in a circle, one couple
behind the other, in a processional formation. Even when danced in couple formation, the rondeau is considered
to be a collective dance. One hypothesis is that the rondeau began as a closed circle then eventually broke into
an open circle and smaller lines and finally into couples.

Another dance form specifically Gascon is the congo or marin-congo, though similar dance forms are found in
other parts of France, especially Brittany. Some trace the origin of this dance to the sailors who sailed on the
rivers of France. According to stories by sailors, there was a dancing master on the ships to entertain the crews;
when the sailors returned home, they continued dancing. Some forms of the congo are danced in a quadrette
formation and show signs of influence from the English contredanse. Congo can be a complicated dance form
with many different patterns, figures, and displacements and often involves games of flirtation among the
dancers.

The branle, one of the oldest dance forms and often known in the ancient writings of the 13th century as the
danse en rond, was a dance known throughout the Midi-Pyrnes region. Thoinot-Arbeau wrote detailed
descriptions of the different forms of branle in his Orchesographie in 1588. The branle was a collective dance
done in lines for any number of dancers and is simple in form allowing for diversity within a rather limited
structure.

During the second half of the 19th century, many imported dances became popular in the French countryside
such as the waltz, schottishe, mazurka, and polka, but with French regional tunes and often regional styles. The
waltz remained primarily the same in France, and it is only the melodies which would distinguish a waltz from
the Gascogne from a waltz in the Limousin. The French dance styling for the waltz, however, was very flat and
smooth. The polka as borrowed from abroad stayed primarily the same except for the
melodies and the specialty polkas which sprang up in different regions, like polka pique,
bb, etc. The schottishe and mazurka have been well integrated into the French musical
and dance tradition, and regional variants of these dances can be found throughout France.

Though many common traditional instruments are found throughout France such as the
violin, the bagpipe, the vielle roue (hurdy-gurdy), and the diatonic accordion, there are
several instruments which are found exclusively in Gascogne or in Occitania.

One of the most widely used wind instruments is the fifre (or lo pifre in the Gascon
language). This instrument has a mouthpiece and six holes and belongs to the family of
cross flutes (fltes traversires) and is often accompanied by a small drum or a big drum.
It is used not only for dancing but especially for traditional and official ceremonies such as
the maypole celebration or on the occasion of conscripts going away to the army.

Another common instrument played in the Gascon is the three-holed flute (flte trois
trous) similar to the Basque xixtu or the Provencal galoubet. Since only one hand is needed
to play the melody, this instrument is often accompanied by the string drum (ton-ton, or
tambourin cordes). This is a wooden instrument (see Figure 1) with six strings tuned in
fifths. It is struck with a stick and acts as a percussion instrument to provide rhythm for a
tune. These instruments were used not only for dancing but also during carnaval and to
accompany the conscripts on their departure to the army.

Figure 1.
String Drum
Though bagpipes are found throughout France (there are 14 different types in France), there is one
which is typically Gascon from the area called the Lande. This landaise cornemuse has a bag, a
mouthpiece (bouhet) a chanter or pihet with a simple reed, and six holes (five in front and one
behind for the thumb) to play the melody. (See Figure 2.) The peculiarity of this bagpipe is that
the drone is not in a separate bore of wood but in a parallel bore with the chanter. The drone also
has a simple reed and a single hole. There is not much information available on how these
bagpipes were made or the technique of playing. Only people over 80 years old today would have
actually heard these instruments played.

Though we think of the vielle roue (hurdy-gurdy) as an instrument primarily from the center of
France, it is also an instrument played in the Gascogne. To describe this instrument is very
difficult. It is a wooden instrument shaped like a guitar or a lute with a convex arched back. There
are six strings which are continually bowed by a wheel which is turned by a handle or crank. There
are two chanterelle strings which play the melody and four drone strings. The melody strings pass
through a keyboard box. The keys are pressed and push against small wooden tangents which in
turn push against the melody strings, lengthening or shortening them to produce notes (like fretting
a guitar). The range of notes covers two octaves. The drones are not controlled by the keyboard
and always sound the same pitch. One of the four drones has a special function which gives the
vielle roue its uniqueness. This is the trompette string which is mounted on a small piece of
wood shaped like a dog (and called le chien). The dog is not glued to the soundboard but is
held there by the tension of the trompette string.
When one gives a little extra torque to the handle
which turns the wheel, the dog is vibrated rapidly on
the sound board to produce a rhythmic buzzing sound.
Thus, the vielle roue is an instrument which can play
melody, drone, and rhythm at the same time.

Though many of the regional dances and instruments
of the Gascogne died out as a living tradition after
World War I, they have enjoyed a revival in the
1960s, 1970s, and until the present day by a new generation of young dancers, musicians, and instrument
makers.
__________
Sources of information:
1. La Danse en Midi- Pyrnes by Pierre Corbefin in Musique et Voix Traditionnelles Aujourdhui, Vol. 2,
published by the Conservatoire Occitan, Toulouse.
2. Musique en Sentiers: Traditions, Instruments et Musiciens by Lothaire Mabru, published by A.D.A.M.
Gironde (Association pour la Diffusion et lAnimation Musicales en Gironde) and C.R.D.P. in Bordeaux.
Figure 1: Musiques den France: Guide des Musiques et Danses Traditionnelles published by CENAM (Centre
National dAction Musicale), 1988.
Figure 2: La Cornemuse des Landes de Gascogne by Lothaire Mabru published by Centre Lapios.
Figure 3: Musique den France published by CENAM, 1984.

French Bourre
by Marilyn Smith

France has a rich and varied dance tradition comprised of "borrowed" dances and distinctly regional dances
whose origins are not clearly known. Most of us who play French music or who have heard it played are
familiar with some of the basic dance forms: waltz, polka, mazurka, marche, scottish, rondeau and the bourre.
This article would like to look more closely at the bourre as found in the center of France, in Berry and
Auvergne.

It is surprising how much diversity can be found in the bourre. This diversity is in the steps, formations,
patterns, arm movements, styling and even rhythm. The most important differences have to do with regional
differences, i.e. a bourre from Berry is decidedly different from a bourre from Auvergne.

Figure 2.
Bagpipe
chanter

Figure 3. Vielle roue
The writer Georges Sand, who lived in Berry for some time, wrote about the music and dance of Berry as it was
known in the 1800's. She felt that the character of the Berrichone people could be found in their bourres. She
wrote: "...Aucun people ne danse avec plus de gravite et de passion en meme temps..." (from "Le Meunier
d'Angibault"). And it is exactly this combination of gravity and passion that she speaks of which makes the
bourre berrichonne so different from the bourre auvergnate.

It is difficult to ascribe adjectives or qualities to music and dance, but if the bourre berrichonne is somewhat
subdued yet very intense at the same time, the music of the bourre auvergnate is light-hearted, "happy" and
playful-sounding music that makes one feel like singing along with it. The sound of the music is very different
also in terms of instrumentation. Traditionally the bourres from Berry would be played with cornemuse and
hurdy-gurdy, with the "buzz" of the hurdy-gurdy strongly defining the rhythm; the bourres from Auvergne are
traditionally played with cabrette and accordeon with the cabrette player also wearing bells around his ankle and
strongly tapping out the counts 1 and 3 of the measure.

The most obvious differences between the bourres of Berry and Auvergne can be found in the styling as well as
the footwork. In the bourre berrichonne the arms are held at the side, the steps are fairly flat and very smooth,
achieving almost a gliding quality with a strong accent on count 1 of measures 2 and 4. In Auvergne, the arms
are usually held up and slightly forward, "framing" in a sense, the dancer's face. The arms are moved in this
position slightly side to side. The women sometimes hold their arms in front and slightly below their face (about
shoulder height), arms bent, and do a kind of "rolling" motion with their forearms. The footwork is smooth and
gliding with no strong accent on count 1 or 3. Men may do stamps at the end of the 4th measure.

The diversity of both types of bourres is found in the formations, patterns and forms of the dance itself. The
bourres from Berry take the following forms: droite (2 lines, contra style), caree (in quadrettes) and ronde
(circle). In Auvergne you would usually find the quadrette formation.

The important difference between the two bourres is not so much the formations, but certainly the direction the
bourre takes. For instance in Berry, the basic avant-deux bourre step is done towards one's partner and away
from one's partner. The basic bourre step in Auvergne moves in a lateral direction.

As for rhythms, it is very common to see bourres from Berry done in both 2/4 and 3/4 (or 3/8), depending on
the particular bourre. The same bourre step is done to both rhythms. The effect is that in 2/4, the step is
livelier, faster, more energetic and has a strong accent on count 1 of measures 2 and 4. Most bourres from
Auvergne are commonly done in 3 time. In parts of Auvergne, Rouergue and Haut-Languedoc, there exist dance
tunes in 2/4, called by some "bourres" and by others "montagnards".

Many of the bourres in both Berry and Auvergne are "composed" dances; that is, certain steps and formations
would be done to certain tunes. This is not to say that there is no room for improvisation in the bourre form. It
is most readily found in the "generic" bourres of the two regions: In Berry, the Bourre Droite and in
Auvergne, the Borreia Simpla. Here dancers are free to do any number of bourre figures at whim with a few
"ground rules" dictated by the fact that the dance is from Berry or Auvergne. In Berry, one can usually count on
the established pattern of 4 avant-deuxes bourre steps for melody 1 of the tune; then any number of possible
figures could be done for melody 2 of the tune (i.e. croisement, pastourelle, etc.). Within the avant-deux
structure of melody 1, dancers are free to do individual turns in place, "chasing" avant-deux, hair-pin turns,
right-shoulder/left-shoulder avant-deux, etc. In the Borreia Simpla of Auvergne, couples would most likely do
the lateral bourre steps for melody 1 of the tune; for melody 2 they would have their choice of several options:
waltzing with their partner, doing individual turns clockwise and counterclockwise, woman turning while the
man "chases" her, or doing a chaine anglaise if dancing in a quadrette.

Bibliography

Austrian and Bavarian Folk Dances, Morry and Nancy Gelman, syllabus of a workshop
sponsored by the Miami Valley Folk Dancers, Dayton, Ohio, 1984

Chants de jeux Francais, French Game Songs, Ruth De Cesare, Mills Music, Inc, New York,
1962 (English instructions, songs in French and English)

Dances of France I: Brittany and Bourbonnais, Claudie Marcel-Dubois and Marie Marguerite
Andral, published under the auspices of The Royal Academy of Dancing and the Ling
Physical Education Association, New York, Canticleer Press, 1950. Part of the series
Handbooks of European National Dances, edited by Violet Alford. (in English)

Dances of France III: The Pyrenees, Violet Alford, published under the auspices of The
Royal Academy of Dancing and the Ling Physical Education Association, New York,
Canticleer Press, 1952. Part of the series Handbooks of European National Dances,
edited by Violet Alford. (in English)

Dances of Germany, Agnes Fyfe, published under the auspices of The Royal Academy of
Dancing and the Ling Physical Education Association, New York, Canticleer Press,
1951. Part of the series Handbooks of European National Dances, edited by Violet
Alford. (in English)

Folk Dances of the United States and Mexico, Anne, Schley Duggan, Jeanette Schlottmann,
and Abbie Rutledge, A. S. Barnes and Co., New York, 1948

Folk Dress of Europe, James Snowden, Mayflower Books, Inc, New York, 1979

French Dances, Germain Hbert, syllabus of the Memorial Day Folk Dance Weekend, Camp
Canadensis, New York, 1994

French Folk Dancing, Parts 1 and 2, Cindy Lopez, Gessler Publishing Co., 1989 (includes
instructional video, music tape, and instruction book)

French Folk Dances, Marilyn Wathen (now Smith), syllabus of a workshop sponsored by the
International Folk Dance Association of University City, St. Louis, 1993 (in English)

French Music and Dance Weekend, Marilyn Wathen (now Smith), Benoit Bourque, syllabus
of a workshop sponsored by the Miami Valley Folk Dancers and Cityfolk, Dayton,
Ohio, 1995

French-Canadian and Breton Dances, Yves Moreau, syllabus of a workshop sponsored by the
Miami Valley Folk Dancers, Dayton, Ohio, 1980

German and Swiss Dances, Karin Gottier, syllabus of a workshop sponsored by the Miami
Valley Folk Dancers, Dayton, Ohio, 1999

German Folk Dancing, Parts 1 and 2, Cindy Lopez, Gessler Publishing Co., 1989 (includes

Germania Album, Deutsche Volks-Lieder und Populre Schlager, A. Fassio, Edward B.
Marks Music Corporation, New York, MCMXXXIV

Das groe Buch der Volkstrachten, Albert Kretschmer, Rheingauer Verlagsgesellschaft,
Eltville am Rhein, 1982 (in German)

International Folk Dances, Bea Montross, syllabus of a workshop sponsored by the Miami
Valley Folk Dancers, Dayton, Ohio, 1981

Kentucky Dance Institute Syllabus, Stew Shacklette et al, 1974, 1975

Le Folklore, A La Semaine De France, Paris, Editions Jacques Vautrain, 1945 (in French)

Spanish Folk Dancing, Parts 1 and 2, Cindy Lopez, Gessler Publishing Co., 1989 (includes

World of Fun Manual of Instructions, R. Harold Hipps, Wallace E. Chappell, Board of
Education of the United Methodist Church, Nashville, Tennessee, 1970

Internet Resources

Alegria, the Mexican Folklrico Home Page
http://www.alegria.org/
Bagatelle, Folk Dances of France
http://www.geocities.com/leslie_hyll/bag.html
Bavarian Costume
http://www.marquise.de/ethno/bayern/
Chansons Rpondre
http://infoweb.magi.com/~yvondian/chanson/chanson1.html
CHICO's Music Heritage Network
http://www.si.umich.edu/CHICO/MHN/
Internet Activities for Foreign Language Classes
http://members.aol.com/maestro12/web/wadir.html
German Folk Dancing
http://members.nbci.com/germandance/
German Folk Songs
http://ingeb.org/Volksong.html
Das Lederhosen Museum
http://www.lederhosenmuseum.de/
http://www.geocities.com/mvfolkdancers/
Volktanz & MIDI-Archive
http://www.volkstanz.at/

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