San Diego State University

School of Music and Dance

SYLLABUS
Spring 2015

Course Title: DANCE 382 - Dance in World Cultures (3 units - lecture)

Instructor: Graham Hempel, Associate Professor of Dance

Email: ghempel@[Link] Phone: 619-594-6828
Office: Music 211
Office Hours: Tuesday & Thursday 8:00 – 9:00 AM
Also by appointment.

Courses that fulfill the 9-unit requirement for Explorations in General Education take the goals and skills
GE Foundations courses to a more advanced level. Your three upper division courses in Explorations will
provide greater interdisciplinary, more complex and in-depth theory, deeper investigation of local problems, and
wider awareness of global challenges. More extensive reading, written analysis involving complex
comparisons, well-developed arguments, considerable bibliography, and use of technology are appropriate in
many Explorations courses.
This is an Explorations course in the Humanities and Fine Arts. Completing this course will help you to do
the following in greater depth: 1) analyze written, visual, or performed texts in the humanities and fine arts with
sensitivity to their diverse cultural contexts and historical moments; 2) describe various aesthetic and other value
systems and the ways they are communicated across time and cultures; 3) identify issues in the humanities that
have personal and global relevance; 4) demonstrate the ability to approach complex problems and ask complex
questions drawing upon knowledge of the humanities.

COURSE DESCRIPTION
Dance in selected cultures; geographic, historical, social, and aesthetic factors which have shaped
development and function. Including an introduction to dance ethnology.

COURSE OBJECTIVES
At the completion of this course, the student will be able to demonstrate a practical application of the
subject matter in the following ways:
1. Demonstrate an awareness of dance as a cultural phenomenon in other cultures and their own;
including identification of the anthropological perspective of dance, dance in cultural context, and
the structure and function of dance.
2. Identify significant factors that have shaped traditional dances of selected cultures including their
geographic, historical and cultural influences; their relative dance structures; & the music, dress,
and aesthetics of each. Additionally, comprehend the future of dance in the cultures of the world.
3. Demonstrate an understanding of the use of space by native dancers in traditional dance forms to
include dance-floor plans and formations, directions of movement, and focus. Also, an
understanding of social conventions to include deportment, etiquette, culture-specific movements,
and cultural context.
4. Demonstrate an understanding of rhythms and tempi used in traditional dances including
fundamental, uneven, & complex rhythms; composite and syncopated rhythms; & various tempi.
5. Demonstrate an awareness for the differing technique and style of traditional dance forms in
selected cultures including their artistic expressions.
COURSE CONTENT

1. Lectures and readings from scholars in the fields of dance ethnology and anthropology examining
dance as a phenomenon and the position of dance in the sphere of human behavioral traits.
2. Lectures, videos, artifacts and guest speakers/performers illustrating the traditional dance forms
of selected cultures.
3. Exploration of traditional dancing in selected cultures, to include Croatia, Georgia, Guinea,
Hungary, India, Ireland, Morocco, Roma, Russia, Serbia, and the United States.

CLASS ADMITTANCE POLICIES

Prerequisites: Completion of the General Education requirement in Foundations II.C. Humanities.

Auditing: No auditors. You may choose the Credit/No-credit option instead.

Credit/No-Cr: For those students choosing the credit/no-credit grade option, a grade of CREDIT
will only be assigned to those receiving a grade of C or higher, and for those
receiving a grade of C- or lower a NO CREDIT must be assigned. Therefore, all
students on this option must complete all of the requirements that are expected of all
other students.

NOTE: Observations of the class, by outside visitors, is expressly forbidden without prior consent of
the instructor. Any visitors permitted to observe must first be introduced, before the class
starts, and then observe quietly while seated in an appropriate place in the room and only if
vacant seats are available.

COURSE REQUIREMENTS

Required Text
and Readings: Hempel, Graham. DANCE 382: Dance in World Cultures – Syllabus & Selected
Readings. San Diego, California: Montezuma Publishing, Spring 2015.

Required Readings: These are available in the Reserve Reading Room, Love Library, SDSU.

• Dils, Ann and Ann C. Albright. Moving History/Dancing Cultures.

Middletown, Connecticut: Wesleyan University Press, 2001.

• Spalding, Susan and Jane Woodside. Communities in Motion.

Westport, Connecticut: Greenwood Press, 1995.

Required Materials: Three Par-SCORE “Test Forms.”

Pencil(s).
CLASSROOM PROTOCAL

1. ZERO TOLERANCE POLICY – ALL ELECTRONIC DEVICES MUST BE TURNED

OFF AND PUT AWAY!
Cell phones, laptops, i-pods, i-phones, blackberries, or any other electronic device may not be used
at any time while class is in session. Absolutely no text-messaging during class. Noncompliance
will result in the device being confiscated. A second offense will result in a warning being filed
with the Center for Student Rights & Responsibilities. A third offense will result in expulsion from
the class, the grade of “F” being assigned, and the denial of course forgiveness.

2. TALKING or DISRUPTIVE BEHAVIOR

Unapproved talking, or any disruptive behavior, during class time will result in expulsion from that
class session (Section 41304/California Code of Regulations/SDSU Catalogue). If you are late for
class or have to leave early please do so quietly.

3. FOOD & BEVERAGES

No food, beverages, or chewing gum allowed in the classroom at any time. Water bottles excepted.

4. CLASS STARTING & ENDING TIMES.

Class meets from 11:00 AM until 12:15 PM every Tuesday and Thursday.

5. PARTICIPATION
a. Attendance. Each student is expected to attend all classes, keep up with the reading
assignments, and participate in class discussions.
b. Absences and tardiness.
While roll may be taken absences will not be counted. Please don't be tardy.
c. Make-up policy:
Classes:
• Most sessions include video material that is essential and cannot be re-shown.
• The professor is not available for missed material (either lecture or video).
• He is available to students who attend regularly and seek assistance with assignments or
clarification of the material.
Exams: Due to the large numbers of students in this class and problems with cheating,
exam make-ups are not allowed. (The only exception to this rule is a serious and
compelling reason that is well DOCUMENTED such as an emergency medical procedure,
court appearance, or a documented family crisis.)
Assignments: Assignments cannot be made up they simply must be turned in by their
respective deadlines.
COURSE REQUIREMENTS (continued)

ASSIGNMENT: Traditional Dance Concert(s)

In order to more fully understand and appreciate the dances of the world’s cultures, each student is
required to attend a traditional dance concert. You may choose from one of the two options listed here.

Assignment Options (choose from one of these columns):

A B
Full Concert Two Mini-concerts
(30 points) (15 pts. each)
(2 mini-concerts = 1 full concert)
Approved full-length traditional dance concert. 1. Approved traditional dance & music mini-
concert #1.
Note: Attendance at ballet, modern dance, jazz 2. Approved traditional dance & music mini-
dance, hip-hop, or ballroom is not approved. concert #2.

TRADITIONAL DANCE CONCERT

Each student must attend a full-length concert(s) of traditional dance. (See your instructor for his
definition of a “traditional dance” concert.) This concert must be related to a culturally specific,
traditional (folk/ethnic) dance form (of which at least 50% is dance), preferably done to live music
that lasts for at least 1-1/2 hours. Come to the next class meeting prepared to discuss the concert.
Be sure to obtain a program and ticket stub, staple the ticket stub to the program, and write your
name & course number on the front of the program. Submit these to your instructor by the
deadline, which is Thursday, May 7, 2015 at the start of class.
Where to find concert information:
1. The bulletin board in our classroom.
2. The bulletin board in the hallway near M-113.
3. Newspapers: Union-Tribune “Night & Day” (Thursdays); “Arts section” (Sundays)
San Diego Weekly Reader (Thursdays)
4. On-line dance calendar: [Link]

Maypole dance
COURSE REQUIREMENTS (continued)

TERM PAPER
Each student is required to write and submit a term paper of eight (8) pages.
Select a research topic and have it approved by your professor by the fifth week of the semester.
The topic must be on the traditional dance of a specific culture. Note: Papers on ballet, jazz
dance, modern dance, hip-hop, or ballroom dance will not be accepted.

Overview (see pages 153-159 for details):

1) Annotated Bibliography. An annotated bibliography is required. This will be discussed in
class at the beginning of the sixth week. See pages 155 & 159 for more details.
You may submit this bibliography to your professor by the beginning of the 10th week (March
26) for his review and advice.
2) The paper must be written in the third person, and in a standard format such as APA or MLA.
(See reference librarians if you need assistance on these formats.)
3) This critique must be word-processed using a font of 12-point type, have
one-and-a-quarter inch margins all around, and be a minimum of eight (8) pages of text
(double-spaced) using Times, or Times New Roman, font. Note: The cover page and
annotated bibliography are considered to be additional pages.
4) Detailed guidelines for the paper will be discussed before the second mid-term exam.

Paper is due no later than Thursday, May 7, 2015 at the start of class.
Late papers will be accepted, but graded down one letter grade for each school day late.

EXAMINATIONS
All exams will consist of multiple-choice questions and be electronically scanned using the
ParSCORE system.
NOTE: The University Cheating Policy will be posted & strictly enforced for each exam.
1. The first mid-term exam will be given during the fifth week.
2. The second mid-term exam will be during the tenth week.
3. The final exam will be scheduled during Final Examinations week, in accordance with
university policy, as found on the Spring 2015 Class Schedule at
[Link] The final examination is a
comprehensive exam based on all of the material covered during the semester.
Final Exam will be given on Tues., May 12, 2015 from 10:30 AM to 12:30 PM.
COURSE REQUIREMENTS (concluded)

GRADES
The final course grade is based upon the following five requirements:
Points Percentage
1. Mid-term exam #1 60 20
2. Out of Class Assignment 30 10
Traditional Dance Concert, full-length
(If 2 mini-concerts: 15 points each)
3. Mid-term exam #2 60 20
4. Term paper 50 17
Including annotated bibliography
5. Final exam (comprehensive) 100 33
300 100

Grades will be assigned based upon the following scale:

Points Grade
278 – 300 A
269 – 277 A-
262 – 268 B+
249 – 261 B
239 – 248 B-
232 – 238 C+
219 – 231 C
209 – 218 C-
202 – 208 D+
189 – 201 D
179 – 188 D-
0 – 178 F

CLASS PROCEDURES and MISCELLANY

Class Procedures. The usual procedure in class will be as follows:
Announcements
Discussion of concerts or reading assignments
Lecture & slides
View videos, slides, & artifacts
Discussion
More lecture & videos
Adjournment

Established Office Hours of Your Professor:

If you need to reach your professor outside of class time you may see him in his office. Or, you
may contact him by e-mail or telephone. While he is not available for missed material, he is
available to students who attend regularly and seek assistance with assignments or clarification of
material. See page-1 for office hours and contact information.
DANCE 382: Dance in World Cultures – Prof. Hempel

COURSE SCHEDULE
Week Date Day Lecture/Activity
UNIT I – Dance Ethnology; The Caucasus
1 Jan. 22 Thurs. Orientation; Overview of World Cultures; Concert Assignment.
Jan. 27 Tues. Differing Views; Defining Dance; Dance Ethnology Terms.
2 Jan. 29 Thurs. “…Ballet as a Form of Ethnic Dance;” Differences between Ethnic
dance and Folk dance; The “Ethnic” Chart; Typology.
Feb. 3 Tues. Defining “folk” dance; Factors that Influence the formation of
Traditional Dance; Strata; Villages; Racial Terminology.
3 Feb. 5 Thurs. Republic of Georgia: a. Historical & Cultural overview;
Feb. 10 Tues. Republic of Georgia: b. Djigitovka & Men’s Toe Dancing;
4 Feb. 12 Thurs. Republic of Georgia: c. “Kartuli” as a Courtship Ritual;
Feb. 17 Tues. Republic of Georgia: d. Adjaristani dance style.
5 Feb. 19 Thurs. Term paper sign-up. Review for exam.
Feb. 24 Tues. Mid-term Exam #1*
UNIT II – North America; Europe
6 Feb. 26 Thurs. Exam results. Discussion on annotating a bibliography.
Format for the Study of a Dance-culture.
Mar. 3 Tues. Anglo-American Dance Traditions.
7 Mar. 5 Thurs. Dance in New England; Contra Dance as a Courtship Ritual.
Mar. 10 Tues. Southern Appalachian Dance Forms: The Circle as Community.
8 Mar. 12 Thurs. Irish Dance; “Riverdance” Phenomenon: Is it Folklore or Fakelore?
Mar. 17 Tues. The Balkans & South Slavic Dance Forms: a. Historical Perspective;
9 Mar. 19 Thurs. South Slavic: b. Croatian dance – the circle & collective society;
Mar. 24 Tues. South Slavic: c. Serbian dance – the hierarchy of the kolo.
Balkan Rhythms.
10 Mar. 26 Thurs. Submit Annotated bibliography (optional). Review for exam.
* Mar. 30 - Apr. 3 Spring Break – no classes
Apr. 7 Tues. Mid-term Exam #2*
UNIT III – Europe; Africa; Asia
11 Apr. 9 Thurs. Exam results. Bibliographies to be returned.
Apr. 14 Tues. Dance Forms in Russia & the Ukraine.
12 Apr. 16 Thurs. The Theatricalization of Russian Folk Dance. Term paper mentoring.
Apr. 21 Tues. Cultural Gestures and Body-language;
The Roma: Roma Origins & Adapting Dances to Host Countries.
13 Apr. 23 Thurs. Dance Traditions in Hungary.
Apr. 28 Tues. Overview of West Africa.
West African Dance Traditions: Guinea & Ghana.
14 Apr. 30 Thurs. Dance in northern Africa: Morocco.
May 5 Tues. India: Classical Dance Forms – Bharata Natyam & Kathakali.
India: Folk Dance Forms – Bangra.
15 May 7 Thurs. Term papers due! Review for exam.
16 May 12 Tues. Final Exam – 10:30 AM to 12:30 PM in the same classroom.

*NOTE: Mid-term exam dates are subject to change.

DANCE 382: Dance in World Cultures – Hempel

HOMEWORK ASSIGNMENT
SCHEDULE
Read By
UNIT I – Dance Ethnology
Week 1 Two Different Views of Dance (page 10) Jan. 27
Definitions of Dance (p. 12) Jan. 27
Terminology in the Field of Dance Ethnology – Glossary (p. 145) Jan. 27
Week 2 “An Anthropologist Looks at Ballet as Form of Ethnic Dance” (p. 76) Jan. 29
Differences between Ethnic dance and Folk dance (p. 13) Jan. 29
The “Ethnic” Chart (p. 14) Jan. 29
Definitions of folk dance (p.12) Feb. 3
Factors that Influence the formation of Traditional Dance (p. 16) Feb. 3
Racial Terminology over the centuries (p. 20) Feb. 3
UNIT I – The Caucasus
Week 3 Republic of Georgia: Historical & Cultural overview (see p. 21) Feb. 5
(See also page 110)
Week 4 Republic of Georgia: “Kartuli” as a Courtship Ritual (see p. 27) Feb. 12
Also, Toe dancing, and Dance style in Adjaristan.
Djigitovka (see p. 26)
List of Georgian dances (see p. 30) (See also page 116)
Week 5 Review Feb. 19
Mid-term Exam #1 Feb. 24
UNIT II – North America; Europe
Week 6 Research Format for the Study of a Dance-culture (p. 17) Feb. 26
New England Contra Dance (p. 32) Mar. 3
Week 7 Contra Dance as a Courtship Ritual in America (p. 39) Mar. 5
Southern Appalachian Dance Forms: Circle as Community (p. 41) Mar. 10
Week 8 Irish Dance Forms (p. 46) Mar. 12
The “Riverdance” Phenomenon: Is it Folklore or Fakelore? (p. 49) Mar. 12
South Slavic Dance (See “Balkan Dance” reading on p. 120) Mar. 17
Week 9 Croatia & Serbia (p. 50) Mar. 19
Balkan Rhythms (p. 57) Mar. 24
Week 10 Review Mar. 26
Mid-term Exam #2 Apr. 7
UNIT III – Europe; Africa; Asia
Week 11 Dance Forms in Russia (p. 58) Apr. 9
The Theatricalization of Russian Folk Dance (p. 61) Apr. 14
Week 12 Cultural Gestures and Body-language (p. 63) Apr. 21
Week 13 Roma Origins & Adapting Dance to Host Countries (p. 65) Apr. 21
Dance Traditions in Hungary (p. 68) Apr. 23
Week 14 West African Dance Traditions in Ghana and Guinea (p. 72) Apr. 28
Week 15 Moslem (Muslim) Dance Traditions in Morocco (p. 75) Apr. 30
India (p. 78) May 5
Review. May 7
Week 16 Final Exam – 10:30 AM to 12:30 PM in M-245. May 12
DANCE 382: Dance in World Cultures – Hempel

READING ASSIGNMENTS SCHEDULE

Week & Author Title Anthology Page
Date needed or Book Nos.
2 Kealiinohomoku, “An anthropologist looks at ballet as Anthology 86-95
1/29 Joann a form of ethnic dance.” (Syllabus)
2 Kealiinohomoku “Folk Dance.” Anthology 96-108
2/3
3 Hempel, Graham “Cultural & historical influences on Anthology 110-
2/5 dance forms in the Caucasus.” 115
4 Hempel, Graham “Kartuli: A Soviet Georgian couple Anthology 116-
2/12 dance.” 118
5 Mid-term Exam
2/24
6 Hempel, Graham “Contra Dancing in New England.” Anthology 138-
2/26 142
7 Duke, Jerry “Styles of Appalachian clog dance.” Anthology 134-
3/5 136
7 Spalding, Susan “Frolics, Hoedowns, and four- Communities 11-
3/5 GV1624.A7 C65 Handed Reels…” in Motion * 29
7 Whisnant, David “Finding the Way between the Old Communities 91-
3/5 and the New…” in Motion 109
7 Spalding and “We Tended to Project a Lot of Communities 175-
3/5 Woodside Energy…” in Motion 178
8 Crum, Richard “Balkan Dance.” Anthology 110-
3/17 123
10 Mid-term Exam
4/7
13 Dils & Albright “Commonalities in African Dance” Moving 144-
4/28 GV 1601 M86 by Kariamu Welsh Asante History * 151
14 Dils & Albright “Invention & Reinvention in the Moving 152-
4/30 Traditional Arts” by Z. S. Strother History 164
15 Dils & Albright “Bharatha Natyam – What You Are” Moving 103-
5/5 History 113

*Available in the Love Library, Reserve Reading Room, SDSU

DANCE 382: Dance in World Cultures – Hempel

OUTLINE of LECTURE NOTES

TWO DIFFERENT VIEWS of DANCE

(One by a dance ethnologist, the other by a modern dance choreographer.)

DEFINITION #1:
"A series of movements executed by the body or limbs or both, in rhythm; a measured
leaping, tripping, or stepping, commonly in unison with music, hand-clapping, or other
rhythmic sounds as an expression of personal or group emotion, a religious rite, a theatrical
entertainment, a means of physical education, a social amusement, or, esp. in modern times, as
a form of art; also, the act or technique of dancing. Each type of dance is practiced in some part
of the modern world, but there is an especially widespread interest in social dancing (see Fox
Trot, Jazz, Two Step, Waltz, etc.) and in theatrical dancing (see Ballet, Concert Dance,
Pantomime). The dance in its most primitive form consists of a common movement, such as
swaying or stamping, done by a group of performers to the accompaniment of rhythmic cries
and hand clappings. In this and in developments characterized by the comparatively simple
rhythmical movements of a group, the dance is a play or game (cf. [means: confer, compare]
Waltz, Polka, Reel, Square Dance, Minuet, etc.). But many primitive dances are performances
in imitation of some action, story, or myth, done with magical or religious intent. The war,
scalp, buffalo, snake, and sun dances of the American Indians belong to this class, as do also
many forms of classic dance, as the dithyramb [a kind of lyric poetry in honor, epithet to
Dionysus] in honor of Dionysus, the dance of the Curetes, the dances of the Luperci and Sallii
in Rome. From these mimetic dances developed dramatic performances (cf. Chorus, Tragedy,
Ballet), and many forms of Oriental dancing today are practically dumb-show acting or
posturing (cf. nautch [e.g. belly dancing, dancing girls, India], Hula). Individual performances
are a later development from all these forms of dance, and, as applied to European usage, dance
commonly denotes a display of skill in rhythmic motion, sometimes with scenic or mimetic
elements, as in the clog, the skirt, of the butterfly dance."

DEFINITION #2:
"Rhythmic movement having as its aim the creation of visual designs by a series of poses
and tracing of patterns through space in the course of measured units of time, the two
components, static and kinetic, receiving varying emphasis (as in ballet, natya, and modern
dance) and being executed by different parts of the body in accordance with temperament,
artistic precepts, and purpose.
DANCE 382: Dance in World Cultures – Hempel

GUIDELINES for a DEFINITION of DANCE

Any substantial definition of dance should include all, or at least most, of the following:

1. Limit dance to that of human behavior.

2. Include the concept of rhythmic or patterned movement.

3. Dance is done for some purpose transcending utility.

4. Includes all forms of dance.

5. a. Includes intent by the performer;

5. b. Includes acknowledgement by the observer(s).

DANCE 382: Dance in World Cultures – Hempel

DEFINITIONS of DANCE

Too Verbose:
"Dance can be most usefully defined as human behavior composed, from the dancer's perspective,
of (1) purposeful, (2) intentionally rhythmical, and (3) culturally patterned sequences of (4a)
nonverbal body movements (4b) other than ordinary motor activities, (4c) the motion having
inherent and aesthetic value. (Aesthetics refers to notions of appropriateness and competency held
by the dancer's reference groups which act as a frame of reference for self-evaluation and attitude
formation to guide the dancer's actions.)" - Judith Lynne Hanna, 1979

Historical & Humorous:

"In a general sense, a leaping and frisking about. Appropriately, a leaping or stepping with
motions of the body adjusted to the measure of a tune, particularly by two or more in concert. A
lively brisk exercise or amusement, in which the movements of the persons are regulated by art,
in figure, and by the sound of instruments, in measure. - Noah Webster in An American Dictionary of the
English Language, 1828

The best so far (and our definition):

"Dance is a transient mode of expression, performed in a given form and style by the human body
moving in space. Dance occurs through purposefully selected and controlled rhythmic movements;
the resulting phenomenon is recognized as dance both by the performer and the observing members
of a given group." - Joann Kealiinohomoku, 1970

DEFINITIONS of FOLK DANCE

“A vernacular dance form performed in either its first or second existence as part of the little
tradition within the great tradition of a given society. It is understood that dance is an affective
mode of expression, which requires both time and space. It employs motor behavior in redundant
patterns which are closely linked to the definitive features of musicality.” Joann Kealiinohomoku, 1972

This is the best one (and our definition):

“Folk dance may be defined as the traditional dances of a given country which have evolved
naturally and spontaneously in conjunction with everyday activities and experiences of the people
who developed them.” Duggan, et al., 1948
DANCE 382: Dance in World Cultures – Hempel

DIFFERENCES BETWEEN ETHNIC DANCE & FOLK DANCE

Three Historical Attempts to Define the uses of Folk & Ethnic: The Folk/Ethnic Confusion.
These are the various explanations of the difference between “folk” and “ethnic” over the years.

1. Ethnic is art, and folk is not. Early twentieth century:

La Meri and Denishawn staged works on ethnic themes and referred to their works as “ethnic,”
or “ethnological” in Ruth St. Denis’ case. This reference was made to distinguish them as art
rather than commonplace folk dance.

2. The evolution of “ethnic” to “folk.” (Lois Ellfeldt) Mid-twentieth century (1950’s):

In Ellfeldt’s Dance From Magic to Art (1976), she asserted that dance followed an evolution
from ritual to refinement.

Her chart looks like this:

Dance Ritual
ê
The meaning gets lost, but tradition is still there.
ê
Ethnic Dance
ê
The tradition gets lost.
ê
Folk Dancing (including imports)
ê

ê ê
Social Dance (Refinement) Jazz Dance
ê

ê ê
Fad Ballet, classical (Further refinement, & performance art or spectacle.)
(vernacular) ê

ê ê
Ballet, contemporary Modern (Rebellion)

3. Ethnic is serious, and folk is recreational. Late twentieth century:

“Ethnic” was used to denote a serious approach to the study of traditional dance forms.
“Folk” was used to denote a not too serious pursuit of arranged, recreational dances that were
being passed off as folk dances. In some cases they were authentic, but in many others they
were merely arrangements or choreographies.
DANCE 382: Dance in World Cultures – Hempel

THE ETHNIC DANCE CHART

author
E T H N I C Joann K.
Categor Ritual Soc ial Thea trical Jack
-ies Anderson

⇒
Forms Many Court Ball- Vernacular Traditional others Jazz Ballet Modern
by room (tap)
function

Tradi- Many,
tions many,
many
traditions.

Types

Styles

Dance as ⎥ Dance as a John

spectacle. ⎥ means of Martin
⎥ communication.

ETHNIC from Joann K.

RITUAL/SOCIAL/THEATRICAL from Jack Anderson

DANCE as SPECTACLE from John

DANCE as COMMUNICATION Martin

“It is silly to talk about the difference between dance that is art and dance that is
entertainment, because good art entertains.” - George Balanchine
DANCE 382: Dance in World Cultures – Hempel

TYPOLOGY of TRADITIONAL DANCE

Forms of Dance
Traditional Dance
Ballroom Dance
Ballet
Tap Dance
Jazz Dance
Modern Dance

Dance Traditions
Traditional dance must further be subdivided into specific traditions.
Examples:
Balkan
Georgian
Indian
Irish
Mexican
Russian
South African
Spanish

Types of Dance
A specific tradition can be further subdivided into types (if appropriate).
Examples:
Circle Dances
Line Dances
Square Dances
Group Dances
Couple (partner) Dance
Men’s Dances
Women’s Dances

Styles of Dance (Dialects)

Types can be further subdivided into styles (if appropriate).
Examples:
New England style of American square dance.
Southern style of American square dance.
Western, or Cowboy, style of American square dance.
Modern, or Club, style of American square dance.
DANCE 382: Dance in World Cultures – Hempel

FACTORS that INFLUENCE the FORMATION and EVOLUTION of

TRADITIONAL DANCES

“Dance is a universal urge without a universal form.” - John Martin

Geography (including terrain & climate)

Factors such as a mountainous terrain or the plains (flatlands).

Props/masks
Animal masks; spirit masks

Dress/costume
Factors such as heavy garments, light garments, or lack of garments.

Mores/Customs (Belief systems, including religion)

Factors such as dancing only with one’s partner; not swiveling the hips; men and women
dancing separately; dancing only on certain holidays; etc.

Music
Factors such as rhythmic structure; tempi; instrumentation; counterpoint; etc.

Economy (including resources)

Factors such as wealth or poverty; fishing economy or agrarian; etc.

Technological Complexity
Factors such as technologically simple in rural communities, or technologically complex in
urban communities; etc.

Neighboring people and immigrants (influences from them)

Factors such as proximity to other cultures; immigrant communities within culture; etc.
DANCE 382: Dance in World Cultures – Hempel

RESEARCH FORMAT for the STUDY of a DANCE-CULTURE

A thorough study of a dance-culture should include many, if not all, of the following factors.
The Name of the Culture:
• Dance Tradition (if different)
The Land & its People (No greater than 50%, but at least 30%)
The Land:
• Geography, terrain, & climate
The People:
• Physical Characteristics of People
• Class of People(s) [If appropriate]
• Language(s) & alphabet(s)
• History
• Economy
Natural resources
Industry
Agriculture (including foods)
• Technology, and Technological Complexity
• Customs & Mores
• Religion(s)
• Dress/Costume
• Types of Musical Instruments
• Festivals
• Neighboring peoples & Immigrant communities

Their Dance (At least 50%)

• Dance Traditions

• Types of Dance

• Styles of Dance [If appropriate]

• Names of Dances

• Music & Rhythms (including meters & tempi)

• Use of Props & Masks [If appropriate]

• Formations & Positions used

• Use of Space [If available]

• Complexity of their dance

• Difficulty of their dance [If available]

• Techniques and Vocabulary of Movements (names of steps; movements)

• Stylistic Idiosyncrasies [If available]

DANCE 382: Dance in World Cultures – Hempel

STRATA of TRADITIONAL DANCE

STRATA/LEVELS

Century Age Dance Forms Technology

21st Century Information highly advanced
--------

20th Atomic, & Vernacular dance: Hip hop, etc. Electronic, &
Space Contemporary ballet Computer
Modern dance
--------

19th Industrial Minstrelsy Industrial Revolution

Ball-room Dance (steam engines)
Classical ballet
-------

18th Enlightenment Early ballet Early technology

late Court dance (water power)
--------

17th Discovery (end) Ballet de cour Hand wrought

-------- machinery

16th Renaissance (end) Ballet de cour First flush toilet

Peasant dance (trad.)
-------
Discovery (start)
15th Renaissance Peasant dance (trad.) First printing press
--------
14th Renaissance (start) early Court dance Mechanical clock
--------
9th CE Feudalism (begins) Peasant dance (traditional) Tidal mills
--------
5th CE Dark Ages (5th to 10th) Peasant dance (traditional) Numerical zero
--------
8th – 4th BCE Antiquity First theatrical dance Wheelbarrow
--------
3,000 BCE First Civilizations Communal dance (traditional) Early agriculture
--------
10,000 BCE
to Stone Ritual ceremonies Cutting tools
2 million BCE
DANCE 382: Dance in World Cultures – Hempel

VILLAGE as a CONSTRUCT

Nearly all traditional dances start and are maintained at the village level. Villages were, and
still are, an important part of the development of the social structure of humanity. It is in the rural
village setting that we find the continuation of all the deep-rooted traditions of culture, which find their
way up to larger communities through adaptation, adoption, and assimilation.

As of 2009, the United Nations estimated that more than 50% of the world’s populations lived in cities.

Conurbation
(A group of large cities and their suburbs, consisting of three to ten million people.)
County of Los Angeles: 9,818,605

Metropolis
(A large city and its suburbs consisting of multiple cities and towns. The population is usually one to
three million.) San Diego: 1,307,402

Large City
(300,000 to 1 million with many services.)
San Francisco: 805,235

City
(100,000 to 300,000)
Abundant services, but not as much as a large city.
El Cajon: 100,116

Large Town
(20,000 to 100,000)
Quite a few services, but less than in a city.
Santee: 53,413

Town
(1,000 to 20,000)
A few services, but rather minimal.
Alpine: 14,236

Village
(100 to 1,000)
Does not have many services; possibly only a small store and/or post office.
Boulevard: 315

Hamlet
(A tiny population of less than 100)
Very few, if any, services. Only a few buildings.
Mount Laguna: 57
DANCE 382: Dance in World Cultures – Hempel

RACIAL TERMINOLOGY – An Historical Perspective

Old Terminology (and old, limited thinking)

19th Century:
Caucasoid
Mongoloid
Negroid
Early Twentieth Century:
Caucasian
Oriental
Negro (also Colored)
Mid Twentieth Century:
White
Asian*
Black

Current Terminology (needs to be changed)

Late Twentieth Century:
White
Asian-American
African-American
Native-American

New Terminology
21st Century:
European-American
Asian-American
African-American
Native-American
Hispanic-American

The Future
22nd Century:
Race won’t be noticed. It will just be a quaint subject in the history books.

* It is interesting to note that Asians were never referred to as “yellow.”

DANCE 382: Dance in World Cultures – Hempel

GEORGIAN DANCE

The Republic of Georgia – An Overview

Name of Dance-culture: Georgia

Family of language: Caucasic: Indo-European languages:
Georgian English Russian
Place Sakartvelo Georgia Gruzia
Person Kartveli Georgian Gruzini
Language Kartveluri Georgian Gruzinski
Adjective Kartuli Georgian Gruzinski

Geography, terrain, & climate:

1. Mountains
Mt. Elbrus: 18,510 feet.
Mt. Kazbek: 16,558 feet.
[Mt. Blanc, Switzerland: 15,781 ft.]
[Mt. Whitney, California: 14,494 ft.]

2. Valleys & plains, fertile.

Area of Georgia: 26,911 square miles.

[Area of counties in Southern California:]

San Diego 4,200 sq. mi.
Orange 789 sq. mi.
Los Angeles 4,060 sq. mi.
Riverside 7,200 sq. mi.
Imperial 4,200 sq. mi.
Ventura 1,845 sq. mi.
Santa Barbara 2,737 sq. mi.
25,031 sq. mi.

Physical Characteristics: Medium complexion; usually black or dark hair.

A very “handsome” people.

Class of People: Many classes of people. Same dancing done by almost all classes.
Merchant class historically significant.

Population: ~4.6 million as of 2007. (San Diego & Orange counties are ~6 million)

Language & alphabet Kartvelian [Georgian] (Caucasic family);

Georgian alphabet.
Many other languages in the region. In fact, the ancient Greeks referred to
the Caucasus Mountains as the “Mountain of languages.”
DANCE 382: Dance in World Cultures – Hempel

Cultural characteristics: In addition to prefixes and suffixes in their language they make use of
“infixes!”
Their word for father is mama.
They make use of a lot of consonants in their words.
Their word for “frog” is Gvbrdgvnit.

History:

Resources: Water: Because of the Caucasus Mountains there is a lot of water flowing
through Georgia.

Minerals: Many mineral deposits including gold.

Energy: Coal and petroleum.

Economy Historically important trade route - hence, a large, well-established merchant

class.

Famous caravan routes: While the fabled “silk route,” that extended from
Constantinople in the west to China in the east, went through Damascus and
Baghdad it didn’t extend as far north as Georgia. However, there were
subsidiary routes that did connect with the silk route.

Present day
Agriculture: Grapes, tea, citrus fruits, tobacco, & silk. Wine is a very
important industry in Georgia.

Metal working: Famous for their gold and silver inlays on all kinds of
implements.

Weaving (carpets): They are famous for their woven carpets. (As are the
Turks and Persians.)

Art & Literature: World famous for their paintings, sculpting, literature, and
poetry.

Tourism is becoming a developing industry.

DANCE 382: Dance in World Cultures – Hempel

Customs & Mores They are a very proud and independent people with strong family ties. They
frequently practice separation of genders in public.

Religion Most are Christians; there are a few smaller regions of Sunni Moslems; and
there are a few Jewish people mostly in the cities.
Orthodox Christian: 83.9%
Muslim (Islam): 9.9%
Armenian-Gregorian: 3.9%
Catholic: 0.8%
Other: 0.8%
None: 0.7%

Dress/Costume Traditional man’s costume worn in the Kartli region and throughout most of
Caucasus area.

Traditional woman’s gown worn in Kartli region and throughout the area.

Today, most wear contemporary, “western” dress.

Neighboring peoples: Armenians (south), Azeribaijanis (southeast), Turks (west), Russians (north),
and smaller neighboring tribes (to north in Caucasus).

Georgian surname suffixes: - vili

- adze
- idze

Famous Georgians: Josef Stalin (Iosif Vissarionovich Dzhugashvili)

George Balanchine (Georgy Melitonovich Balanchivadze)

DANCE 382: Dance in World Cultures – Hempel

The Music & Dance of Georgia

Georgian Music
Much singing (vocal music). Well known for their men’s choruses. Frequent use of yodeling.

Instruments include strings, flutes, accordions, & drums.

Accordion
Drum
Bagpipe
Chonguri – lute-like, three-stringed instrument
Pandura/Panduri – fretted, three-stringed instrument
Duduk – reed instrument

Dance music usually consists of drums & accordion, and sometimes duduk. The chonguri
and pandura are used to accompany singers and rarely to accompany dancers.

Dance Rhythms
Dance Rhythms are mainly in 2/4, 4/4, 5/4, and pervasive use of 6/8.

2/4 1 2

4/4 1 2 3 4

6/8 1 2 3 4 5 6

5/4 1 2 3 4 5 (Khorumi)

Georgian Musical Examples:

Simd – wedding dance
Gandagan – song
Ali Pasha – song with yodeling
DANCE 382: Dance in World Cultures – Hempel

Georgian Dance
“Dance” = Tsekva [pronounced: TSEK – va]
“Georgian dance” = Kartuli Tsekva

Types: Men’s
Solo competitions
Small group
Large group
Women’s
Group
Duet – one couple at a time
Couples

Formations & Positions (Space)

Usually scattered. Freestyle.
Some use of lines & circles. (Especially in choreographies)

Complexity (Space & Energy)

Very high energy in men’s dances. Moderate energy in women’s

Dance Difficulty (Energy)

Men’s technique is perhaps the most difficult in the world among traditional dance forms.
Styling is also difficult. Men’s style is rugged and aggressive.

Women’s technique is far less difficult, but styling is about as difficult as the men’s.
Women’s style is demur and lady-like.

Technique & Style (Movement characteristics, and stylistic idiosyncrasies):

Very little touching between men and women; only with fabric between their hands.

Dance Style in the Region of Kartli

Central Georgian (Kartli - Christian):
o Smooth, gliding movements across the floor. [locomotor movements]
o Rigid spine
o No use of shoulders
o Little bending at the waist
o Use of arms & hands:
Women: Lyrical; smooth lines; “rolling over” of hands.
Men: Bolder (more staccato) than women.
Smooth when dancing with women, but more angular and staccato when not.
DANCE 382: Dance in World Cultures – Hempel

Djigitovka
Djigitovka probably led to the development of men’s toe dancing in, and prior to, the
nineteenth century. The origin of the word, djigitovka, is most likely from the Russian
language. A djigitovka was an event in which the men would gather to compete with one
another in horsemanship (trick riding), rifle and pistol shooting, knife throwing, wrestling, and
also dancing. These events were held in the Caucasus region as well as throughout the Cossack
lands in southern Russia.

Men’s Toe Dancing

(Your notes here)
DANCE 382: Dance in World Cultures – Hempel

Kartuli – Their National Dance

(Your notes here)
DANCE 382: Dance in World Cultures – Hempel

Dance Style in the Region of Adjaristan

Western Georgian (Adjari – Moslem) – Black Sea coast:
o Bouncy movements across floor.
o Staccato movements in place.
o Supple spine.
o Use of shoulders (isolation).
o Moderate bending at the waist.
o Eye contact between men & women is more than in Kartli styling.
o Hand claps.
o No toe dancing.
o Use of arms & hands:
Much more angular & staccato than Kartli styling.
Wind-milling arms. Men sometimes windmill their arms.

Khorumi – Warriors scouting dance of Adjaristan

Five men only, plus a drummer.

Rhythm: 5/4

S Q S
DANCE 382: Dance in World Cultures – Hempel

GEORGIAN VIDEOS:
1. “Toe Dance” – men of Georgian State Ensemble
2. “Sword Dance” – men of Georgian State Ensemble
3. “Narnari” – women of Georgian Song & Dance Ensemble in rehearsal
4. “Song” – male singers of Georgian Song & Dance Ensemble – rehearsal
5. “Khevshuruli” (sword & shield dance) – Georgian Song & Dance Ensemble – rehearsal
6. “Khevshuruli” (sword & shield dance) – Sukhishvili Ensemble
7. “Simd” – Georgian Song & Dance Ensemble in rehearsal
8. “Simd” – Sukhishvili Ensemble
9. “Kartuli” (duet) – Prof. Hempel in rehearsal in Tbilisi, Georgia
10. “Kartuli” (duet) – Sukhishvili Ensemble
11. “Shejibri” (toe dance) – men of Sukhishvili Ensemble
12. “Khandjiluri” (dagger dance) – men of Sukhishvili Ensemble
13. “Khorumi” – men of Georgian Song & Dance Ensemble in rehearsal
14. “Khorumi” – men of Sukhishvili Ensemble
15. “Adjaruli” – Georgian Song & Dance Ensemble in rehearsal
16. “Adjaruli” – Sukhishvili Ensemble
17. “Mhkhedruli” – Georgian Song & Dance Ensemble in rehearsal

VIDEO QUESTIONS:
Are the women’s gowns floor length?

Are the men’s daggers right-handed or left-handed?

What kinds of leg movements do the women use while dancing? Smooth and gliding, or erratic
and hopping?

What color are the men’s boots?

What parts of their toes do the men dance upon, the tips or the backs?

Do the women also dance on their toes?

Do the men sometime dance upon their knees?

DANCE 382: Dance in World Cultures – Hempel

GEORGIAN DANCES

NAME of DANCE MEANING

Men’s Dances:
Lekouri - solo competition (unknown)
Kazbeki - solo competition Kazbek is a mountain
Mhkhedruli - group competition The horsemen
Khorumi - small group of five Dance of Adjaristan
Khandjluri - dagger dance Khandjal is a dagger
Khevshuruli - sword & shield dance (a Sword dance of the Khevsur people
choreographed dance)
Women’s Dances:
Narnari - gliding dance (unknown)
Couple Dances:
Kartuli - duet for one couple Georgian
Simd - many couples Wedding dance of the Oss people
DANCE 382: Dance in World Cultures – Hempel

ANGLO-AMERICAN DANCE TRADITIONS

Much of the dancing in the Anglo-American tradition comes from Western Europe and particularly
England. While the tradition contains many dances that are done in formations such as squares,
quadrilles, and long-ways sets the oldest of these dances are done in closed circles.

The long held tradition during circle dances, when being done by couples, is that the men dance on
the inside of the circle and the women on the outside. Dance historians believe that this custom
originated in pre-historic, ancient European times.

Bonfire (earlier centuries)

Drummers (later centuries)

Why do the men dance on the inside and the women on the outside?
It has been hypothesized that the men gathered around a bonfire (and in later years around a group
of musicians) and started dancing. At that particular stage in the development of society they were
not doing couple dancing, but instead a group, communal non-partner circle dance. The women
did not dance with the men (nor around the men), because they were attending to utilitarian
matters. What were these utilitarian matters? Tending the children, preparing food, cooking,
gathering firewood, mending, etc.

Later (in the evolution of the cultures) when the women had some free time they would join the
men and start dancing. At first they engaged in the same communal dancing, and over the years
and eons the dancing evolved into dances that we today know as true couple dances: A man and
woman not holding on to one another, but progressing around the dance space. Much later they
danced holding on to one another.
DANCE 382: Dance in World Cultures – Hempel

NEW ENGLAND DANCE TRADITIONS

Name of Dance-culture: New England

Dance Tradition: Anglo-American folk dance

Physical Characteristics

Class of People: Two classes

Town & city merchant class.
Agrarian (farming) class.

Geography, terrain, & climate: Northeastern U.S.A.

“New England” states of Maine, New Hampshire, Vermont, Massachusetts, Connecticut, and
Rhode Island.

Language & alphabet: English; Roman alphabet.

History:
1620 C.E. – The Pilgrims (a.k.a. Puritans)

“Mayflower” set sail from Plymouth, England

Destined to settle in Virginia

Landed - Provincetown, Mass.

Settled near Cape Cod – “Plymouth”

1651 – John Playford’s English Dancing Master

1695 – Sir Roger of Coverly & the Virginia Reel

1728 – Country dances in England; 900 dances

1767 – Nelson, New Hampshire

DANCE 382: Dance in World Cultures – Hempel

Economy:
Natural Resources: Water – used to power mills

Early Industry: Fabric mills

Later Industry (post Industrial Revolution)

Armament factories – Canons

Hydro-electric power

Agriculture

Religion: Christians (mostly)

Neighboring Peoples: Quebecois

New England Dance Music

Music (types & instrumentation):
1. String bands predominate: Fiddle, piano, also mandolin, guitar, & string bass.

2. Piano music in north more than in the southern Appalchian region.

3. Accordion music sometimes (after 1822).

Musical phrasing: Dance phrase and musical phrase always match.

Dance phrase of 32 measures, or 64 beats (counts). AABB format.

A very few tunes are in 48 measures, or 96 beats. Example: “Ragtime Annie.” (AABBCC)

Rhythms:
2/4 – Reel

4/4 – March/Hornpipe

6/8 – Jig

3/4 – Waltz
Musical Introduction: “Shuffle” Mid-west
“Four Potatoes” West
“Intro.” Used in many dance forms.
Example of no shuffle:

Example of shuffle:
DANCE 382: Dance in World Cultures – Hempel

Balls, Barn Dances, Hoedowns, and Kitchen Junkets in New England

Balls in Boston
The Dance Program:

The Dance Card:

Town Hall Dances in New England

Barn Dances and Hoedowns

Kitchen Junkets

New England Dances

Types:
Contra Dance Circle Dances Quadrilles Couple
(Longway Set) (Squares) Dances
A 19th cent. import Introduced in the
from France. 19th cent.
Mostly in cities.
Oldest are Proper, 1. Progressive Circle Styles: Waltzes,
both Duple & (Sicilian Circle) 1. New England Schottisches,
Triple 2. Southern & Polkas.
Duple, Improper 2. Circle Mixers 3. Western
are newest 4. Modern (club)
(since c. 1820)

Contra Dance in New England:

“The oldest active dance form, of European derivation, in the United States today is the New
England contra.” Harry Brauser, AMAN Institute, Los Angeles, 1980.
Originally danced throughout the thirteen colonies, contra dances were only danced in New
England up until c. 1970. Now they are danced in communities throughout the United States, and
in a few other countries as well.
Contra dances are social occasions during which the dancers greet one another during the
course of the dance, and then later exchange news and gossip while seated on the sidelines.
During the dance the dancers use a walking step, except during the swing in which case they
execute a “buzz” step. The “buzz” step can be either a bit bouncy or done smoothly and is believed
to be of French-Canadian origin.
DANCE 382: Dance in World Cultures – Hempel

Contra Dance in New England (continued):

Unlike Appalachian big circle dancing, the caller does not dance, but instead stands on the
stage with the band and calls out the figures. In the old days the calls were given by the fiddler and
he called only long enough for the dancers to remember the dance. In those days there were less
dances than now and it was easier for the dancers to remember each dance. Nowadays, there are
literally thousands of contra dances.

Origin of the term “contra dance.”

A contra dance is literally a dance of opposition; a dance done by many couples face to face,
line facing line in a “longway set.” It is a descendant of the English “longway for as many as will,”
which dates back more than four centuries. The name “contra dance” is considered to be a
corruption of the French contredanse. There are two hypotheses about this French term. One is
that it may have been so named because partners stand in opposition to each other when they begin
the dance. The other is that it is in turn a corruption of the English “country dance.” To date
neither hypothesis has been conclusively proven.

The role of the caller.

The caller is a very important part of the three elements necessary to complete a successful
contra dance event: The band, the dancers, and the caller. A contra dance event, or evening,
usually lasts three hours. The caller functions as a program director, dance master, liaison to the
musicians, and master of ceremonies. He/she selects the dances (which may be traditional or more
recently composed), verbally teaches them to the dancers (the “walk through”), sets the tempo for
the band, delivers the “calls” (prompts), and signals the band when to end. Without the caller to
coordinate the music of the band to the activities of the dancers there wouldn’t be a dance, only a
concert.

Musicians Caller

[The contra dance triangle]

Dancers
DANCE 382: Dance in World Cultures – Hempel

New England

Chronology of events in the evolution of contra dance:

1651 First edition of John Playford’s The Dancing Master: Plaine and easie Rules for the
Dancing of Country Dances, with the Tune to each Dance. There were between 17 & 20
editions published between 1651 and 1728; each of them different. (The last edition
contained over 900 dances.) [John Playford was known as a publisher of music.]

1700 First citation to French contredanse. [Sometimes the French called it vis à vis.]

c. 1750 First reference to English “Sir Roger de Coverly.” It was said to have been done at court
during the reign of King George III. It also was, reportedly, the favorite of George
Washington.

1776 Revolutionary War.

c. 1785 First reference to American “Virginia Reel.”

c. 1790 Duple, improper formation done in England.

c. 1810 Triple, minor dances seem to have been most popular during the early 1800s in America.

c. 1820 First citation to French quadrilles in Boston.

c. 1850 “Buzz-step” Swing starts to evolve from two-hand turn. (1850-1900)

Irish reels and jigs begin to supplant English melodies as traditional music.

c. 1875 Caller (prompter) starts to appear. [No one seems to know exactly when.]

c. 1900 The Longway Set hangs on in New England; & Squares (Quadrilles) move
west & south. Contra dances are preserved in New England, but decline in popularity.

c. 1925 New England preserves the Longway (Contra), particularly in rural New England.

1926 Henry Ford’s (1863-1947) “Good Morning” is published. Among other dances it contains
15 contras. Ford attempted to influence his workers to engage in the wholesome “dances of
our northern peoples” instead of those “immoral” dances of the dance hall to that new
music called “jass” (jazz).

c. 1930 “Square dance” revival begins. “Square Dances” (a.k.a. Barn Dances; Hoedowns)
involved squares, contras, and couple dances such as Fox Trot and Waltz.

c. 1930s Ralph Page (1903-1985). He certainly was influential. As a dance musician turned caller
he became the “dean” of contra dance by c. 1950.
DANCE 382: Dance in World Cultures – Hempel

c. 1950 The “club” square dance movement starts. Square dance composers (choreographers)
start creating new, more complicated figures.

c. 1950 First contra dance revival in New England. Squares & contras reach fad status. Urban
dwellers that skied in Vermont & New Hampshire discovered country-dance and began
hiring callers such as Ralph Page for their parties. A few of these city-folk learned to call
and contra dance became a part of the urban scene once again.

c. 1960 Second contra dance revival in New England. During the ‘60s, interest in squares &
contras declined somewhat. However, a few “traditionalists” assisted in breaking away
from the “club square dance” movement and caught the attention of college students in the
northeast. By now they were referring to it as “contra dancing” rather than square dancing
to distinguish it from the club movement. Many new, young people learned to play contra
music and new, young callers came on the scene.

c. 1970 Herbie Gaudreau starts choreographing “equal, all-moving” dances. Publishes his dances
in his book, “Modern Contra Dancing” (1971).

c. 1970 Contra dancing spreads to urban areas across the U. S. A.

c. 1980 Tony Parkes is a Massachusetts caller of the baby boomer generation who started calling in
1964 and is carrying on the tradition. He wrote Contra Dance Calling.

c. 1990 Current trends and controversies:

Too complicated?
Too standardized?
Too professional?
The “hug” factor!

Right hand star

DANCE 382: Dance in World Cultures – Hempel

Names of a few Figures

Counts Counts
Allemande Right/Left 8 Gypsy 8
Balance 4 Hey 16
Box the Gnat 4 Pass Through 4
California Twirl 4 Right & Left Through 8
Cast Off 4 Star: Right/Left hand 8
Circle Left/Right 8 Promenade varies
Ladies Chain 8 Sashay varies
Turn Contra Corners 16 Swing 8, 12, or 16
Courtesy Turn 4 Wheel Around 4
Do-si-do 8
Duck & Dive 16
Forward & Back 8
Grand Right & Left varies

Origins of Figure Names:

Allemande -- German [from French]
Contra Corners -- country corners (contry corners)
Do-si-do -- Dos à do [“back to back” from French]
Hey -- an old English term
Ladies Chain -- may be a corruption of chaîné [“chain” from French]
Promenade -- promenade [“to walk” from French]
Sashay -- corruption of chassez [“to slide” from French]

Concept of the Active & Inactive Couple

Each longway set is comprised of subsets of two couples. One couple is, by tradition, designated
the “active” couple while the other is referred to as the “inactive” couple. This stems from a
hundreds of years old tradition where every other couple was actively dancing while the other
couple stood and waited their turn. In the subset the couple that is facing down the hall is the
active couple, and the couple facing up the hall is the inactive. All remain in their designation until
reaching the end of the longway set. They then wait one turn as a non-dancing “neutral” couple
until the arrival of another couple at which time they start dancing again. But now their
designation changes. So, in other words, if they were an active couple dancing their way down the
set, when they reach the foot they then dance their way back up the set as an inactive couple. If
they were an inactive couple dancing their way up the set, when the reach the head they then dance
their way back down as an active couple.

Concept of the Progression:

Methods of progressing include using one, or more, figures that move the dancer and his partner to
a new place in the circle or line. These figures include:
Pass through (circles and contras)
Arch & walk through (circles and contras)
Do-si-do once and a half (circles and contras)
Allemande once and a half (circles and contras)
Cast off (contras)
Swing neighbor (contras)
DANCE 382: Dance in World Cultures – Hempel

Contra Dance as a Courtship Ritual

While much can be said about contra-dance as “community,” it is apparent that contra dancing
lends itself well to the courtship ritual for the following reasons. 1) Single people can come to a
dance without a partner and find themselves dancing every dance; no one sits for the lack of a
steady partner. 2) Every person in the line dances with everyone else thereby being “introduced,”
no matter how briefly, to many people of the other gender. If a dancer finds one of these
“neighbors” appealing (as a dance partner or any other partner) they can go ask that person for the
next dance, or a subsequent dance.
It is suggested that this is the reason why contra-dancing was “discovered” by students in the
universities and cities in the 1950s and 1960s and then “rediscovered” by the single, high-tech
professionals in the 1970s and 1980s. This rediscovery is technically referred to as a “revival,” and
yet is it really not a revival, because contra dancing never died out in the first place.
Contra-dancing today fills a need in our society much as it had done 200 or 300 years ago.
Only the need has changed a bit. The need was for rural families to meet occasionally to exchange
news and social niceties. The need today is for single, urban professionals to make human contact
in a friendly, non-threatening atmosphere and find a date or mate, or simply new friends.

VIDEO: “Together In Time” (2000)

VIDEO QUESTIONS:
What is a dance card?

Did Henry Ford try to influence American dance? Did he think that “jazz” was decadent?

Who was Ralph Page? What did he do?

Is contra dance couple dancing or line dancing?

Did the “hippies” of the 1960s take to contra dancing? Did they take to it in a big way? Why?

Is the caller on the stage with the musicians, or on the floor with the dancers?

Do the dancers, in the video, look like they are enjoying themselves?
DANCE 382: Dance in World Cultures – Hempel

Duple Proper Contra Dance Formation

The Band & Caller
(at top of hall)
“Up the Hall”
é
Active - #1 ¨ ¡ Couple #1
Inactive - #2 ¨ ¡ Couple #2

Active - #1 ¨ ¡ Couple #3
Inactive - #2 ¨ ¡ Couple #4

Active - #1 ¨ ¡ Couple #5
Inactive - #2 ¨ ¡ Couple #6

Active - #1 ¨ ¡ Couple #7
Inactive - #2 ¨ ¡ Couple #8
ê
“Down the Hall”
------------------------------------------------------------------------

Duple Improper Contra Dance Formation

The Band & Caller
(at top of hall)
“Up the Hall”
é
Active - #1 ¡ ¨ Couple #1
Inactive - #2 ¨ ¡ Couple #2

Active - #1 ¡ ¨ Couple #3
Inactive - #2 ¨ ¡ Couple #4

Active - #1 ¡ ¨ Couple #5
Inactive - #2 ¨ ¡ Couple #6

Active - #1 ¡ ¨ Couple #7
Inactive - #2 ¨ ¡ Couple #8
ê
“Down the Hall”
Key to Symbols:
Man: ¨
Woman: ¡
DANCE 382: Dance in World Cultures – Hempel

SOUTHERN APPALACHIAN DANCE TRADITIONS

Southern Appalachian Dance Forms: The Circle as Community.

Name of Dance-culture: Southern Appalachian

Dance Tradition: Anglo-American folk dance

Class of People: Three classes (at least)

o Privileged, wealthy class, or “southern aristocracy.”
o Poor, working families. “Country folk.”
o African slaves.

Geography, terrain, & climate:

East & southeastern U.S.A. – Eastern “seaboard” or “Piedmont”
[from Italian, Piedmont; lying at the base of the mountains]
Appalachian mountain region – from Georgia in the south to Maine in the north.
The southern Appalachian states are: Virginia, West Virginia, Kentucky, Tennessee, North
Carolina, South Carolina, Georgia, and Alabama.

Language & alphabet: English; Roman alphabet

History:

Economy
Natural resources: Timber
Agriculture: Poor, rural mountain economy and agrarian economy (until later).
Cotton crops on plantations.

Customs & Mores

Many home crafts were cultivated due to poor economy of the mountain people. Many crafts
brought over from the “old country.” Examples of crafts are whittling, sewing clothes, making
cane chairs, making brooms, making soap, playing stringed instruments, singing (mostly
ballads), and dancin’.

Religion: Christian. Almost exclusively fundamentalist protestant. The “Bible belt.”

Dress/Costume: Leather shoes.

Wooden floors. Lumber was plentiful. Lots of beautiful trees in this region.

Neighboring peoples & Immigrant communities:

African-Americans; Cherokees, & other tribes.
These are said to have influenced the dance of the “white,” Anglo-Saxon settlers.
DANCE 382: Dance in World Cultures – Hempel

Southern Appalachian Music

Music (types and instrumentation):
String band: Fiddle, mandolin, guitar, and string bass.
Later: Inclusion of the banjo (from an African instrument).
Mountain Dulcimer used primarily to accompany singing.
Some odd instruments sometimes used to enhance rhythm: Spoons, jugs, etc.
A toy called a “limberjack” could also be used as a percussion instrument.
Musical Rhythms/Meter: Almost exclusively 2/4 and 4/4.

Festivals: “Asheville Mountain Music & Clog Dance Festival” in July each year.

Southern Appalachian Dancing

Types:
COUPLE DANCE BUCK (solo) DANCE*
Smooth & Clog Always Clog

Big circle figures involve all the dancers in a large circle. Known by various names:
o Big Circle Square Dancing (North Carolina)
o Running Set (Kentucky),
o Mountain Square Dance
o Great Circle
Big circle dancing is a social occasion during which the dancers, who have come to see their
friends, may greet one another and quietly exchange news and gossip in the course of the dance
itself. Unlike other Appalachian dance forms, such as Clogging, the dancers use a smooth
walking step throughout, even during the swing, hence the name smooth dancing.
Unlike square and contra dancing, the caller is usually the lead man (rarely the woman) of the
head couple and calls from the floor while dancing. This allows him greater flexibility in
improvising the calls and also allows him greater freedom in "leading" his own calls. As a
result of this, and also because there are unlimited couples in the circle, the caller rarely pays
close attention to phrasing his calls with the music as is done in, and so necessary to, contra and
square dancing.

Rhythmic Analysis of Clog Dance Step (Done in leather shoes):

Basic:
2/4 & 1 & 2
flap step (wt.) flap step (wt.)
Step-patterns:
Single
Double
Triple
* Why do they call it “buck” dance?
DANCE 382: Dance in World Cultures – Hempel

Southern Appalachian Dance

Names of Figures:
Big Circle Dancing: The Call:
Circle South/North → Circle to the south, put a little sunshine in your mouth.
King’s/Queen’s Highway
Promenade
Wring out the Dishrag → Right hand high, left hand low, wring out the dishrag and don’t
be slow. (…and away we go.)
Weave the Ring
Grand Right & Left
London Bridges
Split the Rail
Thread the Big Needle
Ocean Wave
Wagon Wheel
California Fruit Basket

Small Circle Dancing:

Circle Up Four
Circle Left/Right
Star Right/Left Note: Stars vary by region.

Swing neighbor; partner → Swing your own; leave mine alone.

Take a Little Peek
Birdie in the Cage → Birdie hop out, and crow hop in.
Duck & Dive → Duck for the oyster, dive for the clam, shoot for the hole in the
ol’ tin can. (…let’s all move on to the promised land.)
Four Leaf Clover
Chase the Rabbit → Chase that rabbit, chase that squirrel, chase that pretty girl
around the worl’ – Chase that possum, chase that coon, chase
that big boy to the moon.
Ya’ll come back now, ya hear.

Names of Step-patterns:
Clog Dancin’:
Flap
Single/Basic; Double; Triple
Chicken Reel (women)
Buzzard’s Lope (men)
Wren’s step (men)
And many, many more
DANCE 382: Dance in World Cultures – Hempel

SLIDES: “Ashville Mountain Music & Clog Dance Festival” of North Carolina.

SLIDE SHOW QUESTIONS:

Where were the slides of the dance teams photographed? Which event and city?

What kind of costumes were the dancers, in the slides, wearing?

Were some of the chest and arm movements of the dancers similar to those found in west African
dance?

VIDEOS: 1. Sandy Silva – buck dancing

2. North Carolina exhibition
a. Teenage group
b. Adult group

VIDEO QUESTIONS:
Was Sandy Silva demonstrating clog dancing or smooth dancing?

Was the teenage group, in the video, doing precision clogging or freestyle?

Was the adult group, in the video, doing precision clogging or freestyle?

Swing your partner

DANCE 382: Dance in World Cultures – Hempel

Compare & Contrast

New England vs. Southern Appalachian Dance Forms

New England Southern Appalachian

Immigrants:

Music:

Musical Phrasing:

Dance:
Squares:

Contras:

Big Circle:

Small Circle:

Clogging:

Solo Dancing:

Caller:

Figures:
DANCE 382: Dance in World Cultures – Hempel

IRISH DANCE TRADITIONS

Eire [AIR-a], and also Innisfail and Erin.

Geography, terrain, & climate of Ireland

Ireland is situated at a latitude similar to that of Edmonton, Alberta.
In other words, rather far north. Additionally, it receives a lot of storms blowing in off the
North Atlantic both from the west and the north. Roses grow well there.
Language & alphabet: Gaelic (Celtic) language; Roman alphabet. Celtic is pronounced: KEL-tic.
They now also speak English. In fact, many don’t speak Gaelic. Other Celtic peoples are the
Scots (Scotland), Welsh (Wales), and Bretons (Brittany).

History:
600 – 150 BCE – Celtic

8th Cent. CE – Norse (Viking)

1014 – Defeat of Danes

12th – English

1926 – Independence (26 counties)

Ulster (6 counties)

Economy:
Natural resources: Their land. Very rocky; very green.

Industry: Agrarian ð ð ð ð Industry ð ð ð ð Literature, movies, & tourism.

Agriculture: A rather short growing season.

Cabbage. “Corned beef & cabbage” (Green beer is not Irish.)
Potatoes. Potato famine of 1845 & 1851 – reduced Ireland’s population by 20 to 25 percent. It
was due to a pathogenic water mold, commonly known as “potato blight.” As a result
historians refer to Irish history as “pre-Famine” and “post-Famine.” About 1-million Irish died
of starvation. Nearly another 1-million Irish emigrated to the U. S. during the famine years.
They were not too well received in Boston (pop. of 115,000 in 1847), which was an Anglo-
Saxon protestant community. In 1847 37,000 Irish Catholics immigrants swamped Boston.
DANCE 382: Dance in World Cultures – Hempel

Neighboring Peoples: Scots, Welsh, and English (across the Irish Sea).

Religion(s): Republic of Ireland:

Roman Catholic 88.4%
Church of Ireland: 3.0%
Other Christian: 1.6%
Other: 1.5%
Unspecified: 2.0%
None: 3.5%
Ulster (N. Ireland):
Protestant: 53.1%
Catholic: 43.8%
Other: 3.1%

Celtic Cross

Irish Folk Music

A very rich tradition. Their music has strongly influenced many other cultures.
Ancient instruments included the fife (ancient flute) and harp.
Modern instruments include:
Strings: Fiddle and mandolin.
Wind: Flute and tin-whistle (pennywhistle).
Percussion: Bodhran (drum); bones; and spoons. [Bodhran is pronounce BAHR-on]
Accordion (piano & button); and concertina.
Bagpipes and Uilleann pipes (has bellows). [Uilleann is pronounced: ILL-an]
Bombarde. A small oboe-like shawm with a penetrating sound. It uses a reed. It is
used widely in Breton music.

Dance Music & Rhythms:

Jigs 6/8

Reels 2/4

Hornpipes 4/4 or 2/4

Dance Tempos:
Approximately 72 BPM in competitions.
DANCE 382: Dance in World Cultures – Hempel

Irish Traditional Dance

Types:
Feis [FESH] (competition) Ceilidh [KAY-lee] (social)
Step Dancing Couple Dancing
(Solo; Duo; Trio) (Couples)
1. Soft shoe 1. Couple dances (scattered)
2. Hard shoe (tap) 2. Set dances

Formations & Positions:

Couple dancing done in circles and sets (both square and longway).
Step dancing done free-formation.

Complexity:
Moderately simple (Ceilidh) to extremely complex (Feis).

Difficulty:
Moderately easy to very difficult.

Irish Dance
Technique (movement characteristics):
Step dancing technique is quite advanced. The emphasis is almost entirely on the footwork.
Almost all of the movements articulate from the ankle and knee. It has been calculated that
during the most difficult dances the dancer executes about 75 taps in a 15 second span of time.
It has further been suggested that the speed at which the dancer “throws” his/her leg outward or
downward is faster than a punch thrown by a professional boxer. While it is said that the
dances are based on only five (5) simple steps it is apparent that improvisation and elaboration
of these steps is a delightful characteristic and the hallmark of Irish dance.
Style (stylistic idiosyncrasies):
In step dancing the arms are held statically at the sides of the body and remain there throughout
the dance. The posture is erect, and the face remains passive.
DANCE 382: Dance in World Cultures – Hempel

Irish Dance (continued)

Occasions and Venues for the dance:

Couple Dancing (Ceilidh)
Couple dances are done at social gatherings by people of all ages and preferred mostly by the
older generations.
Step Dancing (Feis)
Step dances are now performed mostly in competitions by the young, and are learned in formal
dancing schools. These schools perpetuate the “correct” way of dancing. Gone are the days of
spontaneity in which a lad or lass could express themselves. Instead they must adhere to the
rigors of the syllabus as taught by their instructors.
In addition to competitions, this step dancing has found its way onto the stage in such theatrical
spectacles as “Riverdance” and “Lord of the Dance.”

The “Riverdance” Phenomenon – Is it Folklore or Fakelore?

Is it folklore, fakelore, or good theater? Some opinions both pro and con:
Pro Con
Good theater; good entertainment Not traditional
High technique & talent Not informative
Seamless program Too theatrical
Excellent music Not entirely authentic

VIDEO: “Riverdance” – the show

VIDEO QUESTIONS:
In “Riverdance,” were the dancers using soft shoes or hard?

Where did they hold their arms?

How complex are the footwork movements?

Is the men’s footwork different than the women’s?

DANCE 382: Dance in World Cultures – Hempel

SOUTH SLAVIC: CROATIAN & SERBIAN TRADITIONAL DANCE

Dance Traditions: Croatia, and Serbia

Geography, terrain, & climate:

Croatia: Fertile valley & plains, some mountains, some coastline.
Serbia: Some fertile valley, some mountains.

Language & alphabet:

Family of language: Indo-European
Slavic family group
Croatia: Croatian dialect of Serbo-Croatian. Use the Latin alphabet with use of diacritics
over some of the letters. Hachek = a “v” over certain letters, altering pronunciation.

Serbia (Србија ) : Serbian dialect of Serbo-Croatian. They use the Cyrillic alphabet.
Examples of Cyrillic: HET (nyet) = no. CCCP (ess, ess, ess, air) = USSR.

History:
Ottoman Empire

Austro-Hungarian Empire

Effects

Economy
Natural resources
Croatia: Sava River plain – very fertile. “Po-sav-ina”
Serbia: Danube River (Dunaj)

Words for “dance:”

Croatian: Ples [pronounced: pl-ess]

Serbian: __________ (igra) [pronounced: EE-grah]

DANCE 382: Dance in World Cultures – Hempel

Dance Customs & Mores

Croatia: Dances done in circles – considered more “democratic.” Travel CW.

Serbia: Dances “led” by one individual – considered more “hierarchical.” Travel CCW.
Kolovodja = kolo leader
Kec = “end man”

Names of Dances
Croatia: Dances are usually named for the region they come from. Sometimes the name
describes a characteristic of the dance, and sometimes after a person’s name.
Examples: Posavski Drmes (Shaking dance of Posavina)
Slavonsko Kolo (Dance of Slavonia)
Veliko Kolo (Large, or great, dance)
Malo Kolo (Small dance)
Sukacko Kolo (Suka’s dance)

Serbia: Dances are frequently named after the person who is leading the dance.
Examples: Oficirsko Kolo (Officer’s dance)
Kraljsko Kolo (The King’s dance)
Seljancica Kolo (Student’s dance)
Djurdjevka Kolo (George’s dance)

Religion(s)
Croats: Roman Catholic (almost 100%)
Serbs: Eastern Orthodox (almost 100%)
Dress/Costume
Varied by region.
Most garments are lavishly embroidered.
Footwear: Opanke/Opanci

Festivals
Shrovetide (Three days before Ash Wednesday)
Easter
St. John’s Day (mid-summer)
Christmas
DANCE 382: Dance in World Cultures – Hempel

Neighboring peoples & Immigrant communities:

Croatia: Hungary (north); Serbia (east); Bosnia (south); Adriatic Sea (west).
Serbia: Hungary (north); Romania (north-east); Bulgaria (east); Macedonia (south); Albania
(south-west); Montenegro (west); Bosnia (west); and Croatia (west).

Croatian & Serbian Music Traditions

Music & Rhythms: (Time)
1. String bands predominate esp. in Croatia (Prim, Brac, Bugaria, Bass)
2. Frula and Accordion in Serbia. Also, string bands.
3. Bagpipes (goat-skin) used in some villages in Croatia & Serbia.
4. Vocal chanting, and percussive sounds of dancers’ feet. Used to accompany “Silent Kolo” in
mountain region of southern Croatia.

Question: From what material are bagpipes made. Answer(s):

A. cloth
B. plastic
C. goats
D. lambs (baby sheep)
E. dogs

Musical phrasing: Dance phrase and musical phrase often do not match.
Music is often in 4 meas., but dance may be in 5 meas.

Rhythms: Regular rhythms of 2/4 and 4/4.

Irregular rhythms are found in eastern Serbia (near Bulgarian border), and in south Serbia
(near the Macedonian border).
DANCE 382: Dance in World Cultures – Hempel

Croatian & Serbian Dance Traditions

Contexts & Venues for dance:

Contexts:
o At festival and other celebration such as weddings.
o Dancers always gathered around the musician, or musicians.
o Men frequently get first choice of the “preferred” instruments.

Venues:
o Outdoors: Grass; Cobblestones
o Near dwelling: Courtyard; Porch
o Indoors: Kitchen, or other large room.

Types of Dance:
o Line (non-partner):
• Kolo – broken circle (term used in both Serbia & Croatia)
• Drmes – closed circle & couple (Croatia only)
o Couple dances:
• Some couple dances in Croatia; with partner contact.
• Very few couple dances in Serbia; little partner contact.
o Trio dances found in Croatia near Hungarian border.

o There is one example of a contra dance done in the mountainous region of southern
Croatia.
DANCE 382: Dance in World Cultures – Hempel

Dance Formations & Positions: (Space)

Kolo (broken circle) predominates.
Lines (short) in some localities.
Hand holds (V & W) predominate; some back & front baskets in Croatia; some belt holds in
eastern Serbia.

Complexity of Dances in Croatia & Serbia: (Space & Energy)

Figures: Not very complex
Arms: Usually static positions esp. of hands; occasional movements of arms.
Legs: Mostly movement from knee down; little lifting of leg (may be restricted by garments).
Footwork: Moderately to very complex

Difficulty: (Energy)
Many slow (pedestrian-type) dances.
Some fast, vigorous dances. (Dance Company tempos are overly fast.)

Stylistic Idiosyncrasies:
Croat: More flat-footed.

Serb: More on balls of feet.

DANCE 382: Dance in World Cultures – Hempel

Croatian & Serbian Dance Traditions

NAME of DANCE MEANING
Serbian Dances:
Savila Se Bela Loza Named from song, “A grapevine intertwined upon itself.”
Setnja Kolo Strolling dance
Seljancica Kolo Student’s dance
Uzicka Carlama Kolo Kolo from village of Uzice
Orijent Kolo Eastern dance
Srbijanka Kolo Serbian girl’s dance
Djurdjevka Kolo George’s dance
Malo Kolo Small dance
U Sest Kolo Kolo in six
Zaplanski Cacak Cacak from the mountains
Croatian Dances:
Veliko Kolo Big dance
Slavonsko Kolo Dance of Slavonija
Vrlicko Kolo Dance of Vrlika or Lika
Posavski Drmes Posavina shaking dance
Turopolski Drmes Shaking dance of Turopolje
Drmes iz Zdencina Shaking dance of Zdencina
Sukacko Kolo Suka’s dance
DANCE 382: Dance in World Cultures – Hempel

Croatian & Serbian Dance Traditions

VIDEOS: 1. Lado Ensemble – “Prigorski Plesovi” [Dances from Prigorje, Croatia]

2. Kolo Ensemble – “Igre iz Srbije” [Dances from Serbia]

VIDEO QUESTIONS:
What colors were the Croatian costumes?

Did some of the Croatian dancers shake a lot?

Did the Croatians dance flat-footed most of the time or on the balls of their feet?

Were the Serbian dancers wearing opanci with upturned toes?

Did the Serbians dance on the balls of their feet often or flat-footed?

Did the Serbian men wear white, fur hats in one of the dances?

ADDITIONAL VIDEOS (time permitting):

1. Bulgaria – “Shopski Tanci” [Dances of the Shope people]

2. Romania – “Calusarii” [Calus Dance]

DANCE 382: Dance in World Cultures – Hempel

BALKAN RHYTHMS

Regular Rhythms

2/4

4/4
Musical examples:
Croatia

Serbia

Irregular Balkan Rhythms Examples (Bulgarian dances)

5/8

7/8

7/16

9/16

11/16

And there are many, many more.

DANCE 382: Dance in World Cultures – Hempel

RUSSIAN TRADITIONAL DANCE

Characteristics of Russian dance:

Old style dances in Russian were essentially divided into women’s circle dances and group
competition dances. Their dances date back hundreds of years.

Horovod
The women’s dances were performed in closed circles and traditionally danced to the
accompaniment of their singing. Centuries later instrumental music was added. Most of these
dances are referred to as pagan since they predate the Christian era. The women’s circle dances
are called Horovod [horo-VOD], which comes from the Slavic word for circle.

Pereplias
Group competition dances consisted of both men & women performing in solo and attempting
to ‘out-do’ or ‘one-up’ the previous dancers. These competitive dances were called, Pereplias
[pear-a-PLYAS].

Presiadki
Russian dancing is known worldwide for its men’s squatting steps. The Russians refer to these
movements as presiadki [pree-SYAT-key] and their variety seems to be endless.

Highlights of Russian Dance History

10th Century
It is believed that Russian traditional dancing starts well before the 10th century, C.E.

11th Century
Russian dance style is believed to have been started by itinerant Skomorokhi (street
entertainers) [sko-mor-OHKEE].
Skomorokhi are described as minstrels, clowns, mummers, buffoons, actors, dancers, acrobats,
puppeteers, magicians, and animal trainers, they were the primary creators of epic songs
(ballads) and folk tales. Skomorokhi were documented to be in the city of Novgorod as early as
1036 C.E.
DANCE 382: Dance in World Cultures – Hempel

Highlights of Russian Dance History (continued)

17th Century
Skomorokhi were barely tolerated by the church, and in the 1649 they were banished from
Moscow being labeled as “heralds of discontent” and “the embodiment of paganism.”

18th Century
Russian ballet dates back to 1738. The Empress Anna (daughter of Ivan V and niece of Peter
the Great) became Empress (Czarina) of Russia in 1730 to 1740. She brought the French
dancing master Jean Baptiste Landé to St. Petersburg to 1738 to establish Russia’s first ballet
academy. Russian ballet has thrived from 1738 to the present. While a French classical dance
form it is loved by all Russians and has flavored the way that they think about the performance
of dance on stage.

20th Century
Mitrofan Pyatnitsky establishes his Pyatnitsky Russian Folk Chorus in 1910 with eighteen
peasants from Voronezh, Ryazan, and Smolensk Gubernias (government districts) of Russia.
They held their first concert in 1911 in Moscow. The performers sang traditional Russian
songs and played folk instruments. At this time there were no dancers.
DANCE 382: Dance in World Cultures – Hempel

Russian Music Traditions

Instrumentation - melodic
Accordion

Bayan [bai-YON]

Balalaika [bala-LIKA]

Domra [DOM-rah]

Zhaleika [zhal-lay-EE-ka]

Instrumentation - rhythmic
Spoons

Tambourine

Treshchotki [tree-SHOT-key]

Musical Phrasing
Even/predictable phrases

Uneven/crooked phrases

A Few Russian Dance Terms:

Bolshoi Large; big; great.
Coffee grinder A Russian presiadki where the leg rotates around & under the body.
Cossack (from Kazak – free man)
Duck walk A waddling step-pattern done in a squatting position.
Galuptsii (Literally, cabbage rolls.) A complex hopping pattern.
Hopak A Ukrainian dance. The Russians call this dance, Gopak.
Horovod Old style women’s circle dances that predate the Christian era. The
women accompanied their dance by singing while dancing.
Pereplias (also, Group competition dances that included men and women. During the
pereplyas) dance each dancer would dance solo and improvise their movement
motifs following a culturally accepted norm.
Presyadka (singular) [Knee bending] Men’s squatting steps, movements, & motifs. There are
Presyadki (plural) an almost endless variety of these. Believed to have been started by
Skomorokhi (street entertainers) who were barely tolerated by the church.
Pretope (Literally, a period.) A concluding, stamping pattern.
Russian polka A Russian two-step with a stamp.
Sabachka (Literally, the dog.) A presyadka on all fours (hands & feet).
Shpagat A straddle jump.
Stoi Stop!
Tchetchotka (or, Cheechotka) Russian tap dancing movements.
Veriovichka A reeling step-pattern.
DANCE 382: Dance in World Cultures – Hempel

Theatricalization of Traditional Russian Dance: The Moiseyev Effect

A long history of ballet in Russian theater influences the way its citizens think about their
traditional dances, and especially the staging of them.

In 1937 Igor Moiseyev (1906-2007) founded his famous Moiseyev Russian Folk Dance
Company (originally the State Folk Dance Ensemble). He had a thorough training in ballet and
performed for a while with several companies. During his lifetime, he creates over 200
choreographies for the folk company, which has toured every continent in the world except
Antarctica.

In 1938 Mitrofan Pyatnitsky added dancers to his ensemble after seeing the success Moiseyev
had with his company.

In 1957 The United States Department of State enters into an agreement with the Soviet Union
for the exchange of artists. Thus begins the great cultural exchange of the late 1950s and 1960s
during which many dance companies perform in each other’s countries. The Moiseyev
Company was an early participant in this exchange, and since then has toured the United States
countless times.

Igor Moiseyev’s choreographies have influenced many folk ensembles over the years since
1937. Not concerned with authenticity, but instead with showy presentation and
theatricalization, he modified the ‘village’ version of virtually everything he touched.

Starting in the 1950s the Moiseyev Effect starts to take hold and influence the performances of
traditional dance in many other countries. Many countries establish “national” dance
companies to display their dances and costumes as an extension of their political propaganda.
Examples:
1951 - Hungarian State Folk Ensemble (Europe)
1952 - Ballet Folklorico de Mexico (North America)
1952 - Les Ballets Africains (Africa)
1957 - Bayanihan Philippine Folk Ensemble (Asia)
DANCE 382: Dance in World Cultures – Hempel

Russian & Ukrainian Dance Cultures (their differences)

Russian Dance
• Russian costume.
• More stamping: Tchetchotka (Russian tap dancing). Men & women.
• More clapping & slapping combinations. Men only.
• Less presyadki. Men.
• Very few couple dances.
• More singing during dances. Men & women.
Ukrainian Dance
• Ukrainian costume.
• Less stamping. Men & women.
• Less clapping & slapping combinations. Men.
• More presyadki. Men.
• Many couple dances.
• Less singing during dances.

VIDEOS: 1. “Russkyi Praznovanie” [Russian Celebration] – skomorokhi like

2. “Pyatnitsky’s Folk Chorus” (narrated by Tony Randall)
– History & development of the famed Russian chorus.
3. “Timonya” by the Piatnitsky Chorus & Dancers – six-count phrasing
4. “Polzunets” by the Pavel Virsky Ukrainian Folk Ensemble – squatting dance
5. “Gopak” (Hopak) by the Moiseyev Russian Folk Dance Co. – Ukrainian dance

VIDEO QUESTIONS:
Who was Mitrofan Pyatnitsky? A singer or a dancer? What else?

Did Pyatnitsky’s ensemble include dancers at first, or were they added later?

Were the women seen doing presyadki?

What color were the women’s boots in the Ukrainian dance, Gopak (Hopak)?

During Gopak (Hopak) the men did many presyadki. How much dancing did the women do during
this particular dance performance? Why?

Are the dances seen in these videos traditional dances, or a staging of traditional dances?
DANCE 382: Dance in World Cultures – Hempel

CULTURAL GESTURES & BODY-LANGUAGE

UNITED STATES:
Gestures Behavior/Body Language
Nodding head “yes” Whistling – approval
Shaking head “no” Folded arms – protection; disapproval
Shrugging shoulders Yawning – boredom; disapproval
Thumb(s) up Sitting forward – showing interest
“V” sign Slouching – disinterest
Shaking fist
The “finger”
Index finger held up – wait a minute
“T” sign – time out
Index finger vertically in front of lips – Quiet!
Rolling hands over one another – wind it up
Pulling fingers of both hands apart (as in stretching
something) – “Stretch (or stall) for time

POLAND:
Gestures Behavior/Body Language
Sign of karate chop to neck – “drunk” Whistling – disapproval
Thumb up – one (or, one more). As in a beer. Rhythmic clapping – approval
Index finger up – [means nothing in their culture]

BULGARIA:
Gestures Behavior/Body Language
Head tilt – “yes”
Head nod – “no”

ETHIOPIA:
Gestures Behavior/Body Language
Serving a half glass – an insult. It’s good manners to
serve a full glass.
Stamping foot (or double stamp) – “I will crush you!”

SAUDI ARABIA (middle east):

Gestures Behavior/Body Language
Thumbs up – “F you!” Shaking hands with Left – insult
Showing soles of shoes – insult Eating with Left – crude, rude, taboo

MEXICO:
Gestures Behavior/Body Language
Rubbing hand to other elbow – Codo = cheap
DANCE 382: Dance in World Cultures – Hempel

ITALY:
Gestures Behavior/Body Language
Slap bicep with Left hand while thrusting Right fist in
air – “F you!”
Brushing underside of chin with fingers – “F you!”

IRAQ:
Gestures Behavior/Body Language
Showing the sole(s) of your shoe(s) – An insult!

THAILAND:
Gestures Behavior/Body Language
Pointing the toe of your shoe at someone – An insult!

PERSONAL SPACE:
Farthest -
Mid-distance -
Closest -

KISS(ES) on CHEEK(S) (etiquette):

Mexico -
France -
Arabic cultures -
USA -

Russia -

KISS(ES) on HAND(S) (etiquette):

Ukraine -

HUGS (etiquette):
Middle East -
Many cultures -
USA -
DANCE 382: Dance in World Cultures – Hempel

ROMA DANCE (Gypsy)

Names for Roma (Gypsy) in other languages:

They say: Rom; Roma; Romany (plural)
English: Gypsy (etymologically from Egypt)
Arabic: Kipti
Hungarian: Cigani
Italian: Zingaro; Zingara
Portuguese: Cigano; Cigana
Russian: Tsigai
Spanish: Gitano; Gitana
Swedish: Zigenare
German & Zigeuner
Dutch:

Physical Characteristics:
A dark skinned people. Often mistaken for Native-Americans, Ethiopians, Pakistanis, etc.

Class of People: Itinerant craftsmen, tinkers (fix-it guys), and musicians, etc.

Geography: Found in most countries from India to U.S.A.

Language: Rom

History:

Resources: Whatever they can manage. Making use of discarded items.

Economy: Mostly a cash economy.

Customs & mores: They are a very versatile and adaptable people. They have strong family ties
and extended families are important to them. They are somewhat if not very secretive in their
dealings with non-Roma. It’s difficult for outsiders to witness their rituals and observe their
dancing, because they are mistrustful of non-Roma. They are frequently accused of taking
advantage of “others” (non-Roma) through scams and thievery.
DANCE 382: Dance in World Cultures – Hempel

Expressions: Words have developed in the English language that stem from the erroneous belief
that the Roma came from Egypt, hence the word “gypsy.” Also, “gyp” – to cheat. And,
“gypped” – have been cheated.

Dress/Costume: Usually wear very colorful garments depending on which country they’re in.

Characteristics of Roma Music & Dance:

Music:
• The Roma make good use of local instrumentation.
• Much singing.
• Musicians frequently can play several styles of music. In Romania they play Romanian,
Hungarian, and Roma using fiddle, cimbalom, and clarinet among other instruments.
• In addition to vocal, they seem to make more use of stringed instruments and do include
percussion (spoons, jugs, & cuica [Portuguese name]) where available.
• Generally, they make use of anything they can. “Found sound.”
• Rhythms are mainly 4/4 and 2/4. And, again depending on local customs can use rhythms in
9s, 11s, and 12s.
Dance:
• Dancers repeatedly use finger snapping while dancing.
• Little use of group dances in lines & circles. Mostly scattered formation.
• Frequent use of solo expression in their dancing. Sometime duets.
• Their dance styling is much more difficult to acquire than their technique.
• Flamenco can trace its roots back to Roma dance. Flamenco originated in southern Spain.

Romani Symbol
DANCE 382: Dance in World Cultures – Hempel

VIDEOS: 1. “Latcho Drom” [Bonne Route; Safe Journey]

a. In Romania: Roma musicians playing fiddle, string bass, accordion, two-sizes of
cimbalom, jug, and spoons. Also, kaval and frula.
b. In Hungary: Little boy and his mother with Roma musicians.

2. Csardas Ensemble’s “Gypsy Camp”

VIDEO QUESTIONS:
Did the Roma ever dance as couples in closed position?

Did they make use of found objects to use as percussion to accompany their dancing?

Were the women’s costumes colorful or bland?

Did the men do slapping and clapping figures?

Did they make music with their mouths? How?

A Roma song from Spain:

“You, it is a stork that placed you on this earth;
Me, it is a black bird that threw me upon it;
Why is your evil mouth spitting on me?
What wrong is there to have dark skin and gypsy-black hair;
Why is your evil mouth spitting on me?
From Isabella the Catholic…from Hitler to Franco…
we have been victims of their wars;
On certain nights… I find myself envying the respect you show your dog.”
DANCE 382: Dance in World Cultures – Hempel

HUNGARIAN TRADITIONAL DANCE

What they call themselves: Magyar [MAHD-jar]

Geography: West – The Pannonian Plain includes the Danube River, which bisects the nation
from north to south.
East – Transylvania; a mountainous region currently in Romania.

Climate: A relatively dry continental climate with cold winters and warm summers. Temperatures
range from 30-degrees in January to 70-degrees in July. Rainfall is heaviest in early summer;
and it snows in the winter.

Capitol City: Budapest (Buda + Pest)

Language & alphabet:

Magyar = Hungarian. A Finno-Ugric language; in the Uralic family. Akin to Finnish, and
Mordvin in Siberia. They use the Latin alphabet modified with diacritics. Many in Hungary
speak German and French, and since WWII, Russian. Many educated Hungarians have learned
English. English has been the universal computer/internet language.

History:
9th Cent. CE

1867 – Austro-Hungarian (Hapsburg) Empire

1914 – World War I breaks out after Gavrilo Princip assassinates the Archduke Franz Ferdinand
in Sarajevo, Bosnia.

1918 – WWI ends

1919 – Treaty of Versailles is signed

1944 – Nazis occupy Hungary

1945 – Soviet Union

1956 – Hungarians revolt

1989 – Independence
DANCE 382: Dance in World Cultures – Hempel

Economy: Prior to WWII, the economy of Hungary was based primarily on agriculture, and what
little industry the country had was almost entirely destroyed during the war. After the
communists took control in 1948, the country became heavily industrialized. Today it is a
highly technological culture.

Agriculture: The Hungarians were originally a nomadic people. So, therefore, herding of animals
was important to their survival. This manifests itself in their diet, which is replete with meat
dishes.

Foods: Gulyás [pronounced GOUL-yash]. It literally translates “herdsman’s meat.” This is a

typical Hungarian dish, which is similar to the American goulash, but is made with Hungarian
paprika instead of the Spanish paprika sold in so many American supermarkets. The
Hungarians called it paprikas [PA-pree-kash] and there are several varieties of which some are
hot and spicy.
Csirke paprikas is chicken paprika and is made with Hungarian paprika and sour cream.

Religion: Hungary was traditionally a Roman Catholic country with a large Protestant minority
and a small Jewish minority. But things have changed and the distribution now is as follows:
Roman Catholic 51.9% Other Christian 1.0%
Calvinist 15.9% Other 11.1%
Lutheran 3.0% Unaffiliated 14.5%
Greek Catholic 2.6%

Hungarian Traditional Music

String band music predominates.
Hegedü – violin/fiddle
Hegedü-kontra – fiddle that plays counter melody
Viola
Cello
Double bass

Counterpoint in rhythm
They also use:
Cimbalom (hammered dulcimer)
Tekerö - Hurdy-gurdy
Duda (bagpipe)
ütögardon – or hit gardon, a medium sized cello-like instrument that is struck percussively
tárogató – oboe-like shawm
Tempos & accelerando
DANCE 382: Dance in World Cultures – Hempel

Hungarian Traditional Dance

Characteristics of Hungarian dance are as follows:

• Hungarian traditional dance breaks down into three types:
1) Women’s dances, 2) men’s dances, & 3) couples’ dances.
• In the village, men’s dances are usually competitive dances that are performed solo, with
each man taking his turn attempting to “out-do” the other men.
• The men’s dancing is characterized by csapos [CHOP-osh], which are boot-slapping, thigh-
slapping, & hand-clapping figures that seem to have endless variation. In a stage
performance, the men usually dance these competition figures in unison.
• Dance Cycle. The men’s dances almost always precede the couple dancing. This is what
the Hungarians refer to as a “dance cycle:” Men’s dance, slow couple dance, and fast
couple dance.
• The women’s dances are almost always performed in a closed circle and danced to the
accompaniment of their singing. Many of these women’s dances are very old and predate
the Christian era. These circle dances are called Karikazo [KAR-ee-kazo].
• The couple dances are perhaps what Hungarians are best known for. The man leads is
partner through many figures that have been established into the traditional dance
vocabulary. These couple dances are referred to as Csárdás [CHAR-dash], which a long
time ago came from the name from a wayside inn called a Csárdá. The men frequently
engage in using “csapos” even while holding on to his partner. When he does this the
woman is expected to just ‘mark time’ in place and admire his efforts.

More on the Csárdás. Done to music in duple meter. In two parts: lassu [LAH-shoe] (slow) and
friss [FREESH] (fast). The dance may have descended from an earlier dance, the Magyar kör, or
from the verbunkos.
Verbunk/verbunkos [VER-buhnk]. A male, military recruiting dance.

Many classical composers, such as Bela Bartok, Zoltan Kodaly, Franz Liszt, and Ernst von
Dohnanyi have used them music of the czardas (csardas) for inspiration.
DANCE 382: Dance in World Cultures – Hempel

VIDEOS: 1. The Hungarian State Folk Ensemble – 1

a. “Bottle Dance” – women’s dance
b. “Shepherd’s Dance” – men’s dance
c. “Hungarian orchestra” – music
d. “Zemplen Karikazo” – women’s circle dance
e. “Dances from Szatmar” – couple dances
2. The Hungarian State Folk Ensemble – 2
a. “Heyduk” [HI-duke] – translates brigands, or highwaymen
b. Duda (bagpipe) player – Hungarian bagpipe
3. The Budapest Ensemble: Czardas
“Táncház” – Dance House

VIDEO QUESTIONS:
Did the men engage in csapos?

Did the women engage in csapos?

Did the Hungarians ever dance as couples in closed position? Any other positions?

Do the men and women dance separately or always together?

Hungarian dancers
(What interesting feature do you see in this photo? Why?)
DANCE 382: Dance in World Cultures – Hempel

WEST AFRICAN DANCE

West African Countries (from north to south)

Senegal (F)
Guinea-Bissau (P)
Guinea (F)
Sierra Leone (A)
Liberia (A)*
Côte D’Ivoire [Ivory Coast] (F)
Ghana (A)
Togo (F)
Benin (F)
Nigeria (A)
Cameroon (F)
Equatorial Guinea (S)
Gabon (F)
Republic of Congo (F)
Key:
(F) = Francophonic - French speakers
(A) = Anglophonic - English speakers
(S) = Espanophonic - Spanish speakers
(P) = Portuphonic - Portuguese speakers

*Liberia was formed by English speaking, former slaves from the United States.

History:
Equatorial

1434 CE

Trade Triangle

Colonial Powers in Africa:

England
France
Spain
Portugal
Netherlands (Dutch)
Germany
Italy
DANCE 382: Dance in World Cultures – Hempel

Indigenous Languages
Many different native languages spoken, even within one country. Therefore it was, and is,
practical to speak a European language as a Lingua Franca (common language). [Etymology:
“Frankish language.”]
Dress/Costume
Being an equatorial region, clothing was sparse and sometimes semi-nudity was prevalent. It
wasn’t uncommon for the unmarried women to dance bare-breasted.

West African Traditional Music

Master Drummer – role of
Leads musicians
Leads dancers
Builds instruments
Teaches drumming
Improvises on his drum

Instruments for Dance

Drums:
Family of drums (in the Ewe language [pronounced AY-wee):
These are all tuned differently
Sometimes the drum head is made from antelope skin.
Kagan – small to medium (22 in.) with 6 in. head; & high pitched
Kidi – medium height (~2 ft. tall), with head of 9 in.; pitch?
Sogo – medium tall (~26 in.), with 8 in. head; many times used as lead drum; pitch?
Atsimevu/Atsimew – tall (~4.5 ft.), & drum head is ~9 in. in diameter; pitch?
It is usually tilted on a stand, and is usually the lead drum.
Additional percussive instruments: Logs, cow bells, xylophone, and rattles.

Instruments for songs, etc.

Kora – harp
Wooden flute

West African Traditional Dance

Characteristics of West African dance forms:
1. The use of bent knees, with the body close to the earth – excluding those times, of course, when
the dancer is jumping.
2. The tendency to use the foot as a whole in that the weight is shifted immediately from one foot
to the other.
3. The isolation of body parts in movement such as the head, shoulders, hips, rib cage, etc.
4. The use of rhythmically complex and syncopated movement.
5. Carrying as many as two or three rhythms in the body at once – polyrhythmic.
6. Combining music and dance as a single expression, one feeding the other.
7. Individualism of style within a group style.
8. Functionalism – becoming what you dance – the art of real life.
DANCE 382: Dance in World Cultures – Hempel

VIDEOS: 1. Les Ballets Africains National Dance Company of the Republic of Guinea – Act 1
2. Les Ballets Africains National Dance Company of the Republic of Guinea – Act 2

VIDEO QUESTIONS:
Were the dancers dancing barefooted or with shoes?

Did some of the women dance bare breasted? If so, why?

Did the dancers use their whole bodies when dancing?

Did they dance to melody instruments or percussion?

DANCE 382: Dance in World Cultures – Hempel

MOROCCO

Islamic Dance Traditions in Morocco

Geography
Geography
Morocco lies in northwestern Africa. It’s border by the North Atlantic Ocean (to the west), the
Mediterranean Sea (to north), Algeria (east), and Western Sahara & Mauritania (south). Spain lies
to the north across the Strait of Gibraltar. Its land area is 172,317 square miles. [California is
159,000 sq. mi. – Morocco is 1/10 larger than California.]

Terrain
Morocco has essentially three terrain regions:
o The broad coastal plains where the majority of the people live.
o The high, interior mountains that reach as high as 13,665 feet (Jebel Toubkal).
• The Atlas Mountains average 11,000 feet high.
o The Sahara desert region in the southeast.

Climate
It has an essentially Mediterranean climate, but more extreme in the interior. Along the coasts
of the Atlantic and the Mediterranean, Morocco enjoys a subtropical climate with average
temperatures of 61.5 degrees in January and 72.5 degrees in August. In the interior the winters are
colder and the summers are warmer.

History
688 C.E. Arabs

711 C.E. Moors*

788 C.E. “Moorish” Dynasty

1860 C.E. Spanish Occupation

1912 C.E. French Protectorate

1912 – 1956 Spanish & French Protectorates

1956 C.E. Independence

* Moors was a term used in Spain to refer to Berbers, black Africans, and Arabs from northern
Africa who came to occupy the Iberian Peninsula. In 1911 scholars declared, “The term ‘Moors’
has no real ethnological value.”

Neighboring Peoples (See Geography – above)

DANCE 382: Dance in World Cultures – Hempel

MOROCCO (continued)

Languages & Alphabets

Languages
Arabic is the official language. There are quite a few Berber* dialects spoken. And French is
often the language of business, government, and diplomacy.
*Berbers are nomadic peoples who inhabit parts of North Africa from Morocco to Libya. They are further subdivided
into several tribal names such as the Shiha, Imazighen, Riffians, Tuaregs, et al.

Alphabets
Both the Arabic and Latin alphabets are used in Morocco.
The “al” in Arabic
Al is the definite article that gets prefixed to other words such as:
Allah – The-God
al – as in alcohol, alkali, and alchemy
al – as in algebra, alfalfa, and alcove

Economy
Natural Resources
Phosphates, iron ore, manganese, lead, zinc, fish, and salt.

Agriculture
Arable land = 19%. Arable land is that which is capable of growing crops.
Barley, wheat, citrus, wine, vegetables, olives, and livestock.

Customs & Mores

Education & Literacy
Total literacy = 52.3 %
Male literacy = 65.7 %
Female literacy = 39.6 %

Population Growth Rate

Population
34,272,968 people. [California is 36,756,666.]

Birth Rate
21.30 per 1,000. [U.S.A. is 14.16 per 1,000.]

Life Expectancy
71.5 years. [U.S.A. is ~ 78.2 years.]

Religion
Morocco is for the most part an Islamic nation.
Islam = 98.1 %
Christian = 1.1 %
Judaism = 0.2 %
Other = 0.6 %
DANCE 382: Dance in World Cultures – Hempel

MOROCCO (concluded)

Music
Types of Instruments
Stringed:
o Oud – a pear-shaped, short-necked, fretless instrument with five double strings.
o Qanoon – a flat zither-type instrument whose strings are plucked.
o Santoor – a hammered dulcimer with metal strings.
Flute:
o Nay – open-ended, end-blown reed flute.
Percussion:
o Riqq (Daff) – a small tambourine.
o Darbukkah (Tablah) – a vase-shaped, hand drum.
Bag pipes:
o Mizwad – a Berber bagpipe. Other names for bagpipes used in North Africa are
ghaita and zukra.

Dance
Characteristics of Traditional Moroccan Dance
o Men & women dance separately.
o Women dance by themselves in a family setting.
o Women accompany their dancing by playing the musical instruments.
o Urban dwelling men don’t dance very much. The sometimes gather in coffee houses and
hire shikhats to entertain them. (Shikhats [pronounced: she-KHAT] are women who sing
and dance for money.)
o In villages, out in the countryside, men do dances in the traditional, tribal fashion.

VIDEO: Dancing: Sex & Social Dance – Morocco

VIDEO QUESTIONS:
Where is Morocco?

Why were the male members of the family present during the filming of the women’s dancing?

Were the men and women seen dancing holding on to one another?

What is a shikhat?
DANCE 382: Dance in World Cultures – Hempel

INDIA – Classical and Folk Forms

Geography
Geography
India is considered to be a subcontinent of Asia. Currently the size of India is 1,269,339 square
miles. It is about 35% the size of the United States. (U.S. is 3,623,420 sq. mi.)
Terrain
A largely mountainous region (even excluding the Himalaya to the north). The third largest
mountain in the world, Kanchenjunga (elev. 28,208 feet) lies on the border with Nepal. The
Indus River (laying in current day Pakistan) is in the west and flows into the Arabian Sea. The
Ganges River is in the east and flow into the Bay of Bengal. There is desert land in the west.
Climate
The climate varies from tropical monsoon in the south to temperate in the north.
History
3,000 B.C.E. – Indus Valley civilization

Dravidians

1,500 B.C.E. – Aryan tribes

Tadzhikistan

Aryans & Dravidians

c. 700 C.E. Arab incursions

c. 1100 C.E. Turkish incursions

c. 1475 C.E. European traders

British East India Company

c. 1800 C.E. Great Britain

1947 C.E. – Mohandas Gandhi & Jawaharlal Nehru, and Independence

1947 – India & Pakistan

1971 C.E. – Bangladesh

DANCE 382: Dance in World Cultures – Hempel

INDIA (continued)

Physical Characteristics of the People: Usually a very dark-skinned people.

Ethnic Groups
There are three broad groupings of people in India: Indo-Aryan (72%), Dravidian (25%), and
Mongoloid & other (3%).

Neighboring Peoples
India is bordered to the northwest by Pakistan; to the north by Tibet and Nepal; and to the
northeast by Bangladesh, Bhutan and Myanmar (Burma). India is bordered to the west by the
Arabian Sea, to the south by the Indian Ocean, and to the east by the Bay of Bengal.

Languages & Alphabets

Languages
Hindi is the national language and primary tongue of 30% of the people. English enjoys
associate status, but is the most important language for national, political, and commercial
communication. There are fourteen other official languages: Bengali, Telugu, Marathi, Tamil,
Urdu, Gujarati, Malayalam, Kannada, Oriya, Punjabi, Assamese, Kashmiri, Sindhi, and
Sanskrit.
Alphabets
There are nearly as many alphabets in India as there are languages. Some of them are
modifications of the Latin alphabet.

Economy
Natural Resources
o Coal – the fourth largest reserve in the world.
o Natural gas, and petroleum.
o Iron ore, manganese, mica, bauxite, titanium ore, chromite, diamonds, & limestone.
Agriculture
Arable land constitutes 48.8% of all land. Tap water is not potable throughout the country.
Overpopulation is a very big problem and is overstraining natural resources. Agricultural
products include rice, wheat, cotton, and tea among others.
Industry
India’s diverse economy encompasses traditional village farming, modern agriculture,
handicrafts, a wide range of modern industries, and a multitude of services.
Services are the major source of economic growth, accounting for more that half of India’s
output with less than one-third of its labor force. About three-fifths of the work force is in
agriculture.
India is capitalizing on its large numbers of well-educated people skilled in the English
language to become a major exporter of software services and software workers.
DANCE 382: Dance in World Cultures – Hempel

INDIA (continued)
Customs & Mores
Caste System
The traditional caste system of India developed more that 3,000 years ago when Aryan-
speaking nomadic groups migrated from the north into India about 1,500 B.C.E. The Aryan
priests, according to the sacred literature of India, divided society into a basic caste system.
Sometime between 200 B.C.E. and 100 C.E., the Manu Smriti, or Law of Manu, was written.
In it the Aryan priest-lawmakers created the four great hereditary divisions of society still
surviving today, placing their own priestly class at the head of this caste system with the title of
earthly gods, or Brahmans. Next in order of rank were the warriors, the Kshatriyas. Then
came the Vaisyas, the farmers and merchants. The fourth of the original castes was the Sudras,
the laborers, born to be the servants of the other three castes, especially the Brahman.
Far lower than the Sudras – in fact, entirely outside the social order and limited to doing the
most menial tasks – were those persons of no caste, the Untouchables. These were the
Dravidians, the original aboriginal inhabitants of India.
Thus created by the priests, the caste system was made a part of Hindu religious law,
rendered secure by the claim of divine revelation. In 1948, due in large part to the endeavors of
Mohandas Ghandi, a special clause was written into the new nation’s constitution stating that
“Untouchability is abolished and its practice in any form is forbidden.”

Education & Literacy

Literacy of total population is 61%. (Literacy in the U.S. is 99%.)
Literacy is defined as those over the age of 15 who can read and write.

Population Growth Rate

Population
The population of India is over 1,166,079,217 (2009 est.)
Population growth rate in India is 1.606% (2007 est.) (U.S. is 0.894%)
[Stasis, or zero percent growth would be listed as 0.00%.]

Birth Rate
Birth rate: 22.69 births/1,000 population. (U.S. is 14.16/1,000)
Death rate: 6.58 deaths/1,000 population. (U.S. is 8.26/1,000)
So, it can be seen from this that India definitely has a problem with an increasing population.

Religions
Hindu: 80.5%
Islam (Muslim): 13.4%
Christian: 2.3%
Sikh: 1.9%
Other: 1.9%
DANCE 382: Dance in World Cultures – Hempel

INDIA (continued)

Music of India
Types of Instruments
Melodic instruments:
o Voice – a singer
o Dilruba – a wire-stringed fiddle of northern India.
o Sitar – a plucked stringed instruments in the lute family. (north India)
o Sarod – a plucked stringed instruments in the lute family. (north India)
o Vina – a plucked stringed instruments in the lute family. (south India)
o Bañsri – a transverse flute.
o Shahnai – a double reed.
o Nagasvarm – a double reed.

Accompaniment instruments:
Drones:
o Tambura – a long-necked lute.
o Violin – western violin. (south India)
o Sarangi – a bowed lute. (south India)
o Harmonium – a hand-pumped keyboard. (north India)
Percussion:
o Tablah – a pair of drums played with the fingers.

Tones: Use of quarter tones.

DANCE 382: Dance in World Cultures – Hempel

Dance in India
Classical Dance Traditions in India
The classical dance of India is one of the most highly developed arts of Indian culture. It was an
integral part of Sanskrit dramas, a mode of worship performed in the inner shrines of every temple,
and a courtly pastime. Over the last few centuries, colonization and urbanization contributed to a
decline in the art, until a program for its revival was launched early in the 20th century. The four
principal schools (types) of Indian classical dance are Bharata Natyam, Kathakali, Kathak, and
Manipuri.

Types of Classical Dance

1. Bharata Natyam
2. Kathakali
3. Kathak
4. Manipuri
5. Odissi
6. Kuchipudi
7. Chhau
8. Koodiyattam
9. Mohiniattam
10. Sattriya

History of Bharata Natyam.

Bharata Natyam is the most significant of the classical types. It is based on the principles
set down in the Natya Shastra, a handbook on dramaturgy that was supposedly written about
200 C.E. by a Hindu sage, Bharata according to instructions from the god Brahma. Probably
the most complete dance technique in existence; including movements, hand gestures (for
which Indian dance is noted), facial expressions, head movements, and foot rhythms. The
gestures have a great variety of meanings, ranging from depictions of concrete objects to those
of abstract concepts. Some of the most beloved dances of this style are the padams, in which
songs are danced rather than sung. In modern times Bharata Natyam is usually performed by
women.

History of Kathakali.
Kathakali, the dance dramas of the Kerala region of India, are virile and masculine
performances. The movements are explosive and they are accompanied by an incessant
drumming that begins before the performance and lasts throughout the drama. The makeup is
grotesque and requires several hours to apply. The costumes are very elaborate. During the
drama the dancers do not speak, but hand movements are so varied as to constitute a complete
sign language. All of the performers are male.
DANCE 382: Dance in World Cultures – Hempel

Folk Dance Tradition in India

The various regions of India have their own folk dance traditions, which are separate from the
classical dance traditions in both culture and class level. One of the folk dances is Bangra and is a
dance tradition done at harvest time in the Punjab region, which lies in present-day Pakistan. The
women’s dance Gidda is also done at harvest time.

VIDEOS: 1. Dancing: Lord of the Dance

Pulovas:
Serpent ritual
Mandala – a circle representing the whole universe
Kalari Payat – marshal art
2. Dancing: Lord of the Dance
a. Otan Tullal – a story
b. Kathakali – a classical dance form
c. Bharata Natyam – master class in the classical form
3. Dancing: The Power of Dance
a. Bharata Natyam – a classical dance form
b. Guru teaching Bharata Natyam
c. Bangra – a folk dance form of Punjab

VIDEO QUESTIONS:
Were the Serpent Ritual dancers in a trance?

Are the Bharata Natyam costumes colorful?

Do the dancers perform in bare feet or with shoes?

Were the musicians male, female, or mixed?

How elaborate was the makeup of the Kathakali dancer?

Which languages were the Bharata Natyam teachers speaking?

DANCE 382: Dance in World Cultures – Hempel

ANTHOLOGY of SELECTED READINGS

Russian dancers
[“An Anthropologist…” starts here]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist]
[An Anthropologist ends here]
[“Folk Dance” starts here]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance]
[Folk Dance ends here]
Georgian men’s competition dance

Kartuli
[“Cultural & Historical…” starts here]
[“Cultural & Historical…”]
[“Cultural & Historical…”]
[“Cultural & Historical…”]
[“Cultural & Historical…”]
[“Cultural & Historical…” ends here]
[“Kartuli” starts here]
[“Kartuli”]
[“Kartuli” ends here]
Georgian toe boots
[“Balkan Dance” starts here]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance]
[Balkan Dance ends here]
[“Styles of Appalachian…” starts here]
[“Styles of Appalachian…”]
[“Styles of Appalachian…” ends here]
Contra dancers
[“Contra Dancing…” starts here]
[“Contra Dancing…”]
[“Contra Dancing…”]
[“Contra Dancing…”]
[“Contra Dancing…” ends here]
DANCE 382: Dance in World Cultures – Hempel

APPENDIX
University Decorum & Protocol
We’re called Professors, not Teachers.
Throughout elementary, middle, and high school students become accustomed to referring to their
teachers as “teacher.” But in higher education we use a different nomenclature. In community
colleges (also known as grades 13 & 14) the person teaching is called an “Instructor.”

What to do when your professor is late.

Sometimes a professor may be unavoidably late due to being held up in a committee meeting
somewhere on campus. The age-old courtesy practiced in academia is as follows:
How long to wait:
Academic Rank 50-min. Class 1-1/4 hour Class
Assistant Professor 10 min. per hour 15 min.
Associate Professor 20 min. per hour 30 min.
Professor 30 min. per hour 45 min.

Question: Prof. Hempel’s academic rank is Associate Professor. How long should students wait
for him if he is late to this class?

How many hours to devote to studying

Course Study Hours
Number Course Units Hours in Class (2 hrs. per class hour) Total per Week
1 3 3 6 9
2 3 3 6 9
3 2 2 4 6
4 3 3 6 9
5 4 4 8 12
Total 15 15 30 45

Where to go for more information and assistance.

Student Health Services: [Link]
Counseling & Psychological Services: [Link]
Mentoring Program: [Link]
Student Disabled Services: [Link]
Ombudsman: [Link]
School of Music & Dance: [Link]
Randi McKenzie, Dean of Students: 619-549-5124 in PSFA-212. rmckenzi@[Link]
Center for Student Rights & Responsibilities: [Link]
DANCE 382: Dance in World Cultures – Hempel

Glossary of Terms
Term Definition
acculturation The process of absorbing new cultural traits, especially by transference from
another group or people. Webster
Assimilation.
aesthetic (adj.) (from Greek aisthetikos of sense perception)
1. Pertaining to pure emotion and sensation as opposed to pure intellectuality.
Random House
2. Relating to the beautiful, or artistic. Webster
3. Pertaining to a sense of the beautiful...
airport art Used to describe art that is created for the touring consumer. In other words,
consumer goods created for tourists who want to take home an object that they
think is traditional and authentic, but is not.
amateur From Latin amator lover; French amare to love.
One who engages in a pursuit as a pastime rather than as a profession.
Synonyms: Dilettante, dabbler, tyro.
anecdotal (adj.) Characteristic of or containing anecdotes; as, anecdotal conversation.
Narrative, usually brief, of an incident or event.
Example: “How to get along with your parents” may contain case studies, which
are considered to be anecdotal. Non-scientific.
Not to be confused with antidote.
annotation An explanatory, note, remark, or commentary that informs the reader about the
contents of a book, article, or work.
anthropology The science of mankind: a) The science of the human organism; b) The science
of man in relation to physical character, distribution, origin, classification, and
relationship of races, environmental and social relations, and culture.
basket-hold A position in which the dancer holds the hands of the people adjacent to their
immediate neighbors. In other words, not the hands of the people on either side,
but of the hands of the people two positions over.
Front basket = holding hands in front of neighbors
Back basket = holding hands in back of neighbors
belt-hold A position in which the dancer holds the belts of the dancers on both sides of him
position and they in turn hold his. Used primarily in Bulgarian dance.
busker A musician or performer who busks for money. To busk is to play music or sing
in a public place so that people who are there will give money.
call(s) The basic command, or commands, that a contra or square dance caller uses to
direct the dancers from one figure to the next. These basics must complement
each other and fit in a logical movement sequence so that each call puts the
dancers in position to execute the next call. (See Command.)
choreocentrism from choreo + centric
Regarding one’s own dance form as the center of dance. Hempel
choreography (literally, dance writing) The creation and composition of dances.
DANCE 382: Dance in World Cultures – Hempel

class 1. A group of individuals ranked together as possessing common characteristics

or as having the same status; as the educated class.
2. The system of thus dividing society; caste; social rank, especially high rank, as
the upper classes.
classic/classical classic: from Latin, classique Relating to the classes of the Roman people, and
esp. to the first class; hence, of the first rank.
A work, esp. in literature or art, of the highest class and of acknowledged
excellence.
classical: in music, Appealing to critical interest or developed taste; conforming
to an established form, as the sonata. Webster
classical dance Broadly speaking, in dance, the term classical may be used to characterize any
form or period of dance distinguished by qualities that are mainly suggestive of,
or derived from, classical times and associated with the upper, or ruling, class.
closed position (From the dancers’ perspective.) Partners stand facing each other. Man's right
arm is around the woman and his right hand is placed on the center of her back.
Woman's left hand rests on man's upper, right arm or shoulder. Man's left arm is
raised sideward to the left, and he holds her right hand in his left palm.
(Sometimes referred to as closed ballroom position, and social dance position.)
command A verbal direction that is given to the dancers by a caller or instructor to indicate
(forewarn) which figure or movement to do next. Commands are always given on
the last counts immediately preceding the required action. (See Cues, and Calls.)
cue A verbal description or direction that is given to the dancer by an instructor or
caller to indicate which movement is to be made on which count (beat). Cues are
always given with, or on, the count. Cues can describe weighted foot, action, or
musical count. (Differs from a command in that commands are given before the
action, and cues are with the action.)
culture (noun) (from Latin Cultura, from colere to till, cultivate)
1. The totality of learned, socially transmitted behavior. Felix Keesing (an
anthropologist)
2. A particular stage of advancement in civilization or the characteristic features
of such a stage or state; as, primitive culture or Greek culture. Webster (2nd ed.)
cultural-context As it pertains to dance, putting the dance and dancing within the context of the
dance event of that particular culture.
culture shock The shock, or anxiety felt, when encountering a new culture and experiencing the
realities of the differences between the two cultures.
dance-culture The totality of learned and socially transmitted dances that have similar
characteristics and are identified as belonging to a particular society or group.
Hempel
dance ethnology The ethnological study of dance.
The anthropology of dance.
Studying dance as a behavioral trait of humans.
down Refers to the foot of the set or hall, and away from the music and caller.
elements of See Time, Space, and Energy.
dance
DANCE 382: Dance in World Cultures – Hempel

energy The amount of force, and perhaps quality of force, used in any movement. One
of the three elements of dance. Sometimes referred to as dynamics.
emic 1. Said of the meaning of something as it is perceived and understood by the
[pr., EE-mic] participants in a culture rather than by the observers or outsiders. Edgerton and
Langness. “Methods & styles in the study of culture.” (1974)
2. An insider’s view. Hempel
emic = me
etic 1. Said of the meaning of something as it is perceived and understood by an
[pr., EH-tic] observer (outsider) rather than by the participants themselves. Edgerton and
Langness
2. An outsider’s view. Hempel
etic: = them/tourist
ethnic (adj.) from Greek ethnos, nation; ethno, race, peoples.
1. Pertaining to races or groups of races discriminated on the basis of common
traits, customs, etc. Webster’s 2nd.
2. A group with more or less distinctive culture. F. Keesing. “Cult. Anthro.” (‘66)
ethnocentrism (n) from ethno + centric
ethnocentric (adj.) 1. Regarding one’s own race, ethnic group, etc., as the center of culture.
ethnography Descriptive anthropology. Webster
Study of individual cultures; descriptive rather than theoretical. Edgerton
[Descriptive = an account; a classification.]
[Theoretical = hypothetical; speculative; analysis.]
Think of “biography.”
ethnology The science that treats of the division of mankind into races, their origin,
distribution, relations, and peculiarities. Webster
A comparative analysis of many cultures/races/peoples. Hempel
Think of “biology.”
evidence Needed to support a position, argument, or theory. (See – scientific)
figure A basic sequence of one or more step-patterns. In contra dance it always
involves action between two or more dancers, and frequently involves
interchanging places and sometimes moving from one formation to another.
folk (noun) from Anglo-Saxon, folc.
1. A group of kindred people, forming a tribe or nation.
2. In a people bound together by ties of race, language, religion, etc.; that great
proportion of its number which determines the group character and tends to
preserve its civilization, customs, etc., unchanged. Webster’s 2nd.
3. Peasant type of traditions. Felix Keesing. “Cultural Anthropology.” (1966)
folk dance various definitions (see Joann Kealiinohomoku; also Duggan)
form of dance A form of dance is one that is technically and stylistically different enough from
another to be considered a form. The most readily agreed upon major forms are
folk dance, ballroom dance, jazz dance, modern dance, and ballet. (Referred to as
“style” by some ballet and modern dance teachers.)
formation The manner or pattern in which the dancers are arranged on the floor. Typical
formations in the various social dance forms are circles, broken circles, squares
(quadrilles), sets, and lines.
DANCE 382: Dance in World Cultures – Hempel

four-wall A country-western term that indicates the dancers will be facing one wall while
dances completing a dance sequence and then repeating the exact sequence while facing
each of the subsequent walls.
genetic & A group of people with a shared genetic pool, and a common language.
linguistic grouping
heterogeneous Dissimilar; mixed
homogeneous Of the same composition; alike; similar
iconography Iconography is the study of the identification, description, and the interpretation
of the content of images. In art history, the study of subject matter in art. The
meaning of works of art is often conveyed by the specific objects or figures.
Dance iconography is both the art of representing dance by pictures or images
and the study of whatever pictorial sources may be contributory to recording the
history and art of dance.
informant (noun) (A term used by linguistics. Taken from informer.)
A person who is willing and able to impart information (usually detailed) about
his/her culture. Edgerton and Langness
kinesthetic (adj.) Sensation of bodily motion: The perception or sensing of the motion, weight, or
position of the body as muscles, tendons, and joints move.
kinesthesia (noun) = awareness of the position and movement of the parts of the
body by means of the sensory organs in the muscles and joints.
kinesiology = the study of the principles of mechanics and anatomy in relation to
human movement.
lead (verb) To guide one's partner, or line of dancers, into the next (and subsequent)
movement or movements. In couple dancing, usually involves some degree of
physical transference of energy (resistance); while in line dancing usually
involves only leading by example.
leader (noun) One who leads. In couple dancing it has traditionally been the man because of
his greater size and strength, while in line dancing either gender may lead
depending on social conventions.
legato (adv; adj.) In a manner that is smooth and connected (as between successive tones).
line A type of formation. Dancers stand side by side, all facing in the same direction;
they may, or may not, be connected via a hand hold or in some other manner.
line of direction Refers to the direction of movement of dancers around the circle, or
dance floor. Culturally prescribed as counterclockwise. (In some places referred
to as “line of dance.”)
methodology An operational framework within which the facts are placed so that their meaning
may be seen more clearly. Examples: Historical; Descriptive survey; Analytical
survey; and Experimental.
mores [Pronounced: mor’-az] The fixed morally binding customs of a particular group.
Moral attitudes. Habits; manners.
mummer actor; a masked merrymaker in a street carnival; a performer in a pantomime;
originally, one who made sport by gestures without speaking.
DANCE 382: Dance in World Cultures – Hempel

open position (From the dancers’ perspective.) The couple are side by side with the man on the
left, the woman on the right, and both are facing in the same direction; she is
resting her left hand on his right shoulder and her right hand is hanging down at
her side, the man's right hand is on his partner's back, and his left hand is hanging
down at his side.
phenomenology The study of the development of human consciousness and self-awareness as a
preface to philosophy or a part of philosophy. The typological classification of a
class of phenomena. Examples: The phenomenology of religion. The
phenomenology of dance.
position The manner in which the dancer is standing, or arranged, on the floor; their
shape. Usually, the way they are arranged with other dancers; their deportment,
carriage. Dance positions vary from one dance form to another with some forms
being highly prescriptive and others quite plastic. In a form such as modern
dance the positions are infinite while in forms like ballroom dance they are quite
finite.
primitive (adj.) from primus, first.; prim; prima; premiere.
Beginning or origin; earliest age or period; original. Webster’s 2nd.
professional One that engages in a pursuit professionally; participating for gain or livelihood
in an activity often engaged in by amateurs. In dance: One who can maintain a
majority of their financial sustenance through dance activities is a professional;
one who cannot, but is still paid is considered to be semi-professional.
promenade (From the dancers’ perspective.) Partners stand side by side, facing same
position direction, with the woman standing to the right of the man. The man holds the
woman's right hand in his right (in front of her) and her left in his left. The man's
right arm is crossed above the woman's left arm. This is considered to be the
most standard position for Promenade Position, but in some places couples will
be seen using Varsouvienne or Skaters' positions instead.
scientific Empirical evidence; controlled experiments.
semiotics The study of signs and symbols, especially as means of language or
communication.
set Refers to a group formation. It is a term that is used interchangeably to refer to
Square, Contra, and Longway formations. (Examples, “Longway Set,” and
“Please, square up your set.”)
space A boundless three-dimensional extent in which objects and events occur and have
relative position and direction. In dance, usually involves a floor or a stage.
square A square dance formation. A square is composed of four couples, each standing
on the imaginary sides of a square, facing the center. Each couple stands with
their backs to one side (wall) of the room. (Also known as a quadrille.)
staccato In a manner that is disconnected or apart. Separated; not linked as in legato.
step A single transference of weight from one foot to the other.
step-pattern Any combination of two or more steps or movements that can be identified,
labeled, and repeated.
strata Plural of stratum. A stratum is a horizontal layer or level of material, tissue, or
divisions in science, history, or culture. (Etymology: Latin stratum – a covering.)
DANCE 382: Dance in World Cultures – Hempel

style The particular manner by which something is done by the dancer. The dynamics
of movement.
T position Standing in a line and all facing the same direction, the dancers hold one
another’s shoulders with the elbows more or less straight.
technique The manner in which basic physical movements are used by a dancer. The
mechanics of movement.
time A continuum which lacks spatial dimensions and in which events or actions
succeed one another from past through present to future.
tradition (noun) from tradere, to give up; transmit.
1. Oral [and non-oral] transmission of information, beliefs, customs, etc., from
ancestors to posterity. – Webster’s 2nd.
traditional (adj.) pertaining to, or conforming to, tradition.
traditional dance (See - folk dance)
two-wall dances A country-western dance term that indicates the dancers will be facing one wall
while completing a dance sequence and then repeat the exact sequence while
facing the opposite wall. Thus a two wall dance.
typology The systematic classification of the types of something according to their
common characteristics.
up Refers to the head of the set or hall, and toward the music and caller.
V position The position (in a line dance) in which the dancers holds one another’s hands at
about hip height with the elbows straight.
value (noun) (from Greek aisthetikos – of sense perception)
An emotionally charged preference, or standard of worth. – Keesing
The quality of being excellent, useful, or desirable; worth in a thing. – Webster’s
Something, as a principle or quality, which is regarded to be intrinsically valuable
or desirable. – Webster’s
Varsouvienne The position in which the couple are side by side with the man on the left, the
position woman on the right, and both are facing in the same direction; she is holding both
of her hands up at shoulder level, the man's right arm is behind his partner's
shoulders, he is holding her right hand in his right, & her left hand in his left hd.
vernacular The everyday language of the people in a particular country or region, as opposed
to the official or formal language. Language of the street. Vernacular dance =
street dance.
village A small community in a rural area of between 100 and 1,000 people. Does not
have many services; perhaps only a small store and post office. A settlement
usually larger than a hamlet and smaller than a town.
W position The position (in a line dance) in which the dancers hold one another’s hands up at
shoulder height with their elbows bent.
wood-shedding A vernacular term among some dancers used to describe the process of learning
dance steps, movements, figures, etc. from an experienced dancer. The term
comes from going into the “woodshed” to receive instruction away from the eyes
of others. In some cultures there is a fairly large woodshed behind the main
house. The term “wood-shedding” is also known, and used, by jazz musicians in
the United States.
DANCE 382: Dance in World Cultures – Hempel
DANCE 382: Dance in World Cultures – Hempel

Guide to Attending and Enjoying a Traditional Dance Concert

Buying a Concert Ticket & Seating Arrangements
It’s important to buy your ticket in advance at the box office (or on line) so that you don’t have
to worry about them “selling out.” They will sell any remaining tickets at the door the night of
the concert, however. There are two kinds of seating: Reserved and open. With reserved
seating the theater guarantees your seat as indicated by the row number and seat number on the
ticket. With open seating they simple guarantee you a space inside and it’s first-come first-
served. So, arrive early for a good seat.
Appropriate Dress & Arrival at the Theater
Dress up a little; more dressy that casual. Showing up to a dance concert wearing a T-shirt and
shorts would undeniably cause you to feel uncomfortable and out of place. Also, remember to
wear nice shoes, not flip-flops. It is essential to arrive early, as late arrivals will only be seated
at an appropriate break after the concert has begun. Sometimes that break is well into the
concert. Notice if the management is playing pre-concert music. Many times this music is
coordinated with the theme of the dance concert. Sit and read the concert program before the
curtain goes up; many artistic directors of ethnic companies inform the audience about the
traditions behind each dance suite in the printed program.
Viewing and Appreciating a Traditional Dance Concert
Viewing a dance concert is an aesthetic experience. One observes the concert with all of their
senses. One must watch closely. We also use many of our other senses particularly hearing.
What is your visceral reaction to what you are seeing and hearing? While you are observing
the various dances being performed make note of the costuming, set designs and the stage
lighting. These technical aspects may also be extensions of the dramatic intent. Costuming is
particularly important for a company presenting traditional dances.
Enjoying the Technique of the Dancers
How technically difficult are the dances of this particular culture. What do you notice about
the quality of the technique of the dancers? Are the dancers technically strong and pleasing to
watch, or unskilled and under rehearsed? Are they professionals or amateurs?
Enjoying the Artistry of the Folk/Ethnic Choreographer
Unlike other dance choreographers, folk/ethnic dance choreographers are restricted by the
traditions of the culture. They need to stay within the parameters of authenticity. How well did
they do this? Does the dancing hold your interest? They do not necessarily have to tell a story,
although some choose to do so.

Some Dos and Don’ts of Concert Going

1. Do enter the theater to claim your seat well before the concert begins.
2. Do turn off your cell phone/pager before concert begins.
3. Do keep an open mind for what you are about to view.

1. Do not drink before the concert, nor take food inside.

2. Do not talk or read during the concert. Do not text-message during the concert.
3. Do not take photographs or videos during the concert. Don’t leave early.

Enjoy the concert!

DANCE 382: Dance in World Cultures – Hempel

Guide to Researching and Writing Your Term Paper

The term paper you are required to write is an important part of your understanding of dance
ethnology, a dance culture, and evidence of your ability to express yourself in written form.
Please give it the respect it deserves and you will be proud of your efforts. All of the guidelines
below are requirements for your paper. Optional choices that may be suggested will be clearly
labeled as optional.

Choosing your topic

Select a culture and their traditional dances as your topic and have it approved by your
professor by the sixth week. Your professor is available for guidance should you need it.
Annotated Bibliography
You are required to write an annotated bibliography. You may turn it in by the tenth week.
Your professor will review it and hand it back to you a week later. If there are problems
with it you will have to correct them before attaching it to your term paper.
Printing
Your paper should be completed on a word-processor. If the paper is not completed on a
word-processor, it must be typed. Print it out using only black ink on white paper.
Margins & Spacing
One-and-a-quarter-inch margins are required all around (not larger). Double-space all
lines.
Font Size
Use a font size of twelve-point (12) type.
Type Style
You must use the Times, or Times New Roman, font style.
Pagination
Your term paper must be paginated. Number each page starting with first page of the text.
Do not include the cover page in the pagination (see Sections of the Paper on next page).
Style of Writing
You must write the paper in the third person. Remember this is a research paper about a
culture and their dance; it’s not about you. Avoid statements like: “I chose this topic
because I think it’s a cool subject.” Just write about your topic as if you were an
ethnologist or a journalist.
Format
The paper must be written in an approved, standard format such as American Psychological
Association (APA), or Modern Language Association (MLA).
Use of italics
Foreign words must be italicized. Foreign words or phrases such as bourrée, presiadka, un
ballo, zapateado, and der tanz must be set in italics. You do not need to add emphasize to a
word by italicizing or underlining it. Titles of dance works may be italicized.
Use of numerals
Be careful when using cardinal numerals. It is better to write “five dancers,” than “5
dancers.” However, after ten you may use numerals such as 15 or 49 except when
beginning a sentence.
DANCE 382: Dance in World Cultures – Hempel

Guide to Writing Your Research Paper (continued)

Use of Foreign Words in Annotated Bibliography

All foreign words, contained in the annotated bibliography, must be translated with the
translation appearing in brackets. Example: Livre de Danse [Dance Book].
Plagiarism
This must be your own, original work. Do not copy another student’s paper, or copy &
paste from a web page. Be aware of the differences between plagiarizing, citing, and
paraphrasing.
Citations
• All facts must be cited.
• All quotations must be cited.
• All paraphrasing must be cited the same as quotations.
• Cite by author and page number in parentheses at the end of the sentence.
• Do not cite every paragraph – some of the paper needs to be written in your own words.

Sections of the Paper

The paper must contain the following:
• Cover page. Title of Paper, Your Name, Course Number & Name, Professor’s Name,
and Date. Notice the vertical spacing in the Sample Cover Page (see p. 156).
• Text (contents). A minimum of eight (8) pages of text.
(Note: The cover-page is considered to be an additional page; it is not page-1.)
o Introduction: A paragraph is usually enough, and it must be labeled.
o Main part: This is the main discussion of your topic. Subdivide it into
paragraphs, which need to be either indented or skip a line. The body of the
paper must contain at least three to four pages on the dance of the culture being
described.
o Be sure to use hard page breaks that are put in logical places. Not sure? – ask!
o Labeling Sections. You must label each of the sections of your paper. (See
pages 157 & 158 for examples of how to label sections.)
o Summary (conclusion): A paragraph summarizing the body – label it as such.
• Annotated Bibliography. A minimum of six (6) references of which three must be
books on dance. It must be annotated. See Bibliography Guidelines on next page.
Also, see sample bibliography on p. 159. Note: Ask questions in class if you don’t
know how to annotate your references.

Binding
Do not bind the paper; simply staple it with one stable in the upper, left hand corner.

The paper may contain the following:

• Table of contents (optional). Recommended, especially if the paper is lengthy.
• Appendix of such items as illustrations, photographs, charts, and maps (optional).
While optional, illustrations are highly encouraged.
DANCE 382: Dance in World Cultures – Hempel

Guide to Writing Your Research Paper (concluded)

Annotated Bibliography Guidelines

Include at least six references. Arrange alphabetically by author’s last name. You must
include publisher and year of publication. (See Sample Bibliography on next page.)
• At least three must be books on dance about your topic.
• No more than one can be a personal interview of an informant.
• No more than one can be a reference to a film or video.
• No more than one encyclopedic reference. [Use only if it contains information on your
topic.]
• No more than one web-page reference will be accepted. (Be wary of the temptation to
“copy & paste.” References will be searched and checked by using “word strings.”)
The remainder may be journal articles or additional books.
Once you have met the six references minimum you may add additional references. In other
words, your annotated bibliography may contain additional books, articles, or films.
Note: No novels (fiction) will be acceptable as references.
Do not use Prof. Hempel’s syllabus as a reference.

Use of Photographs (optional)

If you choose to include photographs in the textual part of the paper, be sure that the text is
at least eight pages in length. In other words, if you include photos (or any illustrations) in the
text the total length of the paper will have to be in excess of eight pages. If not, you will lose
points.

Useful Writing Guides

• Craine, Debra. Oxford Dictionary of Dance.
• Chujoy, Anatol. Encyclopedia of Dance.
• Cohen, Selma Jeanne. International Encyclopedia of Dance.
• Fowler, H. W. Modern English Usage.
• Perrin, Porter G. Writer’s Guide and Index to English.
• Roget, Peter Mark. Thesaurus of English Words and Phrases.
• Strunk, William and E. B. White. The Elements of Style.
• Any good encyclopedia.
• Any good atlas.

Search Engines
• ProQuest at [Link]
• RILM at [Link]

Submission Deadline: The paper is due Thursday, May 7, 2015 at 11:00 AM.

Happy writing!
 (SAMPLE COVER PAGE)

Dances of the Taiwanese Aborigines

Your Name Here

D382 – Dance in World Cultures

Professor Hempel
May 3, 2015
DANCE 382: Dance in World Cultures – Hempel

Labeling Example #1

NOTE: These are possible labels.

ABORIGIALAND
Introduction
Traditional dances in the…

Geography
Aborigialand is located…
The climate of Aborigialand varies from the north to the south and also from the mountains to the valleys…

Languages & Alphabets

Language
Abor is the national language and primary tongue of 95% of the people. It is a part of the family of languages known as…
Alphabet
Their alphabet is a modification of the …

History
The history of the Aborigia civilization is quite interesting and has had historians pondering the origins of this unique…

Customs & Mores

Particular customs of the people include…

Music, Rhythms, & Types of Instrumentation

They use irregular rhythms as well as…

Dance Traditions
Dance in their land is known the world over for the interesting movements they do on the heels of their feet. They…

Types of Dance
Their dances break down into the following types…

Names of Dances
These are among some of…

Use of Props & Masks (when appropriate)

Use of Space (Formations, etc.)
They have a fondness for making use of…

Complexity of their Dance

Techniques & Vocabulary of Movements (if you can identify them)
Stylistic Idiosyncrasies (again, if you can identify them)
Summary
DANCE 382: Dance in World Cultures – Hempel

Labeling Example #2 (these are possible labels)

NOTE: These are possible labels.

ABORIGIALAND
Introduction
Traditional dances in the culture of…

Geography
Aborigialand is located…
Its terrain varies from…

The People of Aborigialand

They break themselves into three classes…

Languages & Alphabets

Language
Abor is the national language and primary tongue of 95% of the people. It is a part of the family of languages known as…
Alphabet
Their alphabet is a modification of the …

Customs & Mores

Education and literacy are quite high and…

Music, Rhythms, & Types of Instrumentation

They use irregular rhythms as well as…

Dance Traditions
Dance in their land is known the world over for the interesting movements they do on the heels of their feet. They…

Types of Dance
Their dances break down into the following types…

Styles of Dance
The styles of dance in Aborigialand are two, which…

Formations & Positions Used

They have a fondness for making use of…

Complexity of their Dance

Difficulty of their Dance
Among the traditional dances of the world, Aborigialand dances are among…

Techniques & Vocabulary of Movements (if you can identify them)

Summary
DANCE 382: Dance in World Cultures – Hempel

(SAMPLE) ANNOTATED BIBLIOGRAPHY

(Notice that it’s alphabetized by author’s last name.)

Alves, Steve. Together in Time: A Story of New England Contra Music & Dance.
Greenfield, MA: Hometown Productions, 2005.
An excellent video that explores the history of contra dance from its origins in
England in the early 1700s to the present day in America.
Cohen, Selma J. International Encyclopedia of Dance.
New York, NY: Oxford Univ. Press, 1998.
A six-volume work that lists many cultures of the world and their dance forms.
An excellent resource praised by dance scholars, which enables the user to
explore dance in its cultural and social aspects. Some entries are only a
paragraph or two in length, and others are several pages.
Dufke, Marie. Quadrille française. [French Quadrille.]
Danzig: n.p., 1890.
A book of French quadrilles as danced in the 19th century.
Gambussi, Zeffirino. Il Ballerino Elegante. [The Elegant Dancer.]
Trieste & Venezia: 1868.
A description of the dances seen in the Italian ballrooms: French Contredanse,
Waltz, Cotillon, Mazurka, Polka, Siciliana, Lancers, Makovsky Polonaise.
Holden, Rickey, et al. The Contra Dance Book.
Newark, NJ: American Squares, 1956 (OP).
A compilation of contras and progressive circle dances from available
American literature between 1850 and 1953. A good source for many of the
old chestnuts and for bibliographical references and alternate dance titles.
Jaffé, Nigel Allenby. Folk Dance of Europe.
North Yorkshire, England: Folk Dance Enterprises, 1990.
Contains information on country dance; speculation about the origins of the
words country-dance and contredanse.
Moiseyev, Igor. Personal interview. November 15, 1984. A brief interview of the maestro in
which he was asked about the staging of traditional Russian dance.
Playford, John. English Dancing Master: Plaine and easie Rules for the Dancing of Country
Dances, with the Tune to each Dance. London: Printed by Thomas Harper,
and are to be sold by John Playford, 1651.
This is the first edition, which contains 105 country-dances and old chestnuts
that are still being danced in the 20th century.
Tolman, Beth & The Country Dance Book.
Ralph Page. Weston, VT: The Countryman Press, 1937.
An anecdotal account of rural country dancing in New England before, and at
the beginning of the square and contra dance revival of the 1920s and 1930s.
Along with historical vignettes, many dance descriptions are given including
all of the chestnuts.
DANCE 382: Dance in World Cultures – Hempel

Sample Exam Questions

1. is a term that is used to describe art that is created for the touring
consumer.
A. Airport art
B. High art
C. Folk art
D. Low art
E. Faux art

2. In the Georgian Republic male dancers dance on their .

A. hands
B. heels
C. toes
D. gluteus maximus
E. knees

3. Croatia is a country in .
A. Africa
B. the Balkans
C. the Baltic states
D. South Asia
E. the mythical Atlantis

4. Bagpipes are made from .

A. wood
B. cloth
C. plastic
D. goats
E. paper

5. In Russia, men’s squatting movements are known as .

A. Agaraga
B. Csapos
C. Jembush
D. Klik-klak
E. Presiadki
DANCE 382: Dance in World Cultures – Hempel

Frequently Asked Questions

• How do I get a good grade in this course?

As with any college course it is best to do the following things.
1. Read the assignments and read them with good comprehension.
2. Attend every class and stay alert.
3. Enjoy viewing the videos and take notes.
4. Take good notes. Be sure to also take notes on what is being said, not just copy the
notes on the board or screen. Ask for clarification of material if further explanation
is needed.
5. Attend the concert and enjoy the experience.
6. Study!

• Which days do you show videos and do I have to stay and watch them?
Video examples of dance will be shown virtually every day. Dance is a moving art; the
videos are very important to the understanding of dance and are shown to illustrate the
lectures. There will be some questions on the exams that pertain to the videos that are
shown in that unit.

• How much does a dance concert cost?

The concerts range in price from as little as $12 for those on campus to around $15 to $20
for local dance companies that perform off campus. Of course, there are usually more
expensive concerts in the area for touring, professional dance companies and these
performances can range in cost from $25 to $50.

• If I miss a class can I get the lecture notes from you? See page 3, Course Policy 5.c.

• Can I get your lecture notes from another student?

It’s not advisable. It’s best to not miss any classes. Also, never loan your notes to another
student – you may never get them back.

• Are the reading assignments and your lecture notes available on Blackboard? No, not this
semester.
DANCE 382: Dance in World Cultures – Hempel

Resources
Dance Videos
Kensington Video
4067 Adams Avenue, San Diego, CA 92116
(Next to the Ken Cinema)
[Link]
Where to find dance in San Diego
[Link]
Dance shoes
Carmen’s Dance Shoes & Supplies
6506 El Cajon Blvd. #D, San Diego, CA 92115
[Link]
DANCE 382: Dance in World Cultures – Hempel

For Intellectual Stimulation & Increased Cultural Awareness

(… and just plain old-fashioned fun)

Tune in to KPBS Radio (89.5 FM) on the weekends.

It’s not your typical “talk” radio.

Weekend Schedule:
Saturday Sunday
6:00 am Only A Game (sports) The View From Here – Who Cares
7:00 am Weekend Edition Saturday (news) Weekend Edition Sunday (news)
8:00 am Weekend Edition Saturday Weekend Edition Sunday
9:00 am Weekend Edition Saturday Weekend Edition Sunday
10:00 am Car Talk with Tom & Ray Magliozzi * Wait, Wait…Don’t Tell Me
11:00 am Wait, Wait…Don’t Tell Me (humor) * A Prairie Home Companion
Noon Radio Lab A Prairie Home companion
1:00 pm Day 6 This American Life (It’s kind of like
A movie for a radio show. … well,
sort of.)
2:00 pm Weekend All Things Considered Weekend All Things Considered
(A careful analysis of the biggest
news stories of the day.)
3:00 pm Marketplace Money Car Talk
4:00 pm A Way with Words * (For people who TED Radio Hour
love words.)
5:00 pm The Splendid Table * (for foodies) On the Media
6:00 pm A Prairie Home Companion * Says You! *
with Garrison Keillor. (You’ve
got to listen.)
7:00 pm A Prairie Home Companion Animal House
8:00 pm Ask Me Another Travel with Rick Steves
9:00 pm BBC World Service (news) Jacobs Masterworks Series
10:00 pm BBC World Service Jacobs Masterworks Series
11:00 pm BBC World Service BBC World Today Weekend

* Professor Hempel’s favorites.

DANCE 382: Dance in World Cultures – Hempel

DANCE HUMOR

My friend is addicted to Line Dancing. He went into recovery by entering a Two-step program.

Did you hear about the new dance? It’s called the “Elevator.” It’s easy – there are no steps.

I took my friend to the ballet the other night. He saw the ballerinas en pointe (on toe) and asked,
“Why don’t they just get taller girls?”

How many contra dancers does it take to screw in a light bulb? Only one, but you have to give
him a walk through first.

What do you call a belly dancer with a sword? A veiled threat.

Two women are seated on a park bench. One’s a dancer and the other doesn’t have any money
either.

Two fonts walk into a line dance club. The bartender yells, “Get out of here! We don’t serve
your type here.”

How many dance instructors does it take to change a light bulb? Five!...Six!...Seven!...Eight!

Where can you dance in California? In San Fran-disco.

And a few about music and musicians…

Why do bagpipe players always march when they play? To get away from the noise.

Did you know the Irish invented the bagpipes as a joke? The Scots haven’t gotten the joke yet.

Musicologists have found the missing link between noise and music: It’s rock ‘n roll.

Do you know what perfect pitch is? It’s when you can pitch the banjo fifty yards and have it land
in the dumpster atop the accordion.

If you drop a banjo and an accordion off a tall building, which one will land first? Who cares?

What do you get when you drop a piano down a mineshaft? A flat minor.

Do you know why hummingbirds hum? Because they don’t know the words.
 Prof. Graham Hempel was a professional dancer with the Don Cossack Chorus &
Dancers of New York, and the Aman Folk Ensemble of Los Angeles. He danced the solo-role
of the Trepak in the Nutcracker Ballet with Alan Howard’s Pacific Ballet Company of San
Francisco for three seasons. Additionally, he founded and directed two folk dance & music
ensembles in San Francisco and San Diego. Mr. Hempel is one of a very few American men
who developed the art of dancing on his toes in the tradition of the men of the Georgian
Republic. He has performed solo on the stages of Los Angeles’ Dorothy Chandler Pavilion,
San Francisco’s Opera House, New York’s Brooklyn Academy of Music, and San Diego’s East
County Performing Arts Center among others. He has appeared on television in San Francisco,
Oakland, and the Republic of Georgia. He has also given interviews on radio.
Prof. Hempel has conducted dance research in Croatia, the Georgian Republic, Serbia,
and the United States. He has created over forty-five choreographies, four of which have been
accepted by juries for major festivals. He has choreographed for dance ensembles in San
Francisco, Los Angeles, Anaheim, Eugene, Spokane, Denver, and San Diego. His scholarly
work in dance ethnology has been presented in Ohio, Georgia, and California. He has had
seven research articles published in dance journals, and is currently working on a contra dance
book. Prof. Hempel has written reviews and analyses for several publishers.
Prof. Hempel received his Master of Arts degree from San Francisco State University in
Creative Arts – Interdisciplinary, and also his BA in dance. Before coming to San Diego State
University, he taught at San José State, San Francisco State, Dominican College, and Cerritos
College. Both the Mortar Board Honor Society and the School of Music & Dance have
recognized Prof. Hempel as an outstanding faculty member. Among dance students and
dancers alike, he is known for his concise and helpful teaching and for making dance accessible
to dancers of all ages at all levels. In addition to his traditional (folk/ethnic) dance
specialization, he has training in other dance forms such as ballet and ballroom dance, and has
taught a diverse array of both technique and theory in over twenty-three separate dance courses.
Mr. Hempel remains active as a master teacher and has taught in excess of one hundred
classes and workshops in New York, Tampa, Indianapolis, Detroit, Urbana, Kansas City,
Oklahoma City, Denver, Boulder, Albuquerque, Los Alamos, Missoula, Spokane, Phoenix,
Seattle, Eugene, Corvallis, San Francisco, Berkeley, Oakland, San José, San Luis Obispo,
Santa Barbara, Los Angeles, Anaheim, Santa Ana, Riverside, San Diego, and Monterrey,
Mexico. Hempel is repeatedly sought after as a consultant by performing arts organizations,
dance groups, and folk dance ensembles throughout the country. He was on the Board of
Directors of San Diego Folk Heritage and was the Chair of its Dance Committee.
Prof. Hempel has been a regularly scheduled contra dance caller for over sixteen years
and is known for his clear and confident calling. While he mostly calls dances in San Diego,
he has accepted invitations to call in Berkeley, Sacramento, San Luis Obispo, Long Beach,
Anaheim, and in Prescott and Flagstaff, Arizona. Bands that he has worked with include Au
Contraire, Cobblestone, Continental Drifters, Crossroads, Flight Path, Frank Hoppe & Friends,
Free Fall, Gray Beard, Growling Old Geezers, Hey Wire, Hot Asphalt, Jump Fingers, More the
Merrier, New Lost Melody Boys, Nobody’s Business, Old Twine, Paddy O’Furniture, Pick of
the Lizard, Ranting Banshee, String Theory, Swamp Mamas, Syncopaths, Usual Suspects,
Vista Social Club, Watermelon Pie, and Whitetop Mountaineers.
Due to his lifetime of dancing, Professor Hempel developed severe osteoarthritis and
had to have surgery to have both his knees and both his hips replaced. His surgeons don’t want
him “leaping and frisking about” anymore. Alas!
DANCE 382: Dance in World Cultures – Hempel

Guide to Maps
Page
1. Republic of Georgia …………………………………………….30
2. The Balkans ……………………………………………………133

Guide to Diagrams
Page
1. Duple Proper Contra Formation ………………………………40
2. Duple Improper Contra Formation ……………………………40

List of Illustrations
Page
1. Couple dancing Kartuli …………………………………………Cover
2. Yaqui deer dancer ………………………………………………… ii
3. Maypole dance …………………………………………………….4
4. Hoedown couple …………………………………………………5
5. Line of dancers doing a Right-hand-star …………………………38
6. Couple doing Swing-your-partner ……………………………….44
7. Balkan dance couple ………………………………………………55
8. Hungarian dancers ……………………………………………….71
9. African dancer …………………………………………………….74
10. Indian Sitar ……………………………………………………….81
11. Two Russian dancers ………………………………………………85
12. Georgian men’s competition dance (above) ……………………109
13. Kartuli (below) …………………………………………………109
14. Map of Georgia (left) ………………………………………….110
15. View of Caucasus Mountains (right) ………………………….110
16. Rustavi Square in Tbilisi ………………………………………111
17. Georgian State Dance Company ……………………………….112
18. Toe dancing (left) ………………………………………………113
19. Khorumi danced by twelve men (right) …………………………113
20. Duquesne University dancers in Georgian costumes ……………114
21. “Dancing the Lezghinka” [Kartuli] (early 20th century print) …...116
22. Dancing Kartuli at a student ball (20th century photo) …………117
23. Georgian toe boots ………………………………………………119
24. Students at the Univ. of Oregon perform a clog dance suite ……134
25. Jerry Duke demonstrates playing the limber-jack (upper left) ….136
26. Dancers of the Aman Folk Ensemble clogging (lower right) ……136
27. Contra dancers ……………………………………………………137
28. Funky Scandinavian dancing couple ……………………………143
29. Funky North American dancing couple ………………………….151
30. Dance shoes ………………………………………………………162