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<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8">
<title>Reed College Folk Dancing</title>
<meta content="width=device-width, initial-scale=1.0" name="viewport">
<meta content="Reed College Folk Dancing with Bill Nelson on Sundays" name="description">
<meta content="Reed College, Folk Dancing, Bill Nelson" name="keywords">
<meta content="Rosemary Koshy" name="author">
<link href="favicon.ico" rel="icon" type="image/x-icon">
<link href="w3.css" rel="stylesheet">
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</head>
<body>
<header class="header">
<hgroup>
<h1>Reed College Folk Dancing</h1>
<h2>From Classical Greek to Modern Israeli</h2>
<h3>Bill Nelson (he/him)</h3>
<h4><a href="mailto:reedbookguy@gmail.com" rel="noopener" target="_blank">reedbookguy@gmail.com</a></h4>
<h5>Sundays 3:30 PM – 5:30 PM</h5>
</hgroup>
</header>
<nav class="navbar">
<a href="">Home</a>
<a href="music/">Music</a>
<a href="videos/">Videos</a>
</nav>
<hr>
<div class="padding-16">
<div>
<h1>Course Introduction: Bill Nelson 62'</h1>
<blockquote>
<p>
When I was a student at Reed, I lived a reclusive life, mainly in the chemistry building. Folk dancing
changed all that, and it has continued to be integral to my life, allowing me to cultivate friends from
all around the world.
</p>
<p>
Folk dancing, first and foremost, is about the joy of moving to music, combined with the celebration of
community. The dances are usually done in a line or circle, giving the novice dancer the support of
fellow dancers on either side. Historically, folk dancing, as I know it, began with the Greek hora about
3,000 years ago (as described by Homer).
</p>
<p>
The class introduces students to some of the multitude of ethnic dances that have evolved from the
classical Greek Hora during the last 3,000 years. The Jewish dance, Hava Nagila, is a famous example of
a folk dance that evolved from the Greek Hora!
</p>
<p>
This website provides access to all the wonderful music played in the class!
And, soon, videos of all our dances as well!
</p>
</blockquote>
</div>
<hr>
<div>
<h1>Introduction to Folk Dances</h1>
<iframe src="https://www.youtube-nocookie.com/embed/XYfM11Y-nWY"></iframe>
</div>
<!-- TODO: alphabetize everything, link everything to text -->
<div>
<h2>Reed Folk Dancing Lexicon</h2>
<p>
<b>Folk Dance Music</b> is any music that has a regular, uniform "beat," which allows one to count the beats with whole numbers.
Pragmatically, if you can march to the music's beats, then it is countable and Folk Dance-able music.
</p>
<p>
<b>The Greek's 4 Count Dance Model</b>, created over 3,000 years ago, divides countable music into 4 count parts
called <b>rhythms</b>. <b>Rhythm(s)</b> is(are) the building blocks for constructing Folk dances.
</p>
<p>
R = the right foot L = the left foot
</p>
<b>4 Step Rhythm</b> occurs when each of the 4 <b>counts</b> of the <b>rhythm</b> is expressed
as a <i>step</i>! The many different ways the 4 <i>steps</i> move and are positioned creates a variety
of <b>forms</b> for expressing the <b>4 step rhythm</b>, while the <b>rhythm</b>, itself, remains unchanged!
</p>
<p>
<b>"Form</b> is what one sees; whereas, <b>rhythm</b> is what one hears!"
In other words, <b>form</b> is about geometry, while <b>rhythm</b> is about counting: "1, 2, 3, 4."
</p>
<p>
<i>steps</i> <b>only</b> occur when you transfer your weight from one foot to the other foot,
(R, L) or (L, R)! In the <b>Greek Tradition</b> <i>step pairs</i> always begin
by <i>stepping</i> on R, (R, L). <i>Step pairs</i> are (R, L) unless (L, R) is indicated.
Also, in the <b>Greek tradition</b>, <i>step pairs</i> can either <u>move right</u> along a line
we will call the <i>baseline</i> or stay
<i>stepping</i> <u>in place</u> <b>on</b> the <i>baseline</i>
<b>without</b> <u>moving right</u>!
</p>
<p>
<i>baseline</i>: the <i>imgained line</i> to your right when <u>facing forward</u> (Greek Tradition)
or the same <i>imagined line</i> extending to your left (Jewish Tradition). It is the frame of reference
for all of our dances because the dances are all <b>linear</b>: either moving <b>along</b> the <i>baseline</i>
OR <u>facing forward</u> <i>stepping</i> <b>on</b> the <i>baseline</i> OR <i>stepping forward</i> <b>off</b> the <i>baseline</i>
and <i>backward</i> to the original place <b>on</b> the <i>baseline</i>. The concept of the <i>baseline</i> is essential in understanding
and definitively describing the <i>movement</i> and <u>position</u> of the <i>step pairs</i> that construct all of our marvelous
dances. <b>See Reed Version of Ve David</b>.
</p>
<p>
<i>step pairs</i> (R, L) and (L, R) are the most elemental <b>forms</b> of dance! They exist in just 5
distinct <b>forms</b>: <i>marching,
crossing in front, crossing behind, turning</i>,
and <i>balancing</i>.
</p>
<p>
<i>marching step pairs</i> (R, L) <u>moving right</u>
is done <u>facing right</u> <u>stepping right</u> <b>along</b> the <i>baseline</i>, etc. <i>Marching step pairs
stepping</i> <u>in place</u> are done <u>facing forward</u> <b>on</b> the <i>baseline</i> OR marching forward then <i>backward</i>
to the <u>original place</u> <b>on</b> the <i>baseline</i>.
</p>
<p>
<i>crossing in front step pairs</i> (R, L) <u>moving right</u> begin <u>facing forward</u> <b>on</b> the <i>baseline</i>
with R <i>stepping</i> farther right of L, followed by L <i>crossing in front</i> of R, landing above the
<i>baseline</i> to the right of R, <i>etc.</i> Such that,
consecutive <i>crossing in front step pairs</i> with R always <i>stepping</i> to the right of L will <u>move right</u> <b>along</b> the
<i>baseline</i> <i>ad infinitum!</i> However,
if R <i>stays stepping</i> <u>in its original place</u> <b>on</b> the <i>baseline</i>, consecutive
<i>crossing in front step pairs</i> will remain <u>in place</u> <i>ad infinitum!</i>
An alternative (R, L) <u>in place</u> <i>cross in front step pair</i> occurs when R <i>crosses
in front</i> of L landing <b>above</b> the <i>baseline</i> to the left of L, then with L <i>stepping</i> <u>in its original place</u> <b>on</b>
the <i>baseline</i>, etc.
If L were to <u>move left</u>, as in early Jewish dances, by <i>stepping</i> <u>left</u> <b>on</b> the <i>baseline</i>,
the consecutive (R, L) <i>step pairs</i> would
continue to <u>move left</u>.
</p>
<p>
<i>crossing behind step pairs</i> (R, L) are analogous to <i>crossing in front
step pair</i> except L <i>crosses behind</i> R, instead of <i>in front</i> of R.
In both cases, R determines whether the <i>crossing behind step pair</i> <u>moves
right</u> or <u>stays in place</u>! Similarly, for early Jewish dances <u>moving left</u>, L determines
whether the <i>crossing behind step pair</i> <u>moves left</u> or <u>stays in place</u>.
</p>
<p>
<i>turn step pairs</i> (R, L) occur <u>facing forward</u> when one foot stays rotating <u>in place</u> while the other foot
<i>crosses in front</i>. If R <i>steps</i> <u>in place</u> rotating 90 degrees while L
<i>crosses in front</i>, you will <u>turn right</u> <u>in place</u> 90 degrees! Repeating this <i>turn step pair</i>
3 more times will complete your 360 degree <u>right turn</u>
around R, returning you exactly to your original place <b>on</b> the <i>baseline</i>
<u>facing forward</u>! You can also rotate R 180 degrees to complete your
<u>right turn</u> in just 2 <i>turning step pairs</i>. Also, (R, L) <i>step pairs</i> can <u>turn left</u>
by R <i>crossing in front</i> of L, and L <i>stepping</i> <u>in place</u> rotating 90 degrees, etc. Repeating
this 3 more times will complete your 360 degree left turn, positioning you <u>facing forward</u> in your original place
<b>on</b> the <i>baseline.</i>
</p>
<p>
<i>balancing step pairs</i> are usually done <u>facing forward</u> <u>in place</u>
with different combinations of <i>stepping</i> <b>on</b>, <b>above</b>, or <b>below</b> the <i>baseline</i>.
</p>
<p>
Combining <i>step pairs</i> with themselves or with different <i>step pairs</i> will
create all the different <b>4 step rhythm forms</b>.
Of all the combinations of <i>step pairs</i> to create <b>4 step rhythm forms</b>,
the most elegant are the <b>grapevine forms</b>: the <b>Jewish grapevine</b>, the <b>Russian grapevine</b>,
the <b>right grapevine</b>, and the <b>left grapevine</b>. These 4 <b>grapevine forms</b> are all constructed by combining
a <i>crossing in front step pair</i> with a <i>crossing behind step pair!</i>
</p>
<p>
<b>Jewish grapevine</b> combines a (R, L) <i>crossing in front step pair</i> <u>moving <b>left</b></u>
with a (R, L) <i>crossing behind step pair</i> <u>moving <b>left</b></u>, etc. The <b>Jewish grapeveine</b>
was probably the first <b>grapevine form</b>, appearing in the first Jewish dance, the <B>Jewish Hora.</b>
<b>See Russian dance, <i>Troika.</i></b>
</p>
<p>
<b>Russian grapevine</b> is the mirror image of the <b>Jewish grapevine</b>: combining a (L, R)
<i>crossing in front step pair</i> <u>moving right</u> with a (L, R) <i>crossing behind step pair</i>
<u>moving right</u>, etc. <b>See Russian dance, <i>Troika.</i></b>
</p>
<p>
<b>Mirror image is what you see looking at a mirror</b>; where R becomes L, and <u>moving right</u>
<b>along</b> the <i>baseline</i> becomes <u>moving left</u> <b>along</b> the <i>baseline!</i>
Neither movements up and down (y axis) nor movements forward and backward (z axis) are affected! Why!
Only x axis movement along the <i>baseline</i> is reversed! This concept of mirror imaging allows us
to create <u><b>new</u> grapevine forms</b> by simply reversing the feet and direction of any grapevine! Which inspires
the question: <i>How many different forms of the grapevine are there?</i>
</p>
<p>
The <b>right grapevine</b> combines a (R, L) <i>crossing in front step pair</i>
<u>moving right</u> with a (R, L) <i>crossing behind step pair</i> <u>moving right</u>, etc.
</p>
<p>
The <b>left grapevine</b> is the mirror image of the <b>right grapevine</b>: (L, R)
<i>crossing in front step pair</i> <u>moving left</u> with a (L, R)
<i>crossing behind step pair</i> <u>moving left</u>.
</p>
<p>
4 more <b>grapevine forms</b> can be constructed by <i>crossing behind step pair</i> first, then <i>crossing in front step pair.</i>
</p>
<p>
Also, 8 more grapevine forms result by expressing the 8 <u>moving</u> <b>grapevine forms</b> as <u>in place</u> <b>grapevine forms.</b>
</p>
<p>
<b><i>T/Cherkessia</b></i> is the Israeli name for the <b>Jewish grapevine</b> <u>in place</u>.
</p>
<p>
N = <i>nonstep</i>
</p>
<p>
<i>nonstep</i> is a count that is expressed <b>without</b> changing your weight! It is indicated in <i>step pair</i> notation
by (R, R) = (R, N); and if the first <i>step</i> is L, then (L, L) = (L, N).
It can occur either by hopping/skipping on your weighted foot, as with the <b>Turkish chug step</b> skipping backwards.
Or, more commonly, by using your free foot to touch/slap/stomp the floor <b>without</b> transferring your weight!
In the <b>Greek Tradition</b>,
the free foot <i>lifts</i>, which is the most demonstrative way to emphasize that your weight is <b>not</b> transferred to your
free foot! The height of the <i>lift</i> can tell you which Greek village the dancer comes from!
</p>
<p>
The Greeks create a new <b>rhythm</b> by substituting <i>nonsteps</i> for the 2nd
and 4th counts of the <b>4 step marching rhythm</b> to make a new <b>2 step rhythm</b>: (R, N, L, N)! This new
<b>rhythm</b> will appropriately be called the <b>Greek hora rhythm!</b> Its introduction represents the beginning
of the <i>World of Dance</i> separate from the <i>World of Marching!</i> <b>The Greek hora rhythm</b>
will inspire many more new <b>rhythms</b> that will <b>transform Dance into the
Magnificence it is today!</b>
</p>
<p>
</p>
<p>
<b>The form</b> of The Greek hora rhythm is <u>facing forward</u>, <u>staying in place</u> on the <i>baseline</i></b>:
<i>stepping</i> with R <b>on</b> the <i>baseline</i>, then <i>lifiting</i> L <b>in front of</b> the <i>baseline</i>,
followed by <i>stepping</i> with L in its
original place <b>on</b> the <i>baseline</i>, then <i>lifting</i> R <b>in front of</b> the <i>baseline</i>
(R, N = <i>lifitng</i> L, L, N = <i>lifting</i> R). This
completes the <b>form</b> of the <b>4 count Greek hora rhythm</b>.
</p>
<p>
<b>The Greeks Construct the First Choreographed Dance in Recorded History</b> by combining a <u>facing right</u>, <u>moving right</u>
<b>along</b> the <i>baseline</i>, <b>marching form</b> of the <b>4 step rhythm</b>, with the <u>facing forward</u>, <u>staying in place</u>
<b>on</b> the <i>baseline</i> <b>form</b> of
the <b>Greek hora rhythm</b>. These combined <b>rhythms</b> create the <b>8 count Greek hora pattern</b> that repeats to make
the <b>Greek Hora dance</b>.
</p>
<p>
<b>8 count Greek hora patterns</b> are combinations of 2 <b>rhythms</b>; such that,
their 8 counts <b>include</b> an even # of <i>steps</i>, making them repeatable
<i>ad infinitum!</i> Beyond the <b>Greek Tradition</b>, any # of <b>counts</b> that
include an even # of <i>steps</i> can be a <b>pattern</b>.
</p>
<p>
<b>The Diaspora of the 8 count Greek Hora Dance</b> around the Mediterranean World probably began shortly after its creation,
but I suspect the much bigger impact around the entire Classical World occurred 500 years later due to the exploits of one man,
<b>Alexander the Great!</b>
</p>
<p>
<b>The 8 Count Greek Hora Dance Provides the Basic Dance Model for Other Cultures to Emulate:
(1) begin <i>stepping</i> with R, (2) <b>4 count moving rhythm</b> <b>along</b> the <i>baseline</i>,
(3) 4 count <u>facing forward</u> <U>in place</u> rhythm on the <i>baseline</i>,
which together create a Greek 8 count pattern dance</b>.
</p>
<p>
<b>The Jewish version of the Greek Hora Dance</b>, called The <b>Jewish Hora</b>, begins with a <u>facing forward</u>, <u>in place</u>
<b>Greek hora rhythm</b> first,
and then <i>moves <b>left</b></i> <b>along</b> the <i>baseline</i> with a <b>Jewish grapevine 4 step rhythm</b> to create
their own version of the <b>8 count Greek Hora</b>.
<b>See Jewish dance, <i>Hava Nagila.</i></b>
</p>
<p>
<b>Turkish version of the Greek hora dance</b> begins <u>facing right</u>, <u>moving right</u> <b>along</b> the <i>baseline</i>
in the <b>marching form</b> of the <b>4 step rhythm</b>. Then, <i>stepping</i> <u>in place</u> <b>on</b> the <i>baseline</i>
with the <b>Greek hora rhythm</b> (R, N = L <i>lifting</i>, L, N = L <b>turkish chug nonstep</b>).
<b>See Turkish dance, <i>Kendeme.</i></b>
</p>
<p>
<b>Turkish peoples create a new rhythm</b>, the <b>3 step rhythm</b> (R, L, R, N) and (L, R, L, N),
to construct their more original version of the <b>Greek Hora</b>.
</p>
<p>
<b>The 3 step rhythm</b> is expressed as (R, L, R, N) or (L, R, L, N).
</p>
<p>
<b>The Turkish 3 step rhythm version of the Greek Hora</b> is constructed with the (R, L, R, N = <i>lift</i>) <b>rhythm</b> <u>marching right</u>,
<u>facing right</u> <b>along</b> the <i>baseline</i>. Then, with the (R, L, R, N = <b>turkish twist</b>) <b>rhythm</b> <u>in place</u>,
<u>facing forward</u> <b>on</b> the <i>baseline.</i> These 2 combined <b>3 step rhythms</b> create an <b>8 count pattern</b>,
Turkish version of the <b>Greek hora</b>. <b>See Turkish dance, <i>Iste Hendik.</i></b>
</p>
<p>
<b>The 1 step rhythm</b> typically begins with its 1 step on the first count, followed
by 3 <i>nonsteps!</i>
<b>The 1 step rhythm</b>, like the <b>3 step rhythm</b>,
can combine its 2 expressions (R, N, N, N) and (L, N, N, N) to create a <b>Greek 8 count pattern</b>. Also,
you can combine a <b>3 step rhythm</b> with a <b>1 step rhythm</b> to again create a <b>Greek 8 count
pattern</b>, which is exactly what happens with the Macedonian version of
the <b>Greek hora</b>.
</p>
<p>
<b>The Macedonian version of the Greek hora</b>
combines a <b>3 step rhythm</b> (R, L, R, N = L <i>lifts</i>) with the <b>1 step rhythm</b>,
(L, N = <i>lift</i> R in front, N = <i>lift</i> R behind, N = L <b>chug nonstep</b>). <b>See Macedonian dance, <i>Oro.</i></b>
</p>
<p>
<b>Buzz step rhythm</b> is the most popular expression of the <b>1 step rhythm!</b> It is a fast <i>turn step</i>
where your weight remains on your
rotating foot while your free foot <u>crosses in front</u>, <i></i>without stepping, to help propel your weighted, rotating foot 360
degrees in 4 counts! Rotating on your R will be called <b>right buzz step</b> versus <b>left buzz step</b> when rotating on your L.
</p>
<p>
</p>
<p>
<b>After Millenia, The Greeks constructed their own expanded version of the Greek hora called the Syrto hora.</b>
This was accomplished by creating a new <b>3 step rhythm</b>: (R, N, L, R) or (L, N, R, L). By using both expressions
of the new <b>rhythm</b> for both <u>moving right</u> (8 counts) and <u>stepping in place</u> (8 counts), they expanded
their <b>8 count Greek Hora Dance</b> to be a new <b>16 count Greek Syrto Hora Dance.</b>
</p>
<p>
<b>The 16 count Greek Syrto form begins facing forward with R stepping right on the baseline.</b> Then L <i>lifts</i> <b>in front
of</b> the <i>baseline</i>, followed by L <i>stepping</i> behind R, then R <i>stepping</i> right and <u>facing right</u> <b>on</b>
the <i>baseline</i>
(R, N = <i>lift</i> L in front, L, R). This is the closest the Greeks come to embracing the elegant <b>grapevine form</b>.
The next 4 counts continue <u>facing right</u>, <u>moving right</u> <b>along</b> the <i>baseline</i>, (L, N = <i>lift</i> R, R, L).
These complete
the 8 counts <u>moving right</u>. The 8 counts <i>stepping</i> <u>in place</u> begin <u>facing forward</u> with R <i>stepping</i>
<b>on</b> the <i>baseline</i>, L
<i>lifting</i> <b>in front</b> of the <i>baseline</i>, then L <i>stepping</i> <b>in front</b> of the <i>baseline</i>,
and R <i>stepping</i> in its original place <b>on</b> the
<i>baseline</i> (R, N = <i>lift</i> L in front, L, R). The second 4 counts <u>in place</u> are the mirror image
of the first 4 counts, (L, N = <i>lifting</i> R, R, L). This completes the 8 counts <u>in place</u>, to make an expanded 8 count
Greek Syrto version of the <b>Greek Hora</b>. <b> See Greek Dance, <i>Syrto Hora.</i></b>
</p>
<p>
<b>Greek Syrto Dance Form</b> begins <u>facing forward</u> on the <i>baseline</i>,
<i>step</i> with R on the <i>baseline</i> followed by L <i>lifting</i>, <i>crossing behind</i> R as a nonstep,
then L <i>steps behind baseline</i> to the right of R, followed by R
<i>stepping</i> <b>on</b> the <i>baseline</i> to the right of L (R, N, L, R).
This is the closest the <b>Greeks</b> come to embracing
The complement of the <u>moving right</u> <b>rhythm</b> <u>faces right</u> <u>moving right</u>
<b>along</b> the <i>baseline</i> (L, N, R, L). This completes the
8 counts <u>moving right</u>! The 8 counts <u>staying in place</u> begins <u>facing
forward</u> with R <i>stepping</i> on the <i>baseline</i>, L <i>lifts</i> <u>in front</u> of R as a <i>nonstep</i>,
then L <i>steps</i> <u>in front</u> of R, followed by R <i>stepping</i> <u>in its original place</u>
on the <i>baseline</i>: (R, N, L, R) The complement <b>4 counts rhythm</b> are analogous,
beginning with L <i>stepping</i> on the <i>baseline</i>, with R <i>lifting</i> <u>in front</u> of L as a <i>nonstep</i>,
then R <i>steps</i> <u>in front</u> of L, followed by L <i>stepping</i> <u>in its original place</u>
<b>on</b> the <i>baseline</i>. This completes the 8 <b>counts</b> <u>staying in place</u>. These <b><u>two</u> 8 counts</b>
make a <b>16 count Greek syrto pattern</b>. It was created after the <b>Diaspora</b>, and has primarily remained
in Greece in its original <b>form</b>.
</p>
<p>
<b>The Serbian/Croatian half step kolo dance creation is most probably
the first example
of a half count step</b> because it literally only moves <u>half the distance</u>
of a whole count step! <i>Kolo half step dances</i> always <u>face forward</u>:
stepping R on the <i>baseline</i> followed by L crossing half way behind R
landing just behind R! Repeating this 3 more times moving
R right along the <i>baseline</i> each time will create a <b>fast moving 8 step,
4 count kolo rhythm</b>:1&2&3&4& = RLRLRLRL Where & represents the <i>half
step</i>. The <i>kolo half steps</i> always <u>facing forward</u> facilitates <u>moving
left</u> as well as <u>right along</u> the <i>baseline</i> by rather doing a <b>7 step, 4
count rhythm!</b>
See Serbian dance, <b><i>Ersko Kolo</b></i> and Rumanian dance, <b><i>Alunela.</b></i>
</p>
<p>
<b>Serbian/Croatian peoples construct a half step kolo version of the 8
count Greek Hora</b>
by combining 8 kolo half steps in 4 counts <u>moving right</u> with 6 half
steps in 4 counts
<u>in place</u> doing a half step version of the <b>Greek hora rhythm</b>: 1&2,3&4 = RLR,LRL
RLR is called a <i>right chachacha</i> (appropriately, 3 syllables!) and
<i>left chachacha</i> for
LRL. In Modern Israeli dance they are called <i>Yemenite right</i> and
<i>Yemenite left</i> ( also, 3 syllables!)
See Croatian dance, <b><i>Krici,Krici,Ticek</b></i>
</p>
<p>
Assyrian version of the 8 count Greek Hora combines a chachacha
rhythm, (RLR,LRL),
<u>facing right</u>, <u>moving right along</u> the <i>baseline</i> with a <b>Greek hora rhythm</b>
<u>facing forward</u>,
<u>in place</u>: R, N, L, N with both <i>non steps</i> stomping in front of the <i>baseline</i>.
See Assyrian dance, <b><i>Shechani</b></i>
</p>
<p>
<b>half non step, <i>n</i>, is a half count expressed by a non step!</b>
See Bulgarian dance, <b><i>Paidushko Horo, Macedonian dance, Skudrinka.</b></i>
</p>
<p>
Bulgarian version <u>faces right</u> <u>moving right</u> with a <b>half step rhythm</b>:
1&2&3&4& where
& is a <i>half non step</i>, lifting only the heel of your foot! The Greek
hora part is done
<u>facing forward</u>: 1&2,3&4 where & is <i>half non step</i>, lifting your heel and
2,4 counts are
<i>non steps</i> lowering your heel. In foot notation, this form of the <b>Greek
hora rhythm</b> is
RRR,LLL = RnN,LnN
See Bulgarian dance, <b><i>Paidushko</b></i>
</p>
<p>
<b>Serbians create the most popular rhythm ever!</b> 1,2,3&4! In foot
notation: R,L,RLR
and L,R,LRL. It is know around the world as the <b>ChaCha rhythm!</b> It was used to
construct a simple version of the Greek Hora and like the Greek Hora,
it remains
unchanged to this day!
See Serbian dance, <b><i>Setnja</b></i>
</p>
<p>
<b>Macedonian half step version the the Greek Hora</b> is a <b>chachacha rhythm</b>,
1&2,3&4 in a
<b>marching form</b> <u>moving right</u> where the <i>half non step</i> is a lift <u>along</u> the
<i>baseline</i>: RnL,RnL.
The <u>in place</u> 4 counts are the same <b>chachacha rhythm</b>, but involving n
and N: R<i>n</i>N,L<i>n</i>N
where <i>n</i> = mini lift and N = bigger lift consecutively <b>without stepping!</b>
See Macedonian dance, <b><i>Lesnoto</b></i>
</p>
<p>
_________________NEW CONTENT ENDS HERE_________________
</p>
<p>
<b>Serbian peoples create an enhanced all kolo step version of the
Greek Hora</b>: <u>move right</u> on the <i>baseline</i> doing a <b>7 step kolo rhythm</b>,
(1&2&3&4), then <u>in place</u> on the <i>baseline</i> do two 3 step kolo half steps (L, R, L & R, L, R)
to create the <b>8 count Greek hora pattern</b> that <u>moves right and left</u> on the <i>baseline!</i>
</p>
<p>
<b>The 3 step kolo half step</b> is known around the world as the <b>cha cha
step (1&2)</b>. In foot notation it is the pair: <b>right cha cha</b>, (RLR) and
<b>left cha cha</b>, (LRL) which together create the <b>double cha cha rhythm!</b>
</p>
<p>
<b>The double cha cha rhythm</b> done <u>facing forward</u> <u>in place</u> on the <i>baseline</i>
is the <b>half step version of the Greek hora rhythm!</b>
See the <b>Armenian dance, Laz Bar.</b>
</p>
<p>
<b>The cha cha step in Israeli dance</b>, is called the <b>Yemenite step</b>:
<b>Yemenite right, (RLR), and Yemenite left</b>, (LRL) See <b>Israeli
dances, Ma Na Vu, Cheleck</b>
</p>
<p>
<b>The Serbian people create the most popular rhythm ever, called the cha cha rhythm</b>:
it combines a <b>step pair (1,2)</b> with a <b>cha cha step (3&4)</b> to create the <b>cha cha
rhythm (1,2,3&4)!</b> See the <b>Serbian
dance, Setnya.</b>
</p>
<p>
<b>The cha cha rhythm</b> in foot notation is the pair: <b>(R,L,RLR) and (L,R,LRL)</b>
which together create an <b>8 count Greek pattern.</b> See
<b>Armenian dance, Hamayac, Reed dance, I Will Survive</b>
</p>
<p>
<b>kolo <i>half step pairs</i></b> facilitate <u>moving</u> <b>left</b> on the <i>baseline</i> by moving
<b><i>7 half counts</b></i> instead of 8: <b><i>1&2&3&4!</b></i> After beginning <i>stepping</i> with
R you will end on R, leaving L free to <u>move <b>left</u></b>, 7 <b><i>half counts</b></i>, ending on L,
leaving R free etc., ad infinitum. In general, any <b>odd number of kolo <i>half counts</i></b> will facilitate a change
in direction <u>moving along</u> the <i>baseline!</i> See <b>Rumanian dance, Alunela.</b>
</p>
<p>
<b>The Serbian/ Croatian peoples most likely deserve credit for
creating the most popular rhythm ever, The cha cha rhythm!</b>
It combines 3 <i>steps</i> with a <i>half step pair</i>: <b>1, 2, 3&4</b> to create a
<b>cha cha rhythm pair</b>: (R, L, RLR); (L, R, LRL). Like its equivalent,
the 3 step rhythm pair, the <b>cha cha</b>, <b>rhythm pair</b> creates another <b>8 count</b>
version of the <b>Greek Hora</b>! See the <b>Serbian dance, Setnya</b>
</p>
<p>
<b>Double cha cha rhythm</b> is the <b><i>half step</b></i> equivalent to the <b>Greek
hora rhythm</b>: This is understood by realizing that (R, N, L, N)
is the same as (R, R, L, L) and (RLR,LRL) without the <b><i>half steps</b></i>
is (R, R, L, L). See the <b>Armenian dance, Laz Bar ; Turkish dance,
Dillirga</b>
</p>
<p>
<b>Israeli Yemenite rhythm</b> is a <b>double cha cha rhythm</b> done <u>facing forward</u> <u>in place</u>
on the <i>baseline</i>:
R <i>steps right</i> on <i>baseline</i>, L <i>steps</i> back below the <i>baseline</i>,
R <u>moves left</u> <u>crossing in front</u> landing above the <i>baseline</i> left of L.
</p>
<p>
This first half of the double chacha rhythm RLR is called a yemenite right; it begins moving right and ends moving left!
The second half of the double cha cha rhythm is called a yemenite left which begins moving left but ends moving right! They were
created by Israeli choreographers to facilitate changing direction along
the baseline, which happens often in Israeli dance! See Israeli dances, Ma Na Vu; Cheleck
<b>Chacha rhythm</b>: R; L; RLR where the second L is a half step!
</p>
<p>
The count is 1; 2; 3&4 with & representing the <i>half step</i>.
</p>
<p>
<b>Double chacha rhythm</b>: RLR; LRL or in count: 1&2; 3&4.
This symmetrical <b>rhythm</b> is like the <b>Greek hora rhythm</b> and is used by many
cultures as a more dynamic substitute.
But, not the Greeks, who have resolutely preserved this first dance for 3,000 years!
</p>
<p>
<i>Scissors step</i> occurs when one steps <i>in place</i>
and simultaneously extends the other foot in front,
then does the same move stepping with the other foot, creating a 2 count scissors effect.
</p>
</div>
<section>
<div>
<h2>Marching Step Folk Dances</h2>
<p>
<b>Marching step rhythm</b> folk dances are done in a R, L, R, L regular rhythm. In the Greek
tradition they begin with the R foot and compose 8 count <b>patterns</b> by combining two 4 count R,
L, R, L <b>steps</b>. <i>Note that we use the <b>step rhythm</b> in bold to mean 4 whole number counts
of
music!</i>
</p>
</div>
<div>
<h3>Ve David Version 1</h3>
<iframe src="https://www.youtube-nocookie.com/embed/q3J02vjA5fM"></iframe>
<p>
The music Ve David is a wonderful example of a <b>marching step rhythm</b> regular
rhythm done in two 4 count <b>steps</b> creating an 8 count <b>pattern</b>.
</p>
<p>
This first version begins facing forward, moving forward: R, L, R, L.
Then, still facing forward, move backward: R, L, R, L.
That completes your first 8 count <b>pattern</b>.
</p>
<p>
The second 8 counts use a <b>cross step rhythm</b> moving left: R in front, L
moves left behind R, R moves left in front again, L follows behind R.
Repeat this left moving <b>cross step rhythm</b> to complete the 8 count <b>pattern</b>.
Please note, the <b>cross step rhythm</b> is done facing forward! That is quite unlike
a <b>marching step rhythm</b>, which would face left when moving left!
</p>
<p>
The third <b>pattern</b> is a L turn step: R crosses L, L steps in place,
R crosses, L steps in place. The L stepping in place with the R
crossing it creates a rotation around it and transforms a <b>cross step rhythm</b>
into a <b>turn step rhythm</b>! Repeat this L turn step to complete the pattern.
</p>
<p>
The fourth <b>pattern</b> is repeating the first: marching forward then
backwards still facing forward.
</p>
<p>
The fifth <b>pattern</b>, like the second, is two <b>cross steps</b>, but only moving
right this time: R steps right, L steps in front of R, R steps right again,
L follows in front of R. Repeat the right moving <b>cross step rhythm</b>, remembering
all the while you are facing forward!
</p>
<p>
The sixth and final <b>pattern</b> is a <b>turn step rhythm</b> around your R:
R steps in place, L crosses R, R steps in place, L continues to cross
R creating a right <b>turning step rhythm</b>. Repeat this step and that completes
the dance! The dance can be repeated in its entirety <i>ad infinitum</i>!
</p>
</div>
<div>
<h3>Ve David Version 2</h3>
<iframe src="https://www.youtube-nocookie.com/embed/sm5bzWLfL0Q"></iframe>
<p>
Ve David version 2 is modelled after version 1, and begins with the same <b>marching steps</b> forward
and backward.
</p>
<p>
The second 8 counts move left, but this time the crossing steps are both in front and in back: R crosses
in front of L, L moves left of R, R crosses in back of L, L moves left of R.
This is the most elegantly flowing <b>step rhythm</b> to come out of the Classical World, or any world
since,
in my opinion!
This <b>step rhythm</b> is generally called a <b>grapevine step rhythm</b>, but, in this special case
since it begins
with the R (Greek tradition) while moving left (Jewish tradition), we call it the Jewish
<b>grapevine step rhythm</b>!
Repeat this Jewish <b>grapevine step rhythm</b>.
</p>
<p>
The third <b>pattern</b> combines two <b>cross steps</b> in place facing forward: R crosses in front of
L, L
steps in place, R steps in place, L crosses in front of R, continuing: R in place, L in place, R
crossing in front of L, L in place.
</p>
<p>
The second half of the dance is similar to the first: 4 count <b>marching steps</b> forward and
backward, then moving right with two <b>grapevine steps</b>: step right with your R, L crosses in front
of R, R moves right of L, L crosses in back of R; repeat this 4 count <b>grapevine step rhythm</b>.
</p>
<p>
Final 8 count <b>pattern</b>: two <b>cross steps</b> in place: step R, L crosses in front of R, R steps
in
place, L steps in place left of R, R crosses in front of L.
</p>
<p>
Repeat the whole dance <i>ad infinitum</i>.
</p>
</div>
<div>
<h3>Ve David Version 3</h3>
<iframe src="https://www.youtube-nocookie.com/embed/_0Bw9NViols"></iframe>
<p>
This third dance to the music Ve David is
particularly important because it emphasizes
using two different 4 count <b>steps</b> to create
an 8 count <b>pattern</b>! Previously, the one 4 count
step was repeated to make an 8 count <b>pattern</b>.
</p>
<p>
The two 4 count <b>step rhythm</b>s in the second part of
this third version are the <b>grapevine step rhythm</b> and
the <b>cross over step rhythm</b> combining to create the
8 count <b>pattern</b>! One should recognize the
other parts the dance.
</p>
</div>
<div>
<h3>Ve David Version 4</h3>
<iframe src="https://www.youtube-nocookie.com/embed/7HF3qUcj5gc"></iframe>
<p>
Our fourth version, unlike its predecessors, does not introduce
any new 4 count <b>steps</b> but attempts to do more than just express
the mathematical structure of the music by arranging the 8 count
<b>patterns</b> such that they also express the non-mathematical feeling
the music conveys!
</p>
<p>
To accomplish that, the first part of the dance uses a <b>marching step rhythm</b>
moving to the right and back, then, as in the other versions: forward
and back. The second part is an 8 count <b>cross step rhythm</b> in place: R,
L crossing R, R in place, L in place, R crossing L,
L in place R in place, L crossing R. The third part continues
the <b>cross step rhythm</b>: R in place, L in place, R cross L, L in place,
followed by a 4 count <b>turn step rhythm</b> around the L. This third part
repeats. Then the whole dance repeats, but the fourth time you
need to repeat the third part a second time for it to feel right!
</p>
</div>
<div>
<h3>Lo Ahavti Dai</h3>
<iframe src="https://www.youtube-nocookie.com/embed/1oQ7Z-CeMeo"></iframe>
<p>
This is our first dance that is presented in its
original pre-COVID choreography except for dancing
separately! La Ahavti Dai begins with two 4 count <b>Jewish grapevine steps</b>
plus two <b>Jewish grapevine steps</b> in place.
Then these two 8 count <b>patterns</b> are repeated.
</p>
<p>
The second part involves <b>marching steps</b> forward
and back plus 4 count <b>marching steps</b> moving right
with 4 count <b>turning steps</b> around R foot. Then,
these two 8 count <b>patterns</b> are repeated,
and that is the dance.
</p>
</div>
<div>
<h3>Yasmin</h3>
<iframe src="https://www.youtube-nocookie.com/embed/gb0py_LWWaw"></iframe>
<p>
Our sixth dance uses the music, Yasmin. This dance
features the <b>grapevine step rhythm</b> in its most common form,
moving right in contrast to the Jewish version!
</p>
<p>
The first 8 count <b>pattern</b> is a combination of a <b>marching step rhythm</b>
moving forward and a <b>turning step rhythm</b> 180 degrees
around your L foot. This <b>pattern</b> is then repeated such
that your new forward takes you back to where you
began, repeat these two <b>patterns</b> then repeat the first
<b>pattern</b> such that you end up in front. Follow this with
two 4 count transition <b>turning steps</b> around your L foot.
</p>
<p>
The second part begins with an 8 count <b>pattern</b> that
combines a <b>grapevine step rhythm</b> with an in place <b>grapevine step rhythm</b>,
facing forward. This <b>pattern</b> is repeated a right.
Return L to where you began, doing an 8 count <b>cross
steps</b>. Then do two 4 count transition <b>turning steps</b> around
your L foot and repeat this second part.
</p>
<p>
Repeat the whole dance <i>ad infinitum</i>.
</p>
<p>
Please note! <b>patterns</b> are 8 count, <b>steps</b> are 4 count.
Any two <b>steps</b> can be combined to create a <b>pattern</b>!
Also, any music you can tap your foot to, you can count,
and hence, express using combinations of classical
folk dance <b>steps</b>!
</p>
</div>
<div>
<h3>Mayim</h3>
<iframe src="https://www.youtube-nocookie.com/embed/n3f_mOCIBlo"></iframe>
<p>
The music for our seventh marching folk dance is Mayim,
and like Lo Ahavti Dai, is taught as it was originally done,
except for a final 8 count hopping and turning
around your L foot. The <b>buzz step rhythm</b> is the ultimate
folk dancing <b>step rhythm</b> for expressing music, like Mayim, that suddenly doubles
in tempo!
</p>
<p>
Mayim begins with two 8 count <b>patterns</b> of 4 <b>Jewish grapevine
steps</b>, followed by two 8 count <b>patterns</b> of 4 <b>marching steps</b>
moving forward and backward, singing "mayim, mayim,
mayim, mayim" each time you go forward! The finale is
marching right in 4 big steps to where you began then
hopping double time in place on your R foot for 8 counts
followed by hopping in place double time on your L foot
while swinging your R foot to help you turn around your
L foot for 8 counts! This doubly fast in place <b>turn step rhythm</b> is
appropriately called a <b>buzz step rhythm</b>!
</p>
</div>
</section>
<section>
<div>
<h2>Kolo Step Folk Dances</h2>
<p>
<b>Kolo step rhythm</b> dances are perfect for performing on stage because
the dancers always face the audience while moving right and left.
One of my Reed students' mother performed in a Serbian dance
company which, appropriately, is where the <b>kolo step rhythm</b> originated.
</p>
<p>
These dances introduce a new version of the <b>cross step rhythm</b>
called the <b>kolo step rhythm</b>, which, like the other classical folk dance
steps, is 4 count. The right moving <b>kolo step rhythm</b> begins, in the
Greek tradition, with the R foot: R in front, L behind,
R in front, L behind; however, the left moving <b>kolo step rhythm</b>,
in unGreek manner, begins with the L foot: L in front, R
behind, L in front, R behind!
</p>
</div>
<div>
<h3>Ersko Kolo</h3>
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<p>
The music for our first Kolo dance is Ersko Kolo and its choreography,
with the addition of <b>kolo grapevine steps</b>, is the
original Serbian form.
</p>
<p>
Ersko Kolo begins moving right with two 4 count <b>kolo steps</b>, continuing
with two 4 count <b>kolo grapevine steps</b>, then two more <b>kolo steps</b>
followed by one <b>kolo grapevine</b> and a transition step R and hold for
counts 2, 3, and 4. Then do the mirror image of the above moving left,
ending holding your L for counts 2, 3, 4.
</p>
<p>
The second part of the dance involves marching forward: R, L, R,
R hold, then marching backward: L, R, L, L hold. Repeat this
8 count <b>pattern</b> marching to your right then backward to where you began!
Repeat the two 8 count <b>patterns</b> of the second part and that is the dance!
Repeat <i>ad infinitum</i>.
</p>
<p>
The <b>kolo step rhythm</b> inspired its own whole genre of folk dances, and I suspect
that it also inspired Celtic tribes, migrating west through the Balkans, to
create their own kolo version, which became Irish dancing.
</p>
</div>
<div>
<h3>Alunelul</h3>
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<p>
The music for our second kolo dance is Alunelul.
The choreography has remained the same at Reed
since the '50s when I learned it using a 78 rpm
record for the music.
The 8 count <b>patterns</b> are all combinations of
<b>kolo steps + hold steps + stomp-lift steps</b>.
</p>
<p>
The first <b>pattern</b> is a <b>kolo step rhythm</b> moving right: R in front, L behind, R in
front, L behind; in place step R, hold R while stomp-lifting L two counts, hold
R.
</p>
<p>
The second 8 count <b>pattern</b> is like the first only moving left: L in front, R
behind, L in front, R behind; L in front, L hold while stomp-lifting R two
counts, L hold. Repeat these two 8 count <b>patterns</b>.
</p>
<p>
The next 8 count <b>pattern</b> is a combination <b>kolo steps</b> moving right and
left: step R in front, L behind, R in front, R hold while stomp-lifting L;
followed by the reverse, moving left: L in front, R behind, L in front, L hold
while stomp-lifting R.
Repeat this 8 count <b>pattern</b>.
</p>
<p>
The last 8 count <b>patterns</b> are done <b>in place</b>; step R, R hold while
stomp-lifting L, step L, L hold while stomp-lifting R; step R, R hold while
stomp-lifting L two counts, R hold; followed by the reverse: step L, L hold
while stomp-lift R, R, R hold while stomp-lift L; step L, hold L while
stomp-lifting R twice, L hold.
</p>
<p>
Repeat the dance until you are the last dancer standing!
</p>
<p>
The <b>kolo step rhythm</b> like the <b>buzz step rhythm</b> is typically a double
time step! Not for the timid dancer.
Sometimes, to emphasize how interchangeable
<b>kolo and buzz steps</b> are we will do Alunelul using <b>buzz steps</b>
with clapping instead of stomp-lifts!
</p>
</div>
<div>
<h3>Klezmer</h3>
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<p>
Jewish Klezmer music presents an ideal tempo for
the <b>kolo step rhythm</b>!
</p>
<p>
The first <b>pattern</b> in our third kolo dance is constructed
with two <b>kolo steps</b> moving right. The second 8 counts
are two: R, L, R, R hold while L foot lifts,
4 counts moving forward, then 4 counts moving
backward. The third <b>pattern</b> is two <b>Jewish grapevine steps</b>
moving left, of course, followed by 6 in-place cross
steps: R crossing L, L in place, R in place, L
crossing R, R in place, L in place with a two-step
turn around L foot to complete the 8 count <b>pattern</b>.
</p>
<p>
Repeat these four 8 count <b>patterns</b>. You should be back
where the dance began!
</p>
<p>
The second part is done marching forward 4 steps then
in place 4 counts: L hold while pointing R foot to
R side, L hold again, L hold while pointing R
foot again, L foot hold. Note, these 4 counts are done
while remaining on your L foot! The next 8 counts are
done moving sideways, first to the right: R, L, R,
R hold, then to the left: L, R, L, L hold.
</p>
<p>
Repeat this second part, only marching backward 4
counts with the same 4 counts remaining on your L
foot and the same 8 count <b>pattern</b> moving sideways: to
the right, then to the left.
</p>
<p>
This is a glorious, exhilarating dance you will want to do
<i>ad infinitum</i>!
</p>
</div>
<div>
<h3>Hora</h3>
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<p>
The more contemporary Israeli music, Hora, inspires
being expressed with a combination of <b>kolo steps</b> and
<b>kolo grapevine steps</b>.
</p>
<p>
It begins with a <b>kolo grapevine step rhythm</b> in place + 4 steps moving
forward followed by a <b>kolo grapevine step rhythm</b> in place and 4 steps
moving backward to where the dance began.
</p>
<p>
The second part moves to the right with a <b>kolo step rhythm</b> + a
<b>kolo grapevine step rhythm</b>, continuing right with a <b>kolo step rhythm</b> + a reduced
<b>kolo grapevine step rhythm</b>: R in front, L behind, R behind, R
hold! Repeat this second part moving left.
</p>
<p>
Then repeat the first part twice! followed by a reduced second
part: <b>kolo step rhythm</b> + <b>kolo grapevine step rhythm</b> continuing right with a
reduced <b>kolo step rhythm</b>: R in front, L behind, R in front,
R hold! Repeat this reduced second part moving left!
</p>
<p>
That is the dance, but remember to do the first part twice
after the beginning!
</p>
</div>
</section>
<br>
<section>
<div>
<h2>Greek Hora Step Folk Dances</h2>
<p>
The <b>hora step rhythm</b>, like the <b>kolo step rhythm</b> and <b>grapevine step rhythm</b>;
is in 4 counts! But, unlike them, not all the 4 counts
are expressed with stepping! This break from constant
stepping 4 counts revolutionized the world of dance
because it allowed different ethnic groups to express
their own individuality!
</p>
<p>
And it all began in ancient Greece 3,000 years ago!
</p>
</div>
<div>
<h3>Greek Hora Dances 1 & 2</h3>
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<iframe src="https://www.youtube-nocookie.com/embed/Q5V-x8xBTwA"></iframe>
<p>
The original Greek <b>hora dance</b> is just one 8 count <b>pattern</b>,
combining a 4 count <b>marching step rhythm</b> moving right with a
4 count <b>hora step rhythm</b> in place facing forward: R in place,
R hold while lifting L, L in place, L hold while lifting
R. This <b>pattern</b> is then repeated <i>ad infinitum</i>, or til one
falls off the edge of the earth.
</p>
<p>
Remarkably, this earliest dance is still done today just as
it was done 3,000 years ago!
</p>
<p>
Note: because the Greek <b>hora step rhythm</b> has two non-steps,
the Greek tradition of <b>patterns</b> beginning with the R
foot is retained.
</p>
<p>
The wonderful music we use for dancing the Greek Hora
is from an old 78 rpm Greek record I found in a dingy little
New York subway shop. I only recognized one Greek word
on the record's label: "Syrto". But, that was all I needed to
know! It has remained my favorite Greek Hora music ever
since.
</p>
</div>
<div>
<h3>Trata</h3>
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<p>
This exquisite Greek music contains 3 parts: <b>Greek Horas</b>, <b>chacha rhythms</b>,
and <b>balance + cross rhythms</b>!
Using a square as a circle and beginning at the right baseline corner of your square,
do 3 <b>Greek Horas</b> around 3 sides ending at the left baseline corner.
Facing the center of the square, do a <b>cha-cha rhythm</b> towards the center
hopping on your L: R, L, LRL Then do the same backwards. Then forward
again, finishing with a <b>marching rhythm</b> backward.
Move right along your baseline with a R, L balance 2 steps, in place,
+ a R, L moving right cross 2 steps. Repeat this new 4 count
<b>balance + cross marching rhythm</b> three times to end up where you began, eager
to do the dance again and again and again!
</p>
</div>
<div>
<h3>Greek Hora Folk Dance 3: Jewish Version</h3>